Genre Fiction and Why I Can’t Look at a Piece of Pie

As a writer, I’ve found that I really enjoy experimenting with different themes in fiction. My personal preference is to write in the horror, dark fantasy and science fiction genres because of the freedom and flexibility they provide. The settings I create (or write for) offer me the chance to explore heroic and villainous characters in new and interesting ways. You won’t find me writing a lot of gore or stories about “abuse.” I’m more interested in that little bit of light that resides in all of us — even the characters you least expect to see it in.

As an online marketer, I feel that sociology is part and parcel to what I do every day. From how people are (or aren’t) using specific tools to integrating online networks into your personal life, there’s no doubt that the internet has a profound and significant impact on our lives. I find that my own writing is influenced by popular trends and culture, which is why I tend to explore three-dimensional characters in my fiction rather than plots. Yes, plot is extremely important to my stories, but I prefer to write about the villain that will move mountains for the cute kittens or the hero who doesn’t like eating his peas.

My latest story will be published in just a few months for an anthology called Buried Tales of Pinebox. Dubbed “Pie,” this is a horror short story about a Skinwalker (i.e. an evil creature who skins people to assume their identity for a limited time) who is trying to help the FBI find a murderer in town to save her own skin. Literally. In this horror story, I had specific themes that I wanted to play around with. First and foremost, the main character is a villain, she’s just not “the” villain in this particular plot. Secondly, since Pinebox is a small town in Texas, I wanted to write a story where I ignored the “small town” tropes and focused on using the mundane to add in a horrific element. Even though I only reference it once or twice in the story as part of the subplot, I grossed myself out to the point where I can’t even look at a piece of pie.

What’s next for my writing? I just wrote an article for the Flames Rising horror fanzine about the origin of horror tropes, which is a prelude to writing a monthly column featuring a different strong female character in horror. I’m researching a fight scene for my free urban fantasy novel, but I’ve also got a lot of other things in the pipe including five big events between now and Labor Day. As soon as I get an idea of what panels I’m speaking on, I’ll update you with a schedule.

Who Do You Write For?

As a follow-up to a few conversations I’ve had with other folk this week, I wanted to broach the question of “Who do you write for?” In an ideal world, where money grows on trees and coins spew from an eternal fountain, we would write for ourselves. When money is involved, however, this question gets more complicated because we have to manage our wants and needs with our clients. In my case, I started out solely as a post-modernist writer. Well, what the heck does that mean?

The term Postmodern literature is used to describe certain tendencies in post-World War II literature. It is both a continuation of the experimentation championed by writers of the modernist period (relying heavily, for example, on fragmentation, paradox, questionable narrators, etc.) and a reaction against Enlightenment ideas implicit in Modernist literature.–SOURCE: Wikipedia

Basically, I enjoy playing around with language and format to create and allude to different types of character developments, while not revealing everything about the plot. It’s a classification that others tagged my work with in college, but the experimental part of writing is what drew me to it in the first place.

In addition to that sort of writing, I focused on other more business-focused avenues that other writers often do. Do I enjoy writing a press release? Well, it’s not as enjoyable as writing a song lyric, but it’s not something I hate doing because now I appreciate its function. Still, I’ve moved past the point of writing what I want to write all the time (and being okay with it) because what I want and what words or projects will sell are two, very different things.

It comes back to that old argument put forth years ago about author’s intent. Should I writer write for the audience or what they want to write? My argument used to be that a writer can’t possibly know what that audience is without trying something first. But the problem with that philosophy, is that time and cost have to both factor into your decision whether or not you can afford to experiment. Some clients pay for writer’s works based on what their expectations are of what you’re working on. Others pay for the writer’s expertise, trusting them to put strategy and other elements into their writing to make that project sparkle.

Say that someone hired me to write a romantic short story similar to a Harlequin novel. If I delivered anything other than a Harlequin-esque short story, would the client be happy? Probably not, because my client is modeling their sales and marketing off of their expectations about what that story should be. The same can be true in business, depending upon what any given company’s expectations are. If someone hires me to write a grant, then my finished project should look, smell and read like a grant.

In order to write what I want, I have to find time to have my own project that I can experiment with. This project should cost me next-to-nothing but my own time, and it should be something that I can afford to play around with. This “experiment” for me has been Argentum: Book One of the Violet War Fantasy Series. The project allows me to write what I want to write, experiment with new trends in internet technology, stretch my marketing skills a bit, and forces me to do the thing I hate more than anything else in this world — promote myself.

Of course, the flip side to writing for myself is to find projects that I want to write for. I’ve only started to do this, because in the past I relied on what was available to write for (and get paid for) rather than looking at it from a “fun” perspective. In my opinion, people who rely on freelance writing for full-time income have less freedom to pick and choose what they want to do than people who have a steady stream of income flowing in. One writer’s path may differ from another writer’s, but in the end — I’ve found that asking yourself who you’re writing for, can help put things into perspective for yourself and your longer-term goals.

When was the last time you asked yourself who you are writing for? What do you want to write versus what are you getting paid to?

Writing with Gender Treatment in Mind

In today’s world, headlines are splattered with same sex marriages, celebrity “bumps” (a slang term used to describe a pregnant woman’s stomach), and women deemed to be “fat” because they gained a few pounds. Whether you’re a writer in the entertainment industry or a columnist for your local newspaper, gender treatment is one of the biggest issues facing our work today, because the boundaries and descriptions of gender have changed.

I often laugh at old fifties advertisements showing a submissive wife waiting hand-and-foot on her husband. If you’re writing fiction or a story about that particular time period, however, those gender roles were part-and-parcel to what the society is about—much like “hippies” were part of the 60s, “disco” defines the 70s, and “over-consumption” spelled out the 80s.

Unconsciously, we deal with gender treatment all the time in today’s society; when we see a female action hero and comment on her costume, when we read about bisexual, gay or cross-gender relationships in the news, when we form opinions about gender treatment based on what’s happening in another country.

In writing, our own ideas and conceptions about gender treatment may color our projects and speak to our values. This isn’t a “good” or a “bad” thing, but it does have consequences that may range from alienating sections of a market to offending a particular group. Some of these reactions are unavoidable, but they are a result of how we approach gender even before we write words on a page.
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Writing Notes for Tales of the Seven Dogs Novella

I’m happy to report that Flames Rising featured a preview of Tales of the Seven Dogs Society, my soon-to-be-released novella that I’ll be selling in less than two weeks at GenCon: Indy.

In 1969, Jericho Usher disappeared without a trace, never explaining the otherworldly nature of the annex. Jericho Usher spent his lifetime investigating anomalous phenomena, and it was his intention that others take up his work once he was gone. To facilitate this, Jericho left behind very detailed instructions for assembling a society of investigators. Terrance honored his friend’s intent, overseeing the creation of the Seven Dogs Society, recruiting those who fit the exacting instructions left behind by Jericho Usher.

You may remember that I had written a series of posts about writing game fiction; this post focuses on a behind-the-scenes look at my novella.

Design Notes

One of the advantages to writing fiction for the Aletheia setting, is that I had written for the game. Since I was already familiar with the role of the characters, it was a lot easier to imagine what kind of a story I was going to write. Instead of writing an action/adventure tale, I chose to write a story that alluded to the game’s metaplot.
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Don’t be Afraid to Write like Crap

One morning, Little Miss Writer wakes up like she normally does. She gets out of bed, stretches her fingers, and gulps down a cup of coffee. After she’s had the chance to wake up, she sits down at her computer, and starts typing away on her assignment. All of a sudden, tiny microbes of self-doubt enter her bloodstream, carrying with them a slew of racing thoughts that range from “My career is over” to “I suck as a writer.” The strange part is, she can’t pinpoint anything different that happened that day, but she believes that something did.

When self-doubt enters a writer’s mind, we start to make assumptions about our market based on what we “think” will sell, stunting our creativity at times to fit a square peg into a round hole instead of branching out into uncharted territory. Truly, the only way to learn from your mistakes is to first make them, but if you’re afraid of making them then your writing suffers.

Personally, I suck at poetry. In fact, I would classify myself to be a rather crappy poet. I often write poetry, though, not to publish it but to experiment with the words and play around with how they sound.

What forms of writing are you uncomfortable with? When was the last time you wrote in that vein? While every writer is different, I feel that identifying and exploring your weaknesses are just as important as writing what you are good at. Sure, you may not be the best at writing children’s books or romantic short stories, but who cares? When was the last time you wrote just for yourself? If you haven’t done it lately, it can be a very freeing experience because you can set your own terms and play around with your words for fun.

On another note, I know there are different contests on the subject of writing a paragraph like crap or the crappiest one-liner but seriously? If you have to try to write like crap, you’re probably not writing like crap. Somehow you’ve adapted your writing style to a standard and—if you win—you were “the best” in that form.

In a world where words matter (both spoken and written), don’t we owe it to ourselves to write like crap? Sure, there’s a lot of crap already out there, but I’m not talking about publishing, I’m talking about delving into uncharted territory to exercise your mad skillz. Whether or not you show your crappy writing to anyone else is one thing, but for Shakespeare’s sake have fun with it. After all, if you don’t laugh at yourself and lighten up from time to time–who else is going to help kill those “self-doubt” microbes running around in your writer’s blood?

Happy writing! (Like crap! Er…)

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