Rosemary Keegan Aesthetics

Rosemary Aesthetic.png

After seeing so many awesome character aesthetic boards, tried my hand at one for Sonata Apostle‘s narrator, Rosemary Keegan. Come November, I’m going to be living in her head.

Credits: (x, x, x, x, x, x, x, x)


My Noveling Magna Cartas

So in NaNoWriMo founder Chris Baty’s No Plot, No Problem!, he brings up an exercise in which you make two lists. The first consists of what you believe makes a good novel. The second is what bores and depresses you about a novel. I usually remake mine every October, but I figured I would post this year’s magna cartas.

Magna Carta I, Good Novel

  • Ambiguity between the perceptions of the narrator and the reader. I kick myself regularly for allowing another’s opinion on first-person perspective to influence how I write. I’ve only started experimenting with first person for the first time in years and this has been my favorite aspect of it. If the reader is unquestionably following the narrator’s perception and opinions on events and others, you can really have fun with setting up twists and character growth. There’s also that whole “narrator is innately sympathetic due to intimacy with the reader” part that also is prime for toying with. Basically, I’ve fallen in love with the first-person perspective and wish I had done it sooner.
  • Diverse characters. Not everyone is white, middle-class, twenty-something, straight, cis-gendered, neurotypical. In fact, that character is a distinct minority. I admit, I struggle with racial and spiritual diversity (most of my characters end up agnostic or atheist), but the learning journey is innately worthwhile and I seek to improve all elements of this to better reflect the diversity of the world.
  • Complicated relationships. Nothing is simple and straightforward. Characters love each other with great caveats. Enemies find common ground and argue with themselves over why they hate each other. Families that love each other but are haunted by pain they caused each other in the past. Give me relationships rife with potential conflicts, giving way to…
  • Character centered plots. Basically, the complicated relationships and conflicts between characters, as well as a character’s personal motivation and wants, drive the plot. Often, this means the plot is a bit floaty and indistinct, especially at the beginning, but when the dominoes fall, it’s the characters that pushed them.
  • White-haired guys chucking wrenches into the plot. Bonus points if they have an intense and complicated relationship with the narrator. Anime and video games have given me an unfortunate preference for the hair color. Funny enough, my Nano 16 project has a complete lack-of white-haired guys. This year’s wrench tosser has black hair.
  • Modern settings with touches of Something Different. I like slight tweaks to the nature of reality, especially if the narrator perceives the Something Different as completely mundane. A seemingly contemporary United States is plagued by prolific cults both doomsday and saccharine. Magical realism with a very light touch, basically.
  • Description. Lots of it. Give me your poetic turns of phrase, your purple prose, your long strings of alliteration that would make an English professor swoon. As long as it builds the setting, characters, mood, and tone (and isn’t meaningless) I will adore it.

Magna Carta II, Not a Fan Of

  • Historical settings that go out of the way to show off the author’s research. I could never write a historical piece due to the sheer amount of research, but I will read it. However, if the author goes off on nowhere tangents that serve only as a more wordy Works Cited page, I’ll fall asleep.
  • True love and its associated tropes. Unambiguous love at first sight. Sex and/or marriage being the endgame for the relationship, whereupon its achievement means the relationship is Perfect and all conflict between them falls away. In truth, I loathe romance being depicted as supernatural, transcendent, mythical, pedestals being erected under every person involved. When love is depicted like that, it seems unattainable. Give me your casual love stories where two equals come together. Give me your conflicts, even with establishing the couple has lots of sex (and that fact is treated as natural, even casual).
  • Needless description. I like seeing what a character wears…The first two, maybe three, times. It establishes their style (or lack thereof) and gives indications as to social and economic status. But if every day opens up with describing every article of clothing your character tosses on…Or there’s a bunch of description for settings that are irrelevant…I start to lose track and doubt what’s important to remember. And that’s when I start skimming.
  • I am x because I am x. X being good, evil, right, wrong…Whatever the dichotomy may be. No one goes out deciding they will be evil. All behaviors exhibited by a person are for a reason; even if that reason does not make sense to anyone but that person, there still is purpose behind it. Give me your villains who break down others and sway them to their cause, benevolent or otherwise, for that sake.
  • Symbolism for the sake of showing off. I’m blaming Nathaniel Hawthorne and the way his works are taught for this one. This isn’t the pinnacle of writing, but an option. If the symbolism you include ties into the overall mood and plot, great. If every little thing MEANS SOMETHING MORE, then all the little things are functionally meaningless in their sheer proliferation. And it drowns out the symbols you do want the reader to notice.
  • Trauma as shorthand for drama. This is my biggest problem with Margaret Atwood’s Madd Addam series and why I stopped reading after the second book. If you’re going to include graphic depictions of trauma, at least don’t brush it off and have the character act like it didn’t happen. Just a one-off description of something awful and then dropping it…It’s the literary equivalent of a jump scare and is just as gross. Note that I am not against trauma and characters inflicting it or suffering from it. If you are going to include something that is a horrific experience, do something with that character’s trajectory and influence on the plot as a result. For an example of this executed well, see Laurie Halse Anderson’s Speak or Stephen Chbosky’s Perks of Being a Wallflower.
  • Stories about men and the younger women they want to sleep with. The market is saturated with this and, frankly, they were boring me back in college. You are allowed to break the “write what you know” rule, especially if you back that up with research.

Curious to see other people’s magna cartas!

First Day in the Trenches and My Desk is Covered in Sticky Notes

In case if it wasn’t readily apparent, prequel week turned into “four bits of varying quality” until I won the gold prize for feeling both sick and realizing that, if these pre-story events could be easily summed up in a sentence, trying to stretch them into a three-four page one-off that doesn’t completely suck is an incredible challenge. In fact, I can pretty much tell the stories that were missing Wednesday, Thursday, and Friday. Hold onto your butts because these were major doozies.

Wednesday: Rilke, with Ava’s support, challenged Uriel for the Emperor job. Rilke won. The denizens of the Court of the Moon barely reacted because they are pretty much a bunch of blank-faced apathetic jerkoffs with unspecified magic and awesome clothes. Seriously, that drabble was all about talking about how awesome the Court of the Moon dresses. I want black dresses with shifting rune symbols on them.

Thursday: Queen Artemis of the Court of Summer and Helena, High Druid of the Triune, bum out on some ramparts at Summerdawn Keep. They’re observing a patch of the Wald shifting about while also talking about Princess Lorraine and Lysander, Helena’s student. The Great Eclipse happens. We know from the letters on previous days that Queen Artemis is going to die during this, so this bit had all the narrative tension of cottage cheese. Next.

Friday: Lysander is running around the Dawn’s Rest while Wald rips it apart because, spoilers, the Great Eclipse made the Wald and Wastes extra pervasive and extra nasty. He finds Princess Lorraine, they spat out a bit, ends on a hang with them trying to evacuate the Dawn’s Rest while also getting their asses kicked. Of course, a previous day revealed that Lorraine survived the Great Eclipse. Not much of a cliffhanger when someone can just scroll back and go “Oh, yeah, she survived because she’s getting letters from Natanael.”

Basically I was unhappy with Monday and Tuesday’s entries, especially compared to Saturday and Sunday, because I was trying to stretch out little sentence summaries into actual stories. If there’s anything the spectators of the Internet can learn from my past week of flailing, it’s that trying to put a lot of extra wheels on a unicycle, especially if you want to keep it a unicycle, doesn’t really work.

On the plus side, Shadows in Summer is turning out to be a delightful romp and I’m sure I won’t keep to that thought past the end of this week. National Novel Writing Month is really just my self-loathing writing process in full-out overdrive where there are days where I can kick out thousands of words and they’re all as awesome as brownie lava cakes, and then there are the days where I stare at the screen while my eyes roll upward and I go, “Holy fuck this is really awful” and I find someplace to curl up and hide from Microsoft Word lest it decide that I really need to pay for the transgression of being awful by making my computer explode.

But I’m finding, in the craziness of these first dozen or so hours, that post-it notes are beautiful and miraculous things. Seriously, due to the amount of beloved relatives who decided to have birthdays on the first day of November, I have spent more time dotting out little snippets of dialogue (either overheard or happening in my own head) and little ideas to be tossed into the storm of nonsense as I work.

So I guess my newfound NaNoWriMo knowledge is to invest in a butt-ton of sticky notes. No joke, there’s a pad by my computer, a pad by my bed, a pad in the car, and a pad in the purse. The desk is all ready more pale-yellow than oak now.

Anyway, best of luck to all the other crazies out there and…I might get back to posting daily, now that I’m feeling less sick and less hatey towards stuff that I don’t have to force myself to write.


Prequel Week

I’ve been super excited for this year’s NaNoWriMo, in case if that wasn’t evident in the week of worldbuilding and the little bits of the idea taking form. Given this is the week leading up to the first of November, I decided to take my ridiculous file of notes and images and start writing. Not the Shadows in Summer story itself, but of the events that lead to it. In essence, seven days of prequel freewriting.

I’m also giving myself the rule that I am not going to edit them at this time. I will sit down with the little bit of information and just write like the wind, like, you know, you’re supposed to be doing in November. The impulse to go back and edit is a powerful one for me and, in much of daily life, I’m encouraged to do so. So it’s getting the same treatment as the entries.

As such, they probably won’t be the best writing to ever drip from my fingers. But damn it, if I am not excited for this.

So excuse the mess, and excuse the meaningful entries until about, oh, December. I have not been as excited for NaNoWriMo since my first year in 2005 and it is showing.

Writing 101: Cosmology Concealed as Free Writing


(Really rough free-writing of one character from the potential NaNoWriMo2014 story while he muses on the nature of the world, all while thinly-veiled as world-building and putting some ideas to paper to see if they survive the transition from brainspace to reality.)

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Literary Growth Over Eight Years

For all the literary self-loathing, sometimes it’s nice to look back at what you’ve once written to see how far you’ve come, especially when you line it up with something more recent.  I’m sure the effect is similar to that artists have when they redraw a piece of work they did years ago, to see that growth really pop out.  In settling into my NaNoWriMo account, I had to look at my unedited schlock from 2005 next to that from 2013.  Just for kicks, I’m including the first page of each just to demonstrate the side-by-side effect.

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