A Little Request

>> Monday, April 30, 2012

I was entered in the Liz Norris Pay It Forward contest (as touted by Janet Reid). Didn't win, but that's cool. I heard I was up against some good stuff so I'm not surprised.

However, as a follow up, I got this message from Janet Reid:

First and foremost, thanks for being part of the Liz Norris Pay It Forward Debut Novel contest.

My intention was to write to thank you for being part of our first contest and solicit suggestions for doing it better next time (next time!!)

Events have conspired to make that the second email you'll get.

Right now, we're in a bit of a pickle. Barnes and Noble has shelved UNRAVELING in the kids section. It belongs in YA. They caught the error and corrected the computers. It's moving the actual books that's more difficult.

That's where we're hoping you come in. IF you're in a BN in the coming days and you see UNRAVELING in the kids section, we'd count it a great favor to us if you'd take all the copies to the info counter or the cashier for reshelving.

These kind of glitches happen and trying to figure out how to fix them is a real challenge.  If you've got any ideas for what else we can do,  I'd love to hear them!  We don't want to wag any public fingers at BN--in this day and age this kind of thing happens a lot.

When I realized there was a whole group of people spread across the country that I could ask for help, it was a HUGE relief. There are some real disadvantages to be so NYC-centric you've never been to a BN in Jersey!

Thank you for any help you can give us. And thanks for entering the contest...but more on that to come!

Yours truly,

Janet
Now, why would you bother? I mean you may or may not have entered the contest.

Well, see, this fits in under the category of "something nice you can do without it costing anything" - like a smile to a stranger or a little dose of politeness. I always like to do a little something nice when I can, myself.

However, even if you have no interest in doing the writer any good, or B&N any good, or agents any good, it's still worthwhile because the real person you're helping is the potential reader who can now find a book looking where they should (and not confusing someone who found the book in the inappropriate section).

And let's face it, if it was OUR book, I think we'd all appreciate a little painless good deed by strangers.

Just sayin'.

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It Can't Always Be Good News

>> Tuesday, April 10, 2012

First, for those of you sharp-eyed patrons who might have noticed, my header has changed and this is no longer "novelists at large" but just one, me, Stephanie Barr. Although I did write three novels with Lee, with our divorce fresh and still raw and both of us scrambling to find our new equilibrium, there's no telling if there will ever be another one we write together. And it won't be the same.

Still, one must give credit that writing three novels with one's spouse, without any blood drawn, is no small achievement. I'm grateful for the perspective and recipient ear he provided, the insight, and the character traits I loved (all captured quite cunningly in various character put on virtual paper). I enjoyed writing with Lee, except for a handful of short bursts where I hated it, and it was certainly a learning experience.

I will still be writing and talking about writing here, but this was a big change and deserved mention.

Secondly, as predicted, my slow introductive start for Saving Tessa did not impress the ABNA judges and I failed to pass the second round (though my sister, Shakespeare did so feel free to give her your support).

Predicted or not, I was more devastated by this than I had expected. Perhaps, this was bad timing (Motto: Don't try to market books while you're already reeling from personal tragedy) and amplified by unrelated stress. Perhaps, as I haven't really tried marketing anything for a while (and I have a soft spot for Saving Tessa), I was still too close to it. I spent a day questioning why I keep trying to write and wondering if I'm as good as I think I am, or even good at all.

Then, as cursing the darkness only gets one so far, I went looking for a match. The strengths of my stories (or so I believe) are characters and dialog and humor. Humor, I might add, is far too uncommon in novels as a whole, or rather, good humor is. But the humor, which is a big part of this and every book (without making them comedies) was in scarce supply in my beginning. I don't want to jump into my plot in my beginning; didn't then and still think it's wrong for the story.

But, I could change how I introduced my characters and spice things up nicely with far more overt humor, which would not only make the story more interesting in the beginning, where it needs to be to interest agents, publishers and readers, but also offers considerably more opportunities for revealing why I love my characters and revealing the dynamics of their relationship without just describing it.

I haven't put my thoughts and speculations to the test yet, though I've been toying with some possibilities on how to do it, but, I'm excited by the notion, already thinking of ways I can use this new scene to streamline "narration" from others or other aspects that were bogging down the first few chapters.

And, if this brief disappointment I had ends up making this a better book, well, then it's just the tonic I needed.

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More Writing Updates

>> Wednesday, February 29, 2012

Firstly,

My short story that made honorable mention will be "published" in the second edition of SQ Magazine's tranformed eZine on May 1, or so I've been informed. The story's called "Masks."

Secondly, for those that are interested, I followed my sister, Shakespeare's, advice and entered Amazon's Breakthrough Novel Award contest. Note that she's also the one who advised me to enter SQ Magazine's contest and a poetry contest where I was also one of the finalists.

I was a little leery. Most of my books were co-written with my soon-to-be ex-husband and ABNA only allows solo author entries. Secondly, the first round, where they do their big purge from 5000 entries to 1000 entries each in general fiction and young adult respectively depends entirely on the blurb written.

Well, I've made no bones about it. Querying and marketing are definitely my weaknesses. That's scary, knowing the first culling will be aiming for my weakness. On the other hand,  however weak I am at them, they are absolutely essentially. If I cannot master selling myself without forcing someone to read the entire manuscript, I might as well lock it into a virtual drawer and raise cats today. No matter how good I think my books might be, if I cannot convince anyone to read it, no one will ever know.

Additionally, I had two completed novels that my then husband had actively campaigned against so I wrote them myself, because I loved the characters, because I loved the time I spent with them. (See here, here and here.) Right or wrong, this was an opportunity to find out if the love I had for them is something anyone else might share or just my own personal affair.

So, I decided to enter, along with thousands (literally, close to ten thousand) others, including my sister, Shakespeare. Both Shakespeare and I entered in YA, presumably with blurbs we worked hard on. I know I did, gutting my first entry and following the advice of my own teenager on making it more exciting. After all, I'm aiming for teenagers.

Well, boys and girls, both Shakespeare and I made it successfully through the first round in YA. (First round "winners" in general, in case you're interested) Whew! I'll tell you, I consider that an accomplishment, even if I don't make it any further because it was--and is--something I really struggle with. So, kudos to me (and the other 1999 people who made it through).

Given the next step involves reading the first 3-5K of the novel, it's another challenge, again, not because I don't think the novel is good, but because I tend to work my way into my novels through my characters. Now, I know what you're thinking. No, no, no! You need the hook, the plot snag in the first five pages or you'll never be successful.

I know what you're saying. I know that's the current thinking. It might even be true that no one will ever read the novels I write because of the way I begin them, but beginning them differently won't work. It will come across contrived and forced because it WILL be contrived and forced.

You know what else? Most of my favorite books start out the same way. Published, even classic novels, written not only by authors I adore, but frequently by authors many people adored then and adore now. It's no coincidence that my favorite novels are character driven or that I write my own novels the same way. I'm fully prepared for the prospect that some of those reviewing my excerpt right now may not be able to get past that notion that I have to--positively must--jump into the action immediately. That I might get no further in this contest because of that.

But that's fine. I got through the first round so I did something right. If I make it any further, that will just be icing. If I don't make it further, at least I feel better that I might be able to entice someone else to give the book I've written a chance, to read it for themselves.

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A Little Foreign Recognition

>> Wednesday, January 18, 2012

The down side to going on strike is that one is almost honor bound to cough up a new post after the strike is over or the strike doesn't mean anything. Fortunately, something interesting and writing related happened to me last week.

Nearly two decades ago, I had three stories published in PLOT magazine, in each in the first three issues: Code of the Jenri, Cauchemar and Windrider. Not long after that, the magazine went defunct (I think they had two or maybe three more issues after the last one I was in). Back when I was trying to find different writing communities, I tried Helium.com. I didn't like it because you couldn't remove your work on there once you put it on and, although you got feedback (as in rankings) there were other issues with how things worked. You really lost control over what you put there. Unfortunately, I didn't figure this out until I'd reposted Windrider there and a poem, The Siren. Ironically, they've done fairly well in the rankings since I abandoned them.

Anyway, imagine my surprise when I receive this in my email inbox (names removed to protect both innocent and guilty):

Hello,

My name is XXXXXX. Im studying at a high school in Denmark. We are working with your short story "Windrider". Can you maybe tell me, which role does Venetia and Rene play in this story? And what is your main point with this short story?

Thank you!
XXXXXX

Now, note what's cool about this. Not only did someone see my story and track me down across the ocean, but it's apparently being taught in a high school in Denmark. How freaking cool is that? Of course, I'm flattered that they thought contacting me on-line would be easier than reading the story and figuring it out for themselves (though, of course, one must remember, this would be English as a second language). It was a real thrill.

But I know what you really want to ask. Did I give him the answer he wanted?

Hello, XXXXXX,

I am sufficiently impressed that you tracked me down given that my name has changed since this story was published more than a decade ago. Kudos to you.

I have to admit to curiousity how my story became part of the curriculum overseas, but I can't help but be gratified. I'd be interested in corresponding with your teacher to find out more. I'm not upset; quite the contrary. Anything I can do to help.

As for your specific questions, I'm not the sort of person who would tell you the answers to questions you were undoubtedly asked to provide yourself by reading the story; however, if you'd like to discuss aspects of the story with me, what you think and why and get my take on it, I'd be happy to give you my own opinions in answer to yours. It's a story I'm quite fond of.

Cordially,

Stephanie Barr


Sorry, XXXXXX. Too many teachers in my family for me to give the answers away.


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On Strike

Today, we are striking against censorship

Join the largest online protest in history: tell Congress to stop this bill now!


Join The Strike!

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Learning from Love - part one

>> Tuesday, December 27, 2011

So the word on my Rocket Scientist blog is, though I truly thought I had found my soulmate and loved him, heart and soul, only to be left with a shrug on his part for someone else (two days before my birthday, I might add, with no warning), I'm still qualified to write about love in my novels.

Which is good because it's a big part of all the books I've written and all the books I'd planned to write. But I can learn from this rather humiliating episode in my life to make my books better, more realistic, more powerful, even more romantic (without, I hope, being corny)?

Not sure yet. Hard to write at the moment which is why my blogs have been largely languishing.But can't let that go indefinitely, so here's today's questions, inspired by my having to deal with an "other" woman, for anyone who'd care to comment.

Jealousy is a big thing in many romantic stories, considered proof of caring. On the other hand, loving someone (by my own definition), puts their needs beyond your own. I have not done romantic triangles (or any other geometric shape) to date, but that might come not too far in the future. So, at what point does jealousy stop being about love and start being about ownership? Should you give away the one you love without protest if they truly love someone else? Are the two perspectives mutually incompatible?

And that brings up a side question. If we presume (and I do) that loving someone does not imply obligation on the someone's part, what does it say about an individual if they let the lack of return love (or falling out of love) corrupt the original love. Should anyone base one's love on what they wanted in return? Should it warp if the love is unrequited?

I will tell you how I see the answers to these questions in a later post, but, for now, I'd like to see your own responses. The floor is yours.


 

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Update on the Good News

>> Thursday, December 15, 2011

Remember when I said my story was going to be published in the winter version of SQ Magazine? Well, apparently, now it's going to be different. Not long after what I thought was going to be the issue they were discussing went on sale, I received and email that said (in part):


I am writing to you because your story won a prize, or was short listed, in the Story Quest Short Story Contest, and part of the arrangement was that your story would be published in SQ Magazine.
 
This is still the case.

However, IFWG Publishing is pleased to announce that we have decided to 'up the ante' with regard to our magazine publishing, and therefore your short stories will be part of this experience – and definitely benefit.
 
Currently, SQ Magazine is a print (and ebook) speculative fiction publication, published twice a year and containing roughly 100 print pages in each edition - and something like 12 to 14 short stories. We are proud of what we have achieved in our first three editions, but we have decided to move to a completely different format, not unlike many other top grade publications over recent years. We will now publish as follows:
 
1. We will be a free online zine, published six times a year.
2. We will publish three to nine stories in each edition (more toward the latter, meaning, we will publish something like double the number of short stories than our current arrangement, per year).
3. At the end of each calendar year, we will choose the best stories, and publish them as a print and ebook anthology - usually around March of the following year.
4. At this stage, our efforts will still be 'for exposure' by authors - the economics can have it no other way, but as our advertising, donations, and side-enterprises increase revenue, we will follow it through to future writers.
 
This arrangement will take place from what would have been SQ Magazine #4 - in March 2012 (that is, editions from then on are online zines and will be published every two months). This changes our print schedule of Dec 2011/Jan 2012 to online on 1 March 2012. Our magazine will then be called 'SQ Mag'.
 
How does this affect you? Well, firstly, your work will get much more exposure probably from day one, and secondly, you will have a chance at having your work published in an anthology. The first part is entirely consistent with what the contest rules stipulated - it's just that the medium has changed. The second part is a bonus for you.

Thought I'd inform those interested. When I see it in e-print or real print, I will bring it to your attention with links.

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Just a Bit of Good News

>> Tuesday, November 15, 2011

After a hiatus nearly as long as my eldest daughter's life, I'm going to be in print again with a fiction. At the prompting of my sister, the redoubtable Shakespeare, I entered a short story contest with Story Quest Magazine. Admittedly, I haven't been writing many short stories, recently, but I had been going through the ones I had trying to spiff 'em up a little. And the "speculative" part of the contest was right up my alley.

Well, I didn't win, but one of my stories did make it as a finalist and will be published in this winter's issue of SQ Magazine, so cool beans for me.

Feel free to get yourself a copy (I presume all the finalists and winners will be in there). I'll be doing the same.

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Never Too Old To Learn

>> Tuesday, November 8, 2011

Tired of squirming yet? I know, for many people, the whole topic ("boys love") is pretty squirmy. I think that's one reason I jumped on it. Topics that make us uncomfortable, that make us squirm, as it were, are too often glossed over or ignored, leaving them open for ridicule, stigmatizing, indifference, stereotyping, and, frequently, abuse and ostracism.

Admittedly, some squirmy topics are purposely picked up and brought center stage to highlight important issues by different writers and such. Sometimes, when done with a deft hand, such treatment is quite effective. When done with a heavy hand or in over-the-top ways, they tend to work against their own goals. But I digress. I wanted to pursue a topic that was a little uncomfortable for me until I understood it better, that maybe made me squirm a little. It's easy to become complacent in one's own little perspective, looking out at the world through a single set of lenses and thinking you see things clearly. Until you've tried on a few sets of specs, though, you're just fooling yourself.

It wasn't just the differences in romantic characters here, either, or the similarities I didn't expect. Many of these are shorter works, stories told in a handful of chapters, if not just one, as opposed to the volumes of chapters I'm used to to portray a moving story. That was instructional in and of itself.

I'm grateful I pursued a little different perspective and hope to use what I learned in my novels.

What did I learn?

(a) That my view, that real love is about devoting yourself to the happiness of someone else besides yourself, is not gender specific. Jealousy, to an extent, is fine for romance, but to the point of ownership? - well, there you lost me. So that really didn't change, except that I saw some ways I never thought of before to be romantic. So, cool beans.

(b) I still hate rape. I don't care how prevalent it is in this or that literature. You will not hear any of my characters being forced, gasp, "No! Wait! Stop! Please!" and snuggling up to their rapist later. I know it happens plenty in today's heterosexual romances, too. Still hate it and you won't find it in my books (unless I"m killing the rapist later). I will remember, however, that not everything that looks like rape really is. Motivation does matter (though perhaps not as much as some people think it does).

(c) People can have sex in the craziest positions, places, and times. Seriously, wow. Doubt, admittedly, that that will be a key element in my writing, however.

(d) A story must be more than a showcase for episodes of sex or even for a romantic hookup. Real love is frequently physical, but rarely just physical. If it's all about the love story of two people, but we don't really know who they are or care for them, if it doesn't affect the world around them (or isn't affected by the world around them), chances are it's pretty dull. I knew this already, but it was amazing how two different stories with similar story lines could vary in appeal, enjoyment, and overall readability. Even if the art was inversely proportional in quality to the story. 

(e) Characters, characters, characters. I knew this too, but there's a world of difference in the importance and impact of what happens to characters you're invested in, that you really like, and ones who leave you cold. Even if you don't always like what they do.

(f) No one said you get to choose who you love. Sometimes who you love is damn inconvenient, utterly hopeless, entirely inappropriate, or downright embarrassing . You might never act on that love, either for fear for yourself or in consideration of the object of your affection, but that does not make one's love less compelling or painful or powerful.

(g) No one said you get to choose who you love. Even, sometimes, if the one you love is entirely bad for you, it doesn't mean you can't love them, don't love them, won't love them. I've always been fairly harsh on women who let themselves be abused, at least if they had children. Seeing couples where children aren't a factor reminded me that, even if you leave to save yourself, that doesn't mean you necessarily stop loving someone, no matter how unhealthy that person is for you.

(h) A real connection between people is important for any kind of character interaction (not just romance, though definitely for romance). Stories are more interesting if there are other differences and challenges to overcome (personality, economical, social status, etc.). A story with people who respect each others' work or capabilities, who use those skills to do more than just romp in the bedroom, but interact effectively with the world at large, is far more rewarding than tossing too mismatched people in a room together and calling it love or even friendship. And you have to see those characteristics and strengths, that connection, not just be told the connection exists.

(i) People who are very quirky/off nominal pairings can make for extremely compelling stories. I read one author who's drawing style I don't care for in the slightest, even after reading more than a dozen works. So, why did I read a dozen works? I found them incredibly compelling. Some supernatural, some so freaking original I never saw it coming, some unbelievably sweet. Most were quite short but I found the universally ugly characters won me over time and time again often within a couple pages. I cared about them and always rooted for these often extremely weird couples. I've got more to read and what fodder for livening things up for my own work it is! Proof positive that every love story ain't the same.

(j) Very effective portraits of a characters personality can be drawn (with words in my case) very quickly, often with only a few tiny acts, little things that say something important about who a character really is. It's true when they're drawings, too, but often the gestures and expressions, the little acts, were far more telling than the conversation. You don't need pages of description. I knew that as a short story writer. It's easy to lose sight of that as a novelist, but that quick portrait can be just as effective in long prose (even if, for some characters, who want to study them and learn them over time). I needed the reminder.


(k) Life is messy. If you make it too tidy, it either feels contrived or dull. Neither is good in a story.


(l) Humor makes everything better. I have quite a list of favorites, and the quality you'll find most frequently if you troll through those favorites is funny. Extra points for those mangas that can laugh at themselves.

I enjoyed it, overall. I love to learn, you know. I wonder what I'll stumble into next.

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Getting Physical

>> Sunday, November 6, 2011

So, two people of whatever age have become romantically interested in each other, specifically two men have acknowledged this interest to each other. Now, as I'd mentioned in previous posts, if these two guys are already gay and know it, they will probably move on to the next steps with minimal fanfare. They might even have travel sized bottles of lube or condoms in one or more pockets. But that's not particularly interesting to my way of thinking or that different from a similarly armed heterosexual couple comfortable with sex. And yes, I will be talking about it.

I'm more interested in what goes through the mind of someone(s) who never thought he was gay facing up to what that means. I mean, if physicality wasn't any part of the issue, hanging out all day and all evening, every evening, probably wouldn't even raise an eyebrow. That's the up side to same gender friendships (and some heterosexual friendships, actually). In fact, that's one thing that surprised me when I first read yaoi. I've read a LOT of shoujo manga and I can count on one hand the number that have moved beyond kissing and hand-holding, maybe some light groping, to sex. I've now read a LOT of yaoi (written, ironically enough by women for women, remember, just like shoujo) and I can count on one hand the number of manga that have NOT overtly including sex.  Which argues physicality is a key element.

 (No, boys and girls, I won't be putting up any actual sex shots, I swear, just pictures that illustrate my points on how complex the topic is, like this one that's quite pertinent from a practical little one shot called [inexplicably] Wild and Strawberry [link has sexually explicit pictures] by Suzuki Tsuta. But, again, I will be talking about it.)

But, whereas reference is plentiful on what men and women do together, including most sex education courses, and the jigsaw fits neatly, that kind of information is not as readily available and/or things may not be so intuitive for men, even men who have experience with women. There are several key differences known to even the most reticent and I would guess that your young man who'd never really considered male-to-male coupling before would be a bit daunted, quite probably a whole lot embarrassed, and potentially scared out of his mind.

It's not without it's up side, of course, aside from pleasure. One of the reasons why sex with girls is a "big deal," particularly among the younger sets just getting their hormones revving, is that pregnancy is a very real concern. Disease is, too, but, let's face it, most people don't think it can happen to them (which is, sadly, how they get spread), else the pill would not be such a popular method. A girl's got to be (or at least ought to be) careful who she, eh, spreads her legs for because, even today, the bulk of the onus and responsibility for the end results she bears. That particular boogeyman, getting someone pregnant, does not apply in homosexual cases. Disease, however, still does.

Now, there are many that assume gay sex is "just" anal sex, but, according to [warning: link has sexual explicit pictures] Wikipedia, it is far from ubiquitous (~2/3 of gay men) with various alternatives I will not describe here but that are mentioned in passing on the link provided. You are free to do (or not do) your own research.
From Yajuu de Hatsukoi [warning: link has sexual explicit pictures]by Yamato Nase
But it's a non-trivial thing. Places on your own body you probably never thought of anyone but your wife touching (and places you never expected/wanted anyone to touch) will be handled, even licked by someone else, another man. Men can (and have) been overpowered by other men and that's a real fear, too. As someone on the receiving end of sex, it's frightening to give up so much for trust. I don't regret it, but I can tell you, even with everything fitting together and hormones raging, my first experiences (yes plural) were very painful. Technique matters. Fear and anticipation matter, too. Ditto for trust.

That's even more true with something as invasive as anal sex. Technique and lubrication are considered key elements in the comfort of this technique even it's not your first time. And, and I've had no luck finding an answer in the yaoi, I've never figured out how one decides who is going into whom the first time. Is there a special formula? Does someone call dibbs? Is this a source of consternation and friction early on for many new couples? I'm not being flippant; I'm honestly curious. I would think the experience far more daunting for the never-did-it-before receiver than it would for his partner who is largely doing a variation on what is done with women. But if the first time's botched royally, I would expect it would be challenging for either partner to continue, at least together.

You know, that's a lot of pressure. More so than premature ejaculation or not getting your girl off, though perhaps on kilter with not making her first experience painful (though, from what I've heard from friends, most girls don't remember anyone being particularly considerate). The partners involved have to have an extraordinary level of trust and commitment (however physical that is) if they want the pairing to be successful over the longer hall. Talk about performance pressure!

Why talk about this? Because this is something I really haven't addressed before. Physicality is important for male-female romances, too, but it's different and distinct with different requirements, different hangups and different challenges. What's the same is almost as fascinating as what's different.

From a character interaction standpoint, the prospect, anticipation, and follow-through on something like this is outside anything I've written about or thought about. It seems earth-shattering to me, making me very grateful to be a girl, and gives me all kinds of ideas on how to bring intensity of feeling forward in my own writing. The stakes. The responsibilities. The impact.

Damn, I love to learn.

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