Sunday, February 3, 2013

Dealing with Stress

Ok, so, as one might imagine, writing novels and attending high school and applying to college all at the same time is not an easy thing to do all the time. This past week has been particularly stressful, for a few reasons that I won't go into here. Usually I'm pretty easygoing, pretty steady, but I've felt unusually high strung recently. Here are my tips to dealing with that sort of thing (which work pretty well when I actually listen to my own advice and use them) in case anyone is interested...


1. Drink tea (not caffeinated) or milk, or another soothing drink of choice. This sounds stereotypical and stupid, but honestly, it works. Get a big glass/mug of it and drink like your life depends on it.

2. Take a shower. Coming out of the shower feeling really clean and nice and shiny just makes everything better. It washes things away.

3. Sleep. Take a nap. Much of my stress, at least, comes from the fact that I'm tired. Naps do wonders. It doesn't even need to be a long one--sometimes, ten minutes can be the ticket.

4. Get out of the house and do something fun, if you have the time. Go see a movie. Go to the beach. Anything. Being shut in to a routine or a project just drives me up the wall sometimes--so I try to escape it. I don't mean that you should procrastinate, that just makes things worse later down the line. I mean escape, forget about things for a little while, if your time is well-balanced enough... that project/whatever else you're stressing about will still be there when you get back.

5. Discover new music. Find an album or artist that you haven't heard before and revel in its glory. For me, this week, that music was the Catch Me if You Can soundtrack. (which is FAB, by the way, in case anyone cares.)

6. Remember that life will, inevitably, go on. There will be brighter days, ones less filled with hysterics and hyperventilating. Things will be okay. Maybe not now, but eventually. Seriously, things will be OKAY.

6. Make lists to organize yourself. Like this one! Life is nice when it's organized.

7. Most importantly, remember that this happy little sloth wants you to be happy too.


Saturday, January 26, 2013

Antique Books and Why I Love Them

I am in love with old books.

Whenever I go to a good used book shop it's basically impossible to get me to leave until I have found and purchased at least two books published before 1920 (though sometimes I make exceptions to that date, though, for example this book was published in 1927 and it's BEAUTIFUL. Look at that cover!)


This is my entire collection as of now, and I expect it will get bigger over time: 


There's something beautiful about old books. It's not just the stories in them that make them wonderful, although the stories are great too. It's the fact that these books have traveled, been given as gifts, done things you've never done, been places you've never been. They've survived wars and revolutions and somehow, despite everything, persevered until they found their way into my hands. There's a real poetry in that, I think. 

One of the things I love best about them is the notes from the books' previous owners that you find in the front of some of them. I have a math book from 1877 that, according to the writing in the front, was printed in Baltimore, made its way to San Francisco in 1889 and in 1969 was in Spain--and when I found it, it was in a bookstore in Iowa City! There's a story behind that, I know it, and I always end up wondering what that story is. 

I have to say my favorite book in my possession, though, is a huge book of Grimm's Fairy Tales from 1909. It's illustrated by Arthur Rackham(look him up), and there's a note in the front that says (as far as I can read the handwriting)

Davie
     From
         Daisy with all her love.
Xmas 1911. 

This book was given to me by a very old and dear friend who took care of me as a baby. It was printed in London and she and her entire family was originally from England, and so I can be fairly certain this book made its way through the thick of both World Wars. It's huge, with cut pages and thick paper and writing in gold on the front:


It's an absolute treasure. In addition to the cover, it's got brilliant illustrations inside, both color and black and white. I've spent more than one afternoon just sitting down and reading through it (fairly gingerly.)



I want to know all about the books I own, where they came from and all the places they've been--but at the same time, I relish their mystery. It's delightful, wondering how these books have made it from then to now. You can imagine all sorts of pasts for them, mad adventures and epic romances. You wonder if this has ever been anyone's favorite book, if they've packed it away and moved to an entirely new place with it, if, perhaps, it's passed through the hands of some famous character in history. I want to keep collecting and collecting. There are specific books I want to find a first edition of (that's not obscenely expensive) and specific bookstores in strange places that I want to go back to in order to find more treasures. And maybe I will someday!

Old books are beautiful, and they hold secrets and adventure, both in the words and the physical pages themselves. If you ever want to make me really happy, get me a nice old book. I will love you forever.  

Saturday, January 19, 2013

Can You Teach Writing?

So, I know this is an question that has been covered by a ton of people, but I just thought I'd add my own two cents' worth.

Can you teach writing? Yes and no.

Writing--good writing--comes from practice. It doesn't come from some magical mythical invisible fountain of awesome inside your head. Writing is really a learned skill, in my opinion. Even getting good plot ideas is learned, I think. As you look at the world around you and learn to see the beauty and the terribleness in it with an eye for story and character, you learn how to get inspiration, as strange as that sounds. You just really have to devote yourself to it. Let your inhibitions go, don't be afraid, and write like your life depends on it.

However, that being said, I don't think I'd be the writer I am today if I hadn't attended the California State Summer School for the Arts (studying creative writing) and the Iowa Young Writers' studio. In both those places, I attended workshops and class-type-things that were mostly discussion-based and interactive. By having my peers critique my work and critiquing the work of others, I learned how to view and dissect and truly understand my writing in a way I hadn't before. As I discussed in my other post, What it Means to Read as a Writer, going to these programs has taught me things I don't think I could have effectively learned on my own.

But, when you really get down to it, I'm not sure my experiences at CSSSA and the IYWS weren't exactly teaching so much as supplementing my practice. If I just went to those programs and I didn't practice, I would be a pretty crappy writer. You're not going to become a great athlete or musician by learning about it intensively for two weeks a year, or even six months of a year. Without exploring something on your own, you're going to miss out on a large portion of the learning process. Writing is the same as any sport or musical instrument in that way.

Basically, I believe that writing can't be taught, in the most literal sense of the word. No one can tell you exactly how to do it. There's no set of rules you can memorize, it just doesn't work that way. At the same time, critiquing work and having yours critiqued in turn are essential parts of the writing learning experience. This doesn't mean that you have to go to school for it--you can, if you want, I think it can be very useful--but it does mean that, if at all possible, you should seek out critique groups or summer programs or whatever you might want to do. That sort of thing has been absolutely invaluable to me.

Sunday, January 13, 2013

Loving Both the Sciences and the Humanities

So, if you're reading this, you most likely think of me as a writer. A humanities sort of person. Which makes sense, given that my first novel is coming out in 2014. But here's something you might not expect: I've done lots of work in biology too.

Over the past two years or so, I've worked in three different biology labs: one at the Page Museum at the La Brea Tar Pits, one at UCLA, and one at the John Wayne Cancer Institute. They've all been very unique experiences, and they've all been wonderful. I've gone hunting for herbivore teeth in the Page Museum archives, done a full research project about wolf skulls at UCLA, and sorted gene expression data at the John Wayne Cancer institute. And I enjoyed every minute of it.

There's this strange myth, though, I think, that you're only supposed to like one side of the academic spectrum. Sciences or Humanities, pick one. Whenever I've talked to someone from my lab about my writing or one of my writing friends about my science exploits, I've sort of felt as if they weren't taking the subject they were involved with very seriously. "She obviously loves her lab work, and so the writing must just be a hobby," or "She writes constantly, so the science must be an extracurricular activity that she does just for fun," I could feel them thinking.

In reality, I love both. I really do. And though it does seem like I'm heading along more of an English trajectory than a Biology one, I still love my science, and want to continue studying it in college. I'm planning on doing some sort of double major or major-minor thing in Bio and English. I want to continue doing research in college, and I also want to continue writing novels (obviously.) I aim to be a full-time writer, I think--but I would be equally happy working as a research scientist.

I know that not everyone is like me. I know a lot of people do, in fact, gravitate towards either the sciences or the humanities. Still, it always feels a little awkward and unpleasant when one of my interests or the other is sees as less important to me. I want to shout and say, "Hey! Guess what! It's not impossible that I could love both equally!"

Anyway, I love both bio and writing. I've always thought that it's kind of cool to know lots of stuff about lots of stuff that has nothing to do with each other. I know about vertebrate morphology and prose poetry, story structure and gene expression. How cool is that? I've nearly always got something to talk about, whether I'm speaking with a scientist or a journalist or someone in between who wants to know more about either of my interests.

So, here's my message to all the english or history lovers wondering if they should try to get a summer internship in a lab, or the physics or biology lovers wondering if they should try their hand at poetry, painting, or costume design--GO FOR IT. It's so much fun. I'm a firm believer that you should try everything; if it doesn't work, or you end up not liking it, then that's that. You tried. Oh well. But you'll never know if you don't try, will you?

Don't be intimidated by this strange idea that you can only love either the sciences or humanities, but not both. Learning is always good, whatever it is. Explore. Strike out. Have an adventure! Take a class, get a job, read books. Have fun doing whatever the hell it is that you want to do.

Tuesday, January 8, 2013

4 Rules of Writing Violence

I've spent the last year, approximately, writing serial-killery violence for my novel, "Dear Killer." As I went along, I learned a few things about writing the morbid and vicious; here they are. 


1. Only write violence when you need to. 
Don't overindulge. When you can leave something to the imagination, then leave it to the imagination. If you start adding too much blood, broken bones, bruises, exc., then it's all going to blend together in the reader's mind. Also, it's going to get really gross. Each act of violence that you describe should have a point. It might be to introduce the violent nature of a particular character, perhaps, or to shock the reader into paying close attention to what comes next. You don't need to describe every gruesome bit. The reader will get the point. Just choose the most important pieces of blood and gore, and describe those thoroughly.

2. Use action words. 
No, I don't mean "verbs." "Action words," as I think of them, are a subset of verbs. They are verbs that denote intense action--for example, "crushed," "sprinted," "slammed," or "shattered." Verbs that are not action words, on the other hand, are "broke," "cried," or "kicked." Action words, the kind that you would use in extremely violent scenes, are the kind of words that make you cringe when you think of them happening to you. You don't want the word "shattered" having anything to do with you, though you might be okay with "kicked." Basically, though you might not want to do this in every scene, always go for the extreme when you write violence. Make sure it's remembered. 

3. Focus on details. 
This is a general writing tip, really, but focus on the little things. It is far better to "zoom in" on one or two specific details than to explain the whole scene. It gives the reader points to sort of anchor themselves with. Describe the color of the sky and the look in the murdered person's eyes, but nothing else, for example. The reader doesn't need to know what absolutely everything looks like, because they won't remember it all. If you only describe one or two things that are very indicative of the moment, it will be easier to picture; the reader will sort of realize that those things are "important" and should be paid attention to because there isn't anything else to pay attention to. It makes the scene more memorable. And, of course, to repeat what I said before, your violence should definitely be remembered. 

4. Know what you're talking about. 
This one is going to make you a bit uncomfortable and make your search history a bit questionable. But, basically, you should understand what you're writing about. This may seem self-explanatory, but, really, you should google things far beyond what you want or think you need to google. Like, what sound happens when you stab someone. Or what it feels like to have your ribs broken, in detail. Ick, I know. Gross. You're not going to want to google that. But you should. Strive for obsessive levels of accuracy; it just feels more real that way. 


Of course, in the end, these rules are really only guidelines. And rules are meant to be broken, anyway. Good luck with the gore! 

Sunday, January 6, 2013

Musings on Plot Bunnies

If you like to write, you've probably heard the term "plot bunny."

For the benefit of those who don't know the term, a plot bunny, simply put, is an idea for a story that sticks persistently in your mind until you write it.

Sometimes the plot bunnies are great, sometimes they're not-so-great. Sometimes they're the genius-inventive-stunning kind, and sometimes they're the "Let's take 'The Great Gatsby' and put more zombies, vampires and werewolves in it" kind. Either way, until you get it out of your system, plot bunnies are stubborn. They're practically indestructible.

Whether or not they're stupid, I LOVE plot bunnies.

See, I have a lot of ideas. Some of them are pretty good. Some of them aren't. But even if it's a really good idea, unless it's an honest-to-god plot bunny, I won't write it well. I sometimes write stories from ideas that aren't plot bunnies, but the writing is, more often than not, sketchy, weak, forced, uninventive, and generally awful. Maybe that's just the part of me that's childish/inexperienced shining through, or maybe it's something all writers struggle with (I honestly don't know!)

For me, it doesn't matter how cool or stunning the idea may be unless it's a true plot bunny. One of my problems, though, is that it's sometimes hard to tell whether or not an idea is going to be persistent. When I first think of an idea, it occupies my mind nearly completely; but I'm never sure if it's really going to stick around or flash and fade like a pretty but short-lived firework. So, it's become a habit to give each idea an approximately week-long "waiting period" before I actually begin to plot it out and write it. If the idea sticks with me for that long, then I can almost always write the story with some success.

I probably get about a hundred full-fledged ideas a year, most of them during the hiatuses between writing books, when I'm trying to figure out what to write next. Only one or two stick with me long enough to get written. There's a big junk pile of ideas I've written down and discarded. Some of them still sound cool to me... but there's no spark with them, no idea of where I want the story to go. And that's a shame! I would love to write all these crazy worlds, people and adventures that I've dreamed up at one time or another. But I simply can't. It usually ends up that I have something to another to write at all times, so I don't feel like my writing productivity is being stunted in any way by this unfortunate phenomenon, but it is really very very frustrating.

Peter De Vries, a novelist best known for his satiric wit, once said this: "I write when I'm inspired, and I see to it that I'm inspired at nine O'clock every morning." I envy him his flexible inspiration. I would love to be able to write anything well at any time. I would love to be able to do something other than stare at my list of discarded ideas and sigh wistfully, thinking of all the things that might have been.

But then again, maybe all that will come with time. I sure hope so.

Saturday, January 5, 2013

Short Story: "Standard"


This short story came from a writing exercise I was given while at the Iowa Young Writer's Studio. We had to go into a library, choose two vastly different books, and use a sentence from each as the first sentence and last sentence, respectively. My first sentence was from a fantasy book about ogres (it's been changed slightly to avoid plagiarism, but the content is essentially the same) and my last sentence is from a how-to-knit book. Enjoy!
                                                                                  

The sorcerers had given him the ability to speak Standard just as well as Maren.
            It had cost him money, of course—I remembered it, though I was small then. Lots of money. So much money that my parents had sat with him in the kitchen for hours the night before he went to the city to see the sorcerers. They wanted to make sure that he was sure, they said, as the candles burned low, smelling of roses, because, yes, he was a grown man, but he was still their child, and he was about to spend more than a year’s earnings on something they couldn’t see the worth of. I listened with my ear pressed against the wood of the door, absently, tensely, rolling a ball of green yarn around in my hands. Their voices weren’t clear, but I could understand them well enough.
            He reassured them, soft and slow, again and again, until they fell silent.
            When he came out I was still by the door; I felt no need to hide from him. I had never felt the need. I was so small, compared to him, and he had wide shoulders and gentle sky-blue eyes, and he would always protect me. That was my brother, when I imagined him, just shoulders and eyes, and that was what mattered.
            He found me outside the door, wide-eyed and silent, curled up within the white tent of my nightgown.
            “Lila.” He sighed, faintly chastising, leaning down to pick me up. I should be in my bed, asleep, I knew, but I didn’t want to go. I wrapped my seven-year-old arms around his neck, holding fast to the yarn, and smelled the scent of his hair.
            “You’re going to the city?”
            “Yes,” he murmured, “To see the sorcerers.”  
            “To learn Standard?”
            “Yes, like Maren.” He replied.
            My mind filled with images of Maren. Maren, the wanderer, who came sometimes to our dusty town upon a hill, packs filled with spices or silk, smelling of the road and of faraway places, his dark beard tinged with grey and the cups and pans tied to his back making sounds like bells as he walked down the road with a cloud of dust in his wake.
            “You want to wander?” I asked. It was the reasonable assumption. Everyone nearby spoke our small old, ancestral tongue—you only needed to speak Standard if you wanted to go far, past the Lion River and to the city and across the flat lands, to the sea and beyond.
            “I don’t want to spend my whole life as a candlemaker’s son.”
            I understood, almost, at seven. I’d dreamed too, sometimes, of going far away, to spice-filled lands. But unlike my brother, I supposed, I preferred other things to wandering. The rugs of Aunt Vinita, for example, who sat on the corner and wove strands of color into ecstatic beauty.
            The next morning my brother went away. He didn’t return for three years.
            In those months, those lonely months, I spent time with my Aunt Vinita. She was a beautiful woman, I supposed, or at least had been once.  She had wide dark eyes that always made her look as if she was trapped in mild disbelief and clouds of black hair, graying now, that surrounded her face and made her skin seem paler than it was. I sat on her corner beneath her weaving, watching as the rugs came into being, each one a story of color.
            “These are art, Lila,” She would say, “These are life. Each rug is a piece of life. Each rug takes the colors of a day and weaves them into something to keep.”
            I believed her as she purred to me in her soft voice. As the children passed through the street, children older than me and younger, leaping, playing blind tag and Ahnesi, I was content to sit in the shade of her loom.
I hadn’t realized before how much my brother permeated my life—how, every morning before he left, I would wake to the sound of him strolling past the vats, the scent of his soap, lavender, wafting through the air—I saw in the rugs a piece of him. I wondered where he wandered. In a yellow and green rug I saw him sitting by a desert oasis. In a purple and orange one I saw him in a foreign market. In a black and blue rug I saw him under a wide midnight sky. And slowly Aunt Vinita began to teach me the yarn, the strings, the weaving. It was my exploration. But her hands were always upon mine, and I never did it on my own, because she didn’t trust me with the strings, not yet. I didn’t mind. I didn’t quite trust myself either.
I was still a child, I realized, as I walked sometimes through the streets of town, seeing the men and women in brown and grey sitting on steps and in the shade of canvas tents. They talked about secret things there, about love and parenthood, and I could never get too close to them. They fell silent when I did, or changed the subject. It was a strange revelation. My brother had never truly treated me as a child, and it was strange to realize that I was.
            And when my brother did return, he had changed—oh, he had changed! It had only been three years, but he was a thousand worlds bigger than he had been before, and he, like Maren, carried pans that sounded like bells upon his wide back, and he, like Maren, smelled of something beyond.
            When he rose over the hill, Grace the butcher’s daughter was the first to see him, but I was nearby, and she called me, and I was the second. I ran to him and he swept me up in his arms and I breathed in his new smell. He didn’t smell like lavender anymore.
            That night we sat far above the town, on the cliff face that rose up over it and gave it shadow in the afternoon.
            “What’s it like, beyond?” I asked. He was quiet for a moment.
            “Greater than I ever could have imagined.” He replied.
            “The markets are beautiful?”
            “More than beautiful.”
            “The faraway jungles are tall?”
            “Taller than anything.”
            “And is it lonely?”
            “Yes, yes it is. But it’s the best kind of lonely, Lila. The beautiful kind of lonely. The lonely where you can come home again and see your little sister three years older even though somehow you imagined she would stay just the same.”
            I laughed. “I’ve missed you.” I said. “but I suppose I’ve been the good kind of lonely too.”
            “I’m leaving again in the morning.” He said.
            I didn’t respond to this. We sat in silence for a while longer. Then—
            “Speak to me in Standard,” I said.
            And he did. He spoke to me in Standard. Far into the night. I fell asleep with my head in his lap, his gentle eyes looking down at me, and I learned to love the sound of a language I didn’t understand.
            In the morning he left. There was a beautiful sunrise as he rode away—all salmon pinks and tangerine oranges and sunflower yellows and as he retreated into the light he became nothing more than a dark black silhouette against the sun. I drank in the image of his retreating shadow and vowed never to forget it.
            The next day I weaved for the first time on my own.
            The image of my vanishing brother was bright in my mind.
A rug invited me to put those colors together.