Plot Clinic Intro
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Attached is the first draft of the intro to Holly Lisle’s Create a Plot Clinic. It’s in pdf format because my writing program is apparently inserting characters into the text that crash the weblog text editor. PDF was fast and easy.

All disclaimers apply: This is unedited first draft, and will have typos, spellos, and awkward writing. It is copyright 2007 by me, and all rights are reserved. And it cannot be quoted, republished in any media, or reprinted in any format.

Official notices aside, I think I came pretty close to nailing it, and I think it sets the tone for what will be the rest of the book. I’m interested to hear what you think.

Plot Clinic Intro

Wandering Ways
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I’m almost done with the first draft of The Ruby Key. Due to the fact that I left out a lot of important and exciting things in the middle portion of the story (because I write very, very tight in first draft and almost always have to expand in revision) I’m going to end up wrapping the first draft at around 55K, and then going back and adding in. The story might go a bit longer than that, but my editor, Lisa, assured me that organic writing and running long was okay with her, so long as I didn’t go over 100K. Since I’m pretty sure I can do what I need in 65K, I think I’m good to go on this one.

But that’s not all I’ve been doing. C—The Secret Project is
back in my life. I cannot leave it alone, which tells me that I shouldn’t try. I’ll give you the first two paragraphs; maybe those will tell you why this story is still eating at me after years of playing with it. (Maybe not. If not, then I concede the possibility of insane obsession. Otherwise, I’m holding out for sane obsession.)

Down the red clay road, dirt bone-dry and hard beneath her feet, with dust kicking up behind the heels of her cowboy boots, Kay strode with purpose. Blood on her palms, tears on her face. In her pocket, two wedding rings, a silver pin, an old harmonica. In her right hand, a shovel.

She’d left her purse in the car she’d abandoned a mile back. All her ID was in it: credit cards, driver’s license, birth certificate, a load of things she was leaving behind. This was the last shot, last time, last gasp, last hope. And how much hope was it really, hoping to be reborn but being ready to die, too, if that was the way things went?

I’m slowly putting together the paperback workbook version of Worldbuilding 2: Culture Clinic.

And I’m outlining WB3: Build-A-World Clinic.

Add in homeschooling the kidlet, and I’ve been a shadow of my former self online. But beneath the silence, a lot is going on.

Oh. And the business-related stress that had be tied up in knots for a couple of weeks? Resolved, all good, and there is a reason you want the very best agent you can get—and a reason I am grateful every day to have the best agent there is: You the writer are one lone, insignificant flyspeck in the universe of megacorp publishing—the industry that eats its young—and when you’re making deals with the giants, you want a master duellist negotiating for you.

ADDED LATER: Forgot the Sympathy for the Devil screenplay. Doing that for the film school kid, who’s finished film school, is casting for her second short, and to whom I promised a screenplay. I figure one from one of her favorites of my books would be good. At the moment, I’m notecarding that, which means lots of words but no visible progress.

Friday Snippet: The Ruby Key
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Genna, Dan, Yarri and the cat travel the moonroad the old woman told them to seek.

We had barely caught our breaths than the cat said, “And now Coldfall,” and something in my heart contracted at the sight of the red sparks that spun around him, brightening and tightening until they coalesced into a terrifying spiral.

“I don’t want to,” Yarri whispered. Dan clutched my hand, and I grabbed Yarri’s arm, and I dragged the three of us forward and into that spiral before the road could slide away from us. And before I lost my courage.

Things moved around us as we fell. Creatures, shadows, glowing eyes that stared at us in bodiless pairs. Broken people, twisted animals. Monsters. They slid past us or dropped behind us as we raced by, and some of them opened mouths and screamed without sound, and others reached out to try to grab us, though their hands slid through us as if either they or we were made of nothing but smoke.

And some saw us and laughed, and even though I could no more hear the laughter than the screams, it was somehow worse. It was as if they knew—absolutely knew—what was about to happen to us.

I yearned for wings, or a way off the road. I wished Dan still had Papa’s sword.

I tried to breathe, but my terror clogged my throat. Hands grasping, and eyes staring, and shadows wrapping themselves around the three of us and trying to slip inside, as if they wanted our bodies to wear like coats.

We crashed out of the road, all three of us feeling filthy and ill-used, and the cat landed in a heap on us, hissing and spitting and with his claws out.

“Up, quickly,” he said. “The old woman said this was the way, though I didn’t want to believe her. This way, though, nothing good lies between her and what we seek.” He got to his feet, and stared over my shoulder, and puffed himself to twice his size.

“Run,” he whispered.

We did not look behind us. I could feel something there. Something big. Wet-mouthed. Hungry. I could hear the moist noises of its movement. I got to my feet and bolted after the cat that streaked away from us, and Dan followed me, and I hoped that Yarri followed him. I could not hear her when she ran, so I did not know, and I feared that if I looked behind to check on her, I’d see the thing making those wet, crunching, smacking sounds….and then Dan passed me and Yarri shot past Dan and I was the one at the back.

Friday Snippet … almost
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It’s Saturday. I got the words this week, but I haven’t had time to breathe otherwise.

However, here, belatedly, is the week’s snippet from THE RUBY KEY. (Scholastic, pub. date pending.)

“You’ve already crossed the moonroads,” the cat said to me. He rode on my shoulders. “If you have not walked them in the flesh, you’ve walked them in spirit, and they have marked you. So for you, finding one isn’t going to be hard. You’ve got the road into your blood now, and your blood is on the road. The moonroads and the moonworld will call to you—they’re nasty that way. When you sleep they will try to drag you in soul-first, and when you’re awake, from time to time you’ll see some corner of a moonroad try to slide itself beneath your feet, so that you’ll step onto it all unwary.”

I shivered. “I don’t like the sound of that.”

“You shouldn’t,” the cat told me. “The moonroads want to be walked, but those who can find them are not usually the sort of folk a gentle young girl like you would want anything to do with. The moonroads feed off their passengers, and at the same time feed them. None walk them and remain unchanged. Although,” he said, and dug his claws into my shoulder, making me wince, “I do know a few tricks for taking the worst of their bite out of them.

We were hiking away from the old woman’s tiny cottage and her goat-stinking, dog-stinking yard, and I was beginning to catch promises of scents other than cooked fish and onions and woodfire smoke and animal dung.

“So really,” the cat said, “the problem is not so much finding a moonroad as it is staying off of it when you don’t want to find it.”

Snippet from THE RUBY KEY
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I’m not going to give too much set up here. My young heroes have made a life-or-death deal with the nightling Kai-lord, and have realized he doesn’t intend to keep his end of it. They’ve gone to visit an ancient audiomaerist—a woman who can track people through time and space from the words they’ve spoken.

And the old woman is studying the cut the heroine, Genna, received on her hand from the dream she was dreaming.

I held out my hand.

“Here are the bits of gravel I dug out of it,” Yarri said, and put her little handmade bag on the table.

The old woman ran one gnarled finger along the edges of my cut, and hissed. She undid the little tie on the bag, and touched the grit, and suddenly she wrapped her arms around herself, closed her eyes, and began rocking back and forth, making keening noises. Dan and I both jumped, but Yarri held out her hands, a calming gesture. “Wait,” she mouthed.

“He hunts the three of you, by the roads and also through the second world, the world that the wounded child has entered. He has set the silver women and with her blind hounds on you, and the bard with his harp strung with the hairs of long-dead warriors. When the bard’s harp sings on its own, the warriors come forth, and their eyes see through the worlds and through life and death and time.

“And the one you seek hides from him, and has hidden from him for a long time, bearing many faces and many names, and our enemy has only the one name to follow. You seek a trickster, and perhaps you will find him, and perhaps he will find you. And if he finds you first, you may face danger from all sides.”

She opened her eyes, and stared at my brother and me, and then at Yarri. And then she turned to her cat. “You’ll go with them, of course. They’ll be walking the moonroads, and we cannot think they’ll find their way without your sort of help.”

“I thought you’d want a favor,” the cat said, and I shrieked, and Dan jumped. “I might go with them, even if just for a while. I don’t like the silver huntress or her vile white-eyed hounds, but that old harp and I have crossed paths a time or two before. I might play with it again, just for the fun of it.”

Even Yarri looked shaken. “How did you make him talk?” she asked our host.

The old woman looked disgusted. “I have done nothing with him but feed him at night and listen to his long-winded tales. If you value your sanity, don’t let him tell you about the time he sailed all the seas.”

“I’ll take them along the moonroads,” the cat said. “But you’re the one who will have to tell us which roads we’ll need to follow.”

“Dare I say the name of the one they seek?” she asked the cat. “Though better you than them, better here than later. He can’t see them here. Or me. I always feel better when he can’t see me.”

“I don’t think he concerns himself with cats,” I said, and the cat turned all his attention on me, and looked straight into my eyes, and from his mouth I heard the words, “Neither do I,” while in my mind, just as clearly, his voice said, And you, Dreamer … do you think I’m a cat? Here, kitty, kitty, have some nice fish?”

Snippet: Intro to Holly Lisle’s Create A Culture Clinic
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This is first draft. It was drop back and punt time for me, as I got my head around what, exactly, I’m trying to give you in this book. This is the introduction to the book, where I think I got it.

Why Create Cultures?

Every novel ever written is, was, or eventually will be about cultures.

Really.

There was a science fiction story once in which a man was able to disguise the fact that he was alien by wearing a hat on his head to cover his antennae. All men wore hats almost all the time, so he didn’t stand out. The writer assumed that hats were essential, that men would always wear them. And then the culture changed, and hats went away, and the story now seems broken.

Novels set in the time of the writer frequently assume culture, and hope the reader will share (or at least comprehend) the culture the writer is assuming. These novels are written for the day and the moment; they’ll be unreadable in twenty years. If you want to write for the ages, your writing has to have complete, working subsets of all the cultures you wrote about IN the novel. Every single time. Cultures change. Dickens and Twain are still comprehensible today because they included right in their stories everything you needed to know about how their worlds worked. Their contemporaries are gone because they assumed that their readers would live in a world just like the one they lived in, and would simply understand all the things they left out.

Good novels draw out the cultures as richly as they draw out the characters. Novels set in the present show the present and those cultures working in it, and through the lives and actions of the characters demonstrate how their cultures work for and against them, and how they work for and against their cultures.

Novels set in the historical past show how cultures and lifepaths most of us have forgotten create unique problems and shape the people who inhabit those worlds to deal with those problems. Novels set in the future must extrapolate multiple cultures that contain features our world might someday have, while those novels set in worlds than never can be play with cultures that contain features no culture in our would can ever have.

From romance novels to Christian fiction to chick lit to Stephen King and Dean Koontz, to coming of age and coming of middle age and other literary novels, to Harry Potter and American Psycho, you as the reader are immersed in the details of lives lived within a set of cultural expectations, or lived outside of those same expectations.

When the writing works, we get magnificent fiction that tempts us to look twice at our own lives, to question our own assumptions, to get more out of our existence than we did before. And the writing works when writers understand the cultures about which they’re writing, and are able to look at them and identify the cultural assumptions that exist, and then are able to use those assumptions to shape their characters and their storytelling.

When the writing doesn’t work….well, you get one million 1970′s Harlequin Romances in which a 19-year-old virgin fell love with a thirtysomething power-addled jerk, and was thrilled to be talked down to, dragged around against her will, and taken by force, because she knew that love would change him.

You also get Westerns set in Too Much, Texas, and SF flowering in the belly of a generation ship, and fantasy galloping through Elfhame, and historical romances primping in Regency England, and suspense novels skulking through the dark heart of Paris…in which the cool settings are nothing more than painted paper backdrops, because the characters all came from yesterday’s Wal-Mart, complete with vocabularies, attitudes, and expectations.

You get stories in which characters do incomprehensible things for no discernable reason.

You get novels in which people end up nearly wrecking their lives over a misunderstanding that two four-year-olds could have solved over the phone, because the writer couldn’t see the possibilities for real conflict inherent in his world.

You get crap, in other words.

You don’t need to get crap. You don’t need to read it; far more importantly, you don’t need to write it. Creating and comprehending the workings of living, breathing cultures, whether real or fictitious, will give you enough, deep powerful conflict for a lifetime of writing; will permit your characters to act in ways that are surprising and sometimes shocking, but that make sense for them; will give you more good, strong, compelling story ideas than you know what to do with; and will make your stories, no matter when and where they’re set, feel real.

Better yet, creating cultures is an entirely doable process. It isn’t always straightforward. Once in a while it will drive you batty. Occasionally it may require more of you than you really wanted to give. Mostly, though, it’s incredibly fun, and fascinating, and more often than not you’ll have to stop before you want to, simply because…well, you do have to write sometime.

And the end results for your fiction, no matter what sort of fiction you write, will be worth it.

Some Weird Backgrounding on Project Blue
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Am deep in developing a “written” language for the worldbuilding in Project Blue. I’m having to think way outside the box, because the language is encoded for weavers, knitters, and others who work in fabric, and it’s got to be compact but flexible. So patterns have meanings, and so do colors, and so do textures (think of knit and purl as the ones and zeros of binary). Because it’s a cold-climate culture, I’m at least spared the complexities of lace, though this was not a happy accident. I MADE it a cold-climate culture in order to be spared the complexities of lace. (Call it a cop-out if you like.) I’ve already graphed a series of teusyl (labyrinth) patterns that connect to solid bars at top and bottom, or on the sides, which are designated as summoning or power patterns, and which carry messages in borders, and a series of free-standing aswul patterns (designated request or prayer patterns) that are worked as designs either in colorwork or in texture work, and that can be tucked into the body of a larger piece of work. This language is a huge part of the magic system of the world in which belongs.

As part of that magic system development, I’ve done the meditations in color (training tools for apprentices who are learning the “written” language), and got the limited list of dyes that fit in the language.

Here’s a little snippet of the meditation chunk of the worldbuilding, for the deep-dyed writing geeks among you:

o Yellow—Yellow is the sun in summer, flowers in the fields, wisdom in word and deed, and the search for learning, thought and questioning, pursuit for the sake of pursuit, decision and uncertainty in their turn. Yellow moves through the air, and its seat is in the mind. Yellow brings power, and the power can work to good or to evil.

  • • marigold yellow
  • • burdock yellow
  • • dandelion yellow
  • • willow-leaf yellow
  • • cumin yellow

o Green—Green is spring in new growth and summer in profusion, the fields and the forests, meadows and gardens. Green is the giver of nourishment, the milk of the earth, riches sought and unsought. Green is born of the earth and is fed by water and air, and its seat is in the hands and the feet. Green brings power, and the power can work to good or to evil.

  • • artemesia green
  • • grass green
  • • spinach green
  • • nettle green
  • • lily-of-the-valley-leaf green

o Blue—Blue is the sea and the sky, the wild places where humanity cannot travel unaided, the great mystery. Blue is the serenity of open spaces, the rivers rich with fish, the air bursting with birds. Blue is the curiosity of the unknown, wildness and confusion, storm and gentle rain in their turn, change and change and change again. Blue travels in water and air, and its seat is in the heart. Blue brings power, and the power can work to good or to evil.

  • • grape blue
  • • indigo blue
  • • red-maple-bark blue
  • • cherry-root blue
  • • blueberry blue

If you carefully read the meditation on blue, you might get an inkling of the theme of Project Blue—which has, in fact, a much, much better title, a title I adore—but I’m not telling until I sell the thing.

I have this weird image of chapter headers or separators done as photographs of finished knit work, or maybe knitting (weaving/ cross-stitch) graphs, each which would spell out the name of the chapter or some key element within the chapter (with the name in English in the usual place.)

I’m still working out the degree of power in the magic. I’m pretty sure at this point that well-knit pieces could double as serviceable armor in a battle.

If I Brought Lambs
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The novel LAST GIRL DANCING was born as IF I BROUGHT LAMBS, on 9/1/96, with the following poem that I wrote. I’ve included the whole page, because initially each chapter was supposed to be preceded by a poem from the killer, and, finding it this morning, I thought the header was kind of funny. Along with this poem, I just discovered the synopsis for that previous version of the story.

The core idea so horrified my then-agent that he told me the book could never sell, and the core idea is what finally sold, though through a different agent. Which goes to show that different agents have different opinions of the same things.

Here’s the page:

A Collection of Psycho Poetry for
IF I BROUGHT LAMBS

TITLE POEM

if i brought lambs, lambs
to slaughter, my fairest Carida,
would you feed me
would you make me
sweet stews from the livers,
rich pies from the kidneys

or would you chastise me
Carida, Carida
for killing the tender young lambs?

The poetry didn’t make it to LAST GIRL DANCING. The killer did. So I thought I’d share the poetry, too, as an odd aside.

I’ll note that this is the only Psycho Poem I wrote for the book–the problem with including psycho poetry is that to get it, you have to be your own psycho. Ugh.

Chapter One — Create A Character Clinic
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Chapter One is by far the shortest chapter in Create A Character Clinic. But I decided to post it because I think it gives clear representation of what is to follow, and the style in which it will follow.

I ~ Character & What It Isn’t

My first character —at least the first one I actually remember writing with an eye toward selling the story he was in—was Draegan Dankmire. Feel free to snicker. I do.

I remember two things about poor Draegan, and the other thing was the fact that he had a hat like those worn by the Three Musketeers. Except it was purple.

Draegan was supposed to be a serious character in a serious fantasy novel. He was planned as the hero. He made it thirty pages, more or less, before he turned into a puddle of mush in the middle of the page and I realized the story wasn’t going to work.

Now, not everything about that first failed novel effort was a total loss. The world that Draegan Dankmire inhabited showed up in Hunting the Corrigan’s Blood, as Cadence Drake’s home world. It was, if I say so myself, a damned cool world. But Draegan never made it to the land of published—or even finished—fiction, because a character cannot make it through the world with nothing going for him but an unfortunately memorable name and a pimp hat.

He needs to have character.

Here are all the things that character isn’t. It isn’t a catch phrase said at stressful moments in the story. It isn’t an interesting scar, or a habit of twisting hair around a finger, or a propensity to dress in yellow.

Character in your fictional character is precisely the same thing that it is in you. It’s who you are when no one is looking, and who you are when someone is looking, and how those two people are different, and why.

Do you need to have a story already in mind to use this book? No. If you do, you can use the techniques and points given here to strengthen your work. If you don’t, the act of creating characters will spawn more stories than you could write in a lifetime.

With that in mind, then, onward.