How I Get Things Done

As someone who takes on too much, I can go from zero to excess in a day. And some days this catches up with me and I freeze. What am I supposed to do next? I keep lists and index cards, journal entries about what I want to do, but sometimes (maybe once a week?) I just have to pick one thing and go for it. Like revisions on the first draft of my fourth novel.

In order to focus, I packed my work bag with just that draft, no other word work to use as an escape. I did not take my iPad, and my phone is too small for writing. I took a stack of messy pages, some blank scribble paper and sat down with four other writers who were intent on their own work. Group pressure, however subtle, helped. If they were working, I would work.

I got out my red pen and went for it, adding detail–what I call plugging the holes–correcting sloppy syntax, questioning the factual bits and making a list of what needed fact checking, like what route the character is traveling. It wouldn’t do to have her on I95, which runs from Maine to Florida, when she’s driving from Montana to Louisiana. And circling typos, which apparently slip in like cockroaches while I sleep.

By the end of the writing session I had thought of a visual tool that has already proven to be useful. The first draft I had printed out on blue paper. (Yes, I work best on paper.) This second draft I’ve started to print on yellow paper. It’s a vivid measure of how much I’ve progressed. Quirky, but we writers all have our quirks, thank goodness.

Writing by Recipe?

Writing workshops are useful. I like being in a room full of scribblers, hearing about the variety of projects underway, discussing questions that come up and inform us all how we might structure a piece of writing. But…the approach to writing is, at times, like a cookbook: add more detail to spice it up, tenderize the love scene, chop the plot to a fine mince.

Makes me want to run out of the room, go sit under a tree and write like a chattering squirrel. Of course, February in Colorado is not conducive to writing en plein air.

Recently, I heard that in long narrative we should aim for 25% telling and 75% showing. Ouch! I would not know how to determine those percentages. Once I’ve written a scene, I want to know if it holds my attention, doesn’t bore the reader, reveals some truth–big or small–about the characters, moves the plot along. I’m driven by characters and they just don’t behave according to prescription. That’s the joy of fiction and memoir. Surprise!

I’m sure that the recommendation about these percentages comes from a sincere attempt to help a writer who’s lost in the word forest. But I also wonder if this advice originates with a publisher who has parsed the genres and most often accepts the expected. They can tell the bookstore or the library exactly where to shelve the book in question, because it’s very much like other books in its genre.

If I ruled the publishing world, (not likely) I’d tell writers to write their story as best they can, let their imaginations run loose, and then have honest beta readers comment on the effect of the manuscript. No mathematics allowed.

Dare to Love a Book for Its Cover

I just posted a review on Goodreads: Stefan Mancuso’s The Revolutionary Genius of Plants: A New Understanding of Plant Intelligence and Behavior. Weighty title, but an argument for good book design and for a wonderful library that fronts new books. The cover literally drew me to this book, which is, as I said in the review, a lovely item with heavy, glossy paper, full cover photos, and a daring black cover with three bits of vegetation to draw the eye.

One of the things I do occasionally is help other writers, most often poets, to create their own books for self-publishing. The design of the book matters, although a fine cover cannot excuse a boring book, clumsy writing, or poor editing. But eye candy helps, especially if it reveals its connection to the content. Recently, I read a novel that claimed on its cover that the book was “hilariously funny.” It wasn’t. In fact it was serious and poignant. I was angry with the author for misleading me, until I thought about it. Likely, she had no control over the cover design. Someone in publicity slapped that misleading phrase on the cover.

Good, honest design can assure the reader that someone cares, be it a commercial publisher or an author determined to avoid the delays and complications of traditional book production and distribution. Gone are the days, I hope, of vanity publishers who provide no editing, slipshod design and extortionary expense to the author.

We are, thanks to the internet, able to make choices about offering our creative work to readers. I’m not partial to either option, selfpublishing or traditional. But I am in favor or a sell designed book that delivers what its cover promises.

The Wisdom of Donna Leon

Friday morning, sitting in a coffee shop, I’m back at work. My work is writing, although I spent yesterday, a snow day, reading crime novels, Donna Leon’s Guido Brunetti series set in Venice. Leon is prolific having written over 24 books in this series and several more in other categories. My intent was to binge read and let my own fiction, poetry, non-fiction rest and ripen. I know that if I take an occasional break, I go back to work with renewed energy. But Leon’s fiction is not escapist. Sure, it’s set in Venice, a place I’d love to visit, this Armchair travel, an excuse to read, drink tea and not worry about production or driving on snowy roads in Colorado.

Here’s the thing, though. In every “crime novel” that I’ve read in Leon’s oeuvre there is a large issue that affects the plot line and the reactions of her characters. The plot of the first book in the series, Death at La Fenice, develops around issues of homophobia and sexual child abuse. In Blood from a Stone the issues are immigration and racial inequality. Yes, in the lovely tourist-filled city, issues rise that challenge us all. Plot lines etched on the page are set like rough jewels in the middle of a nuclear family with reliable parents, believable offspring, domestic issues of homework and grocery shopping, a solid, sexy, loving marriage. And any of the characters, whatever their involvement in bringing the villains to justice, might reveal a concern I share, like polluted air: “What Redeemer could come and save the city from the pall of greenish smoke that was slowly turning marble to meringue?” (Death at La Fenice, 148)

The real message today is this: categories for literature are not absolute, can be unreliable restrictions. If I want to read more of Donna Leon’s work, I have to go to “Mystery” or “Crime Novels” in the library or bookstore. She obviously exceeds these labeled categories and reassures me that whatever we write might be just what the reader needs. Fiction, poetry, memoir—any genre can inform and inspire us. And as writers we have the privilege and responsibility of deepening our understanding of reality even as we “make it up.” If one reader is enlightened, reassured, challenged, or distracted from grief, a writer has done the world a favor.

Blind Date with a Murder Mystery

A couple of weeks ago I plucked a novel by Sara Paretsky off a library shelf. I was vaguely familiar with her name, in part because she has written nineteen novels, but it was sort of a blind date and we just didn’t hit it off. I read a bit and set it aside. Then I heard an interview with Lee Childs on BBC World Book Club. Childs praised Paretsky. He is quoted on the front cover of her book: “Sara Paretsky is a genius.” I like his novels, so I decided to give her another chance. Right decision!

Back to the library, this time I checked out a V. I. Warshawski mystery, Fallout. My first clue that I was in for a good read was the acknowledgements at the front of the book, what I imagine might be like a speed dating intro. The book is set in Kansas; I’m working on a novel set in Kansas; a county sheriff figures prominently in the action; I have a county sheriff as an important character; racial tensions play an important part in Fallout; I have biracial characters; cars are important in Paretsky’s book; my fictional car is a Porsche, a very important Porsche. Oh, yes, and one of her characters is connected to the US Army Command and General Staff College at Fort Leavenworth. As a military wife, I spent several months there while my spouse was enrolled.

Then again, there’s the coincidence of my surname, Douglass, and Paretsky’s setting in the Kansas county of Douglas. Yikes! I’m happy to report that I’m already halfway through the initial draft of my novel, so I don’t fear her influence, and I welcome her company. I have only the final conflict to read in Fallout. I had to stop. I’d missed my usual bedtime by two hours last night, but I will resume reading today. I am so glad I took Childs’ advice and remet Sara Paretsky. I think we will have a long and fruitful relationship.

Looking Back, Looking Forward

The old year, 2018, was productive and safe, despite the grief of the daily news. I’ve had poems published, made a good start on a new novel, one in a genre I’ve not written before, pared away some distractions from my creative work, and still maintained friendships.

Looking into the deep well of 2019, I intend to keep writing (as if I could stop!), remain healthy and read any book that catches my attention, reserving the right to put it back into the library bag unfinished if I’m not captivated. Life is short, boredom a burden I choose not to bear.

I’d like to write more reviews, be more faithful to this blog, walk more, watch birds more, spend a few days sequestered with my journal and manuscript. I’ll help publish a couple of books of poetry, and I may seek a literary agent for the novel. That has not worked for me in the past–time consuming and generally frustrating–but I’ll consider it.

Here’s to all who visit this site, Happy New Year. Stay awake, don’t hurt anyone, write like it’s a debt you must pay to the universe.

A Debut Novel Worth Reading

Let me introduce you to a friend of mine and encourage you to read her debut novel. Her name is Anita Halvorssen and the book is a killer thriller.

Originally from Norway, living in Colorado, Anita has taught law and writing on environmental issues, especially climate change. Her first law degree is from the University of Oslo, Norway. She has a Master of Laws and a Doctorate in Law from Columbia Law School, New York. Before pursuing an academic career, she was an Executive Officer at the Norwegian Ministry of Environment. She is a member of the International Law and Sea Level Rise Committee of the International Law Association. Halvorssen is Director of Global Legal Solutions, LLC, an international think tank and consultancy. She is also a member of the Rocky Mountain Fiction Writers, the Lighthouse Writers Workshop, and the International Thriller Writers.

Why fiction when your previous publications have been non-fiction?

Teaching climate change law at the University of Denver, I thought that having some students learn about climate change was fine, but a much broader audience should be enlightened. Few people read the scientific reports (IPCC reports, etc.) and the newspapers had the stories backwards for a long time. I thought plenty of people still read novels, so I decided to write a novel and put climate change into it, being careful to make it a thriller first and foremost, not an info dump on climate change. This thriller belongs to the newly recognized genre of climate fiction (cli-fi).

You chose thriller as your genre. Do you read thrillers? Whose work do you enjoy?

Yes, I read thrillers. I enjoy Stieg Larsson, Jo Nesbø, Liza Marklund, Dan Brown, Daniel Silva, John Le Carre, and many others.

Talk a bit about your writing process.

I used the first draft just to get the plot down. Then I focused on character development and emotions. It takes a lot of work, since I wrote law journal articles for a long time and they don’t have characters or any emotions.

What has changed for you since you began writing fiction?

It’s a whole different world. Discipline is of the utmost importance. Writing every day is the key. Joining workshops to learning the writing craft is crucial.

Who is your ideal reader?

Everyone who’s worried about climate change.

As we should all be. How did you come to feature your main character, Zakia?

Somehow the idea came to me to start in Morocco. I met a woman in a restaurant in New York City who was from Morocco and named my character after her. Then I did a lot of research on the country as it related to Zakia. Since she has a mixed background, British-Syrian on her father’s side, French-Moroccan on her mother’s side, and is also married to an American, I look upon Zakai as multicultural. The idea of Zakia being a journalist was based on journalists having to present facts—in my case, climate change facts. Having met her American husband at Columbia University and ending up in Chicago allows readers in the US to identify more with the characters.

What advice do you have for new novelists?

Keep at it. Don’t give up if you’re passionate about what you’re writing, and you’ll most likely persevere.

What’s next for you?

I’m working on a sequel with Zakia again, also addressing climate change.

This sounds wonderful. When will we get to read the book?

The Dirty Network will be launched at Barnes & Noble, Pearl Street, Boulder CO on December 18 at 4:30pm.