The Young Podawans Ep. 46 – 2017 Reading Challenge Update

If you’re looking for a fun and informative geeky podcast, head on over to the Young Podawans and check out fellow Spellbound Scribes, Kristin and Brian’s, podcast.

The Young Podawans

Luke vs Vader

Harry vs Voldemort

Batman vs Joker

The Young Podawans vs Their “To Be Read” Piles.

All legendary challenges, but we’re only talking about one of them this week. It’s an update on the unending battle against our teetering book towers and the challenge Kristin laid down at the beginning of the year!  It’s all books all the time in this brand new episode!

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Research for historical romances

This week Scribe Brian O’Conor let us know that he’d have to leave us. I’m bummed because I’ll miss his posts, and wish him the very best in the future! This post first appeared Monday on Dale Cameron Lowry’s blog…though I might have tweaked a word or two, since I’m never ever done editing….

This last couple weeks, I’ve been busy celebrating the release of my 1950s m/m romance Aqua Follies. Since the past is on my mind, I wanted to share some of what I’ve learned about research for a historical romance.

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There are probably as many ways to do handle research as there are writers out there doing it. My two most recent releases were set in the middle of the 20th century, long enough ago to qualify as ‘historical’, but not so distant from contemporary times. With both these projects, I approached the research as a series of layers, and I did my best to balance information and story.

First, I tried to place my stories as specifically as possible in time, to figure out where they fit in the big picture. For example, Aqua Follies takes place in late July until October of 1955. With those dates in mind, I framed the story with current events. WWII had ended ten years before, but the Korean War ended in July ‘53 so it made sense for the characters’ life experiences to be influenced by those conflicts.

In the mid-50’s Senator McCarthy was in power, and there were several incidents of gay men being rounded up and arrested or sent to asylums. At the same time the Mattachine Society – an early gay rights group – was spreading, and same-sex establishments were in operation in Seattle, their patrons’ safety reliant on a system of police corruption. Those were the kinds of real events that became the framework I crafted the story around.

Once I get the dates plotted out – the top layer – I look for information about what life was like in the time-period. Google is a gold mine for this kind of research. Pretty much the only limit for what you can find is your tolerance for digging. For Aqua Follies, I was able to find everything from essays on cultural attitudes towards homosexuals to the daily weather report, all of which helped me create the world where the story takes place.

It’s the details that will make the world ring true. My final layer of research is seeking out first person accounts that describe aspects of the story. One of the huge benefits of writing a story set in the ‘50s is that I could talk to people who been alive then.

My friend’s father-in-law, Overton Berry, played jazz in Seattle from the early ‘50s, and he was a huge help in filling in the good bits. Overton talked about how professional musicians operated, what the standard repertoire might include, and he also gave me a feel for what society’s attitude toward musicians might be. If I was working on an earlier piece, I’d look for diaries, old catalogues, and magazines to help with the fine detail. I will never truly know what it was like to live in 1950s Seattle, but I learned as much as I could to make readers believe I was there.

And what happens with all this research? Like ol’ Ben Franklin says, “Do everything in moderation, including moderation.”

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A good story will incorporate historically accurate facts without beating the reader over the head with them. This example might be kind of a cliché, but you don’t need a paragraph on how the Colt 45 was manufactured in the middle of a fight scene, and you don’t want a dissertation on a Victorian woman’s undergarments in the middle of sexytimes. Research should inform the story, not become the story.

In my work, I find the process has a real give and take; I write until I hit a detail I need to research, then dig around enough to feel comfortable writing more. In addition, research has helped me solve story problems. For Aqua Follies, I needed something dramatic that would keep my two heroes from coming together. A small story in the Seattle Times digital archives described how one of the real Aqua Follies synchronized swimmers mistimed a dive and nearly drowned. That two-paragraph article became a key event in the novel, and was definitely not something I would have come up with on my own.

Even with the best intentions, though, it’s possible to throw in an anachronistic detail. Despite something like eight beta readers and two content editors, it was the proofreader who recognized that Buddy Holly was still in high school in 1955, so couldn’t have had a song on Skip’s car radio. If there are other little slip-ups and a reader calls me on them, my best bet is to smile, apologize, and add them to my notes so I won’t screw up the sequel.

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I recently read a historical romance that I described as “the Glee version of a Regency”. The author had most of the details down, but there were enough little bumps either in characters’ attitudes or the language they used that I didn’t quite believe that version of the time period. The book sold very well, so clearly not every reader is going to throw their Kindle at the wall if a subordinate forgets to address a duke as Your Grace. Good storytelling is worth the effort, though, and I love the process of excavating the layers of history and finding a balanced way of bringing them to life.

If you’d like more information on writing historical romance, check out these articles by Elizabeth Crook, Chuck Sambuchino for Writer’s Digest, Anne M. Marble for Writing World, and KJ Charles. Thanks very much!

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The 1950s. Postwar exuberance. Conformity. Rock and roll.

Homophobia.

Russell tells himself he’ll marry Susie because it’s the right thing to do. His summer job coaching her water ballet team will give him plenty of opportunity to give her a ring. But on the team’s trip to the annual Aqua Follies, the joyful glide of a trumpet player’s solo hits Russell like a torpedo, blowing apart his carefully constructed plans.

From the orchestra pit, Skip watches Poseidon’s younger brother stalk along the pool deck. It never hurts to smile at a man, because sometimes good things can come of it. Once the last note has been played, Skip gives it a shot.

The tenuous connection forged by a simple smile leads to events that dismantle both their lives. Has the damage been done, or can they pick up the pieces together?

 

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On the Importance of Ritual

The other day a reader asked me if I ever wrote in long hand, much like Neil Gaiman is known to do. I do not–never. I hate the idea of writing something by hand knowing I’ll just have to type it again later, creating twice the work for me. But, I conceded, I do hand write my outlines, always. I tried to type one once because I always end up adding asides and run out of space on my papers, and I thought it would be nice to be able to just add in a line when I needed to but there was no magic in a typed outline.

So, always type a story, always hand write the outline.

Funny, right?

But it got me thinking about the rituals of writing. Any art, really, but writing is my magic, so that’s what I’m focusing on now.

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Any professional artist will tell you that you can’t wait for the Muses to speak to you, otherwise you’ll (almost) never get any work done. You have to make your Muses speak on days you just don’t feel like it. On days where you only have an hour, or less, to get the words done. You have to force the magic to make the art.

And there are ways to do this. There are ingredients to every spell and if you manage to figure them out, you can create the magic potion to get the art done even under the worst situations. A few years ago, I was stuck at jury duty for the full 8 hours. I got so much writing done that day, it must’ve been a record, all because I have my ritual to make the magic.

First, I outline. Now, if you’re a pantser, this part doesn’t apply to you. But for me, I allow myself at least a week to complete an outline before I ever start a new manuscript. You’ll have to figure out how detailed or loose your outline needs to be, that in of itself is its own magic spell. If too loose you leave yourself sitting at the keys, trying to figure out how to get from point D to point M. Too detailed you might feel like you’ve already written the story and lose your excitement to actually write it.

Secondly, if this is the start of a brand new book, not part of a series, I allow myself a day to start to curate a soundtrack for the book/main character. I know, this seems like one of those “I’m an artiste! I need my special music to write!” kinda things, but it’s not. For many, both reading and writing a book plays out like a movie in our heads and what is a movie without a soundtrack? You need the creepy notes that warn you the monster is coming. You need the pounding base to choreograph a fight and get your heart moving. You need the sweet strings of a romantic moment. But, I think, most importantly, it gives you the feel of the book or main character. This, for me, is what helps me get into the right headspace for a book, no matter where I am or what mood I am in. And with each book in a series, I add more and more songs to the list until it’s hours and hours long.

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I also have a few universal playlists to help me with certain types of scenes. If I’m in the middle of fights or battles, I have strong lyric-less soundtracks from movies or video games to help me. If I’m trying to get into the head of a strong, angry female, I have a playlist of what I call “angry power” songs, only sung by strong female vocals.

You could be trapped in the middle seat of coach, on a full flight, but you put your headphones on and turn on the soundtrack of your book, and bam! Watch the words flow. I won NaNo last year in that exact situation because I had my music.

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This also helps if you’re working on more than one project at a time. For example, I’m working on a witch book in my Matilda Kavanagh series and I’m working on a piece of flash fiction that is a spin off from my post-apocalyptic Ash & Ruin series. Neither MC is the same and both worlds are totally different. So, they have their own soundtracks to help me switch my brain depending on which one I want to write in.

Third, I always have something to drink. Usually it’s coffee, but sometimes just water. It’s a small thing, but it’s important. It adds to the level of comfort as you stare into that bright screen and create indents on your wrists as you pound away.

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There are other things, like I try to write in the mornings, but if I miss that window, I don’t skip on writing unless it’s One Of Those Days. It’s always easy to make excuses to get out of writing, but unless you’re under a contractual deadline, you’re just letting yourself down by putting it off or treating it like a chore. I mean, some days, it does feel like a chore but when it’s done, damn that’s a good feeling.

Figuring out your rituals to help you get shit done is important. It’s not being a fussy artiste, it’s creating magic. Allow yourself the special combo of ingredients that will allow you to create art no matter what the situation. Make no excuses for doing what you need to get it done and give yourself no excuses to avoid it.
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Speaking of… I have some words that need writing before dinner.

Aqua Follies! $0.99 Preorder till 6/15/17

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This has definitely been a process, but Aqua Follies will soon be making its way out into the world. What started as a fun idea turned into a project I’m quite passionate about, and I hope readers will enjoy it, too. This post is short (because I’m blogging E-V-E-R-Y W-H-E-R-E this week and next) but I do hope you’ll check out the blurb and excerpt, and maybe grab a copy while it’s still only $0.99. Thanks!!

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The 1950s.

Postwar exuberance. Conformity. Rock and roll.

Homophobia.

Russell tells himself he’ll marry Susie because it’s the right thing to do. His summer job coaching her water ballet team will give him plenty of opportunity to give her a ring. But on the team’s trip to the annual Aqua Follies, the joyful glide of a trumpet player’s solo hits Russell like a torpedo, blowing apart his carefully constructed plans.

From the orchestra pit, Skip watches Poseidon’s younger brother stalk along the pool deck. It never hurts to smile at a man, because good things might happen. Once the last note has been played, Skip gives it a shot.

The tenuous connection forged by a simple smile leads to events that dismantle both their lives. Has the damage been done, or can they pick up the pieces together?

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$0.99 PREORDER PRICE

FROM 6/8/17 – 6/15/17

Amazon  –   Barnes and Noble   –   Kobo   –   iBooks   
More Stores

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When Skip had crossed the line into blatant flirting, Russell blushed like a girl. Skip liked the charge that came with pushing the pedal down, and—despite Lou’s opinions—he had enough self-preservation to know when to cut the gas.

Skip followed Russell to a shadowy area in the back of the parking lot, and once they were out of sight of anyone in the club, Russell brought out the flask and handed it over. Skip took a hit, the whiskey’s smoky burn warming his chest on the way down. “I got another question for you.”

Russell took the flask and raised an eyebrow.

“How come you don’t dance?” Skip was mainly curious, but the words carried more heat than he’d intended.

Russell snorted, crossing his arms over his chest in a way that made his biceps bulge. “I just don’t.”

“Maybe you need someone to teach you.” Lou would sure scold him for this one. “Maybe you just need the right person.”

Russell’s fists clenched, and for half a second, Skip thought he might haul off and punch him. Heck, he probably deserved it. Then Russell choked out a laugh. “The right person. Sure.”

“I mean…” Since he hadn’t been served a knuckle sandwich, Skip struck a pose, hip cocked, hands in the air like they were on a partner’s shoulders. “I can do the cha-cha.” He swung his hips, fighting a laugh at Russell’s perplexed expression. “Or the swing.” He mimed a four-step pattern, then swung his hips again for good measure. Russell appeared transfixed by the motion.

A shout of laughter distracted them. A group of people spilled out the nightclub’s door, a woman’s voice rising over the hubbub. “Where are we going again?”

Russell shifted in their direction, hands on his hips. “Annette?” he said softly.

“Wait. I want to go back in and hear the band.” To Skip’s ear, the woman wasn’t laughing nearly as hard as the bunch of guys she was with.

“Come on, sugar. It’s just out here,” one of the men said. Skip didn’t like the way he laughed.

“No.”

This time there was no mistaking the distress in her voice. Russell took off running, with Skip right behind. He detoured to the door of the club, where he ran into Ryker and Susie. They were laughing, his arm around her shoulder.

“Come on, you guys,” Skip said. “It sounds like your friend Annette’s in some trouble.”

By the time they got to the other end of the parking lot, Russell was chest to chest with a drunken college boy, the kind with pale skin, a buzz cut, and a mean attitude. Skip looked around for anything he could use as a weapon if it came to a fight. There were two other fellows backing the one in front of Russell, and Annette huddled against a car, tears streaking her cheeks.

“So you’re going to take on all three of us? All by your lonesome?” The boy stuck his finger in Russell’s chest. Russell grabbed his wrist and leaned into him. The college boy was taller, but Russell was broader and bulkier.

“If I have to.”

Under different circumstances, the rock-solid certainty in Russell’s tone would have given Skip a hard-on. Saving that thought for later, he grabbed a thick branch lying between the cars.

“One against three.” Another of the college boys snickered.

Skip stepped forward, holding the branch loosely. “Looks like three against three to me.” Ryker followed his lead.

One of the arrogant fools came right up to Ryker. “Two and a half against three, I’d say.”

With a click, Ryker opened a switchblade. “Funny how this extends my reach.”

Swinging the branch, Skip took a step forward. The college boys all shifted back, even the one facing off with Russell. Skip might be slender and a little light in his boots, but anyone who grew up in Pioneer Square knew how to fight. He and Ryker moved into position on either side of Russell, and the college boys backed off.

“We were just playing anyway.” One of them laughed like it was all a joke.

“Didn’t sound like that to me,” Russell said. “I think you should apologize to my cousin.”

“Your cousin’s a slut.”

Skip wasn’t sure which one said it, but before anyone could respond, Russell took three big steps forward and put his fist into the middle guy’s belly. The boy dropped to his knees, and Russell stood over him. “Anyone else?”

The other two beat feet, which didn’t surprise Skip. These candy-ass college boys were all show and no go. Susie ran up to Annette, with Russell right behind her. “I’m going to get the car,” Skip said to Ryker. “We gotta cut out.”

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a Rafflecopter giveaway

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Sixteen performers and tunes mentioned in Aqua Follies…

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I write romance: m/f, m/m, and v/h, where the h is for human and the v is for vampire … or sometimes demon … I lean more towards funny than angst. When I’m not writing I take care of tiny premature babies or teenagers, depending on whether I’m at home or at work. My husband is a soul of patience, my dog’s cuteness is legendary, and we share the homestead with three ferrets. Who steal things. Because they’re brats.

I can be found on-line at all hours of the day and night at my website (www.livrancourt.com) & blog (www.liv-rancourt.blogspot.com), on Facebook (www.facebook.com/liv.rancourt), or on Twitter (www.twitter.com/LivRancourt). For sneak peeks and previews and other assorted freebies, go HERE to sign up for my mailing list.

Come find me. We’ll have fun!

7 Deadly Sins of SFF World-Building

Writing science fiction and fantasy is fun, and in my opinion, world-building is the bestest most funnest part. Whether you’re writing urban, historical, or alt-world fantasy, or a science fiction set in a galaxy far far away, world-building is a crucial part of the story-telling process. The world (or universe!) you create must be complex and multi-layered; it must be a place your characters operate in and interact with; and it must set the stage for your plot. It’s no easy task, and there are countless pitfalls at every stage of the process of creating a world.

Read to jump in? Here are my top cliches and tropes to avoid, listed in no particular order.

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Basing your other world TOO much on Earth

This is one of the biggest and easiest traps to fall into. Earth’s history and many cultures are far-reaching and complex, and it can be tempting to borrow elements whole-sale without bothering to do much work creatively. Think of how many famous fantasy worlds resemble Medieval-era Earth completely, right on down to the rampant sexism and casual racism (*cough* Westeros *cough*). There’s nothing wrong with using our world’s history and cultures to inspire your made-up world, but make sure it doesn’t become a lazy short-cut. If there’s sexism or lack of diversity in your world, you need a better reason than “that’s how things were back then.” You’re writing fantasy, not historical fiction. Get creative!

Over-use of common nouns

You know what I’m talking about…

The Keeper of the Shadow Throne awaits the Birth of the Kindred.

A Rim-born Elder must name the Crystal Celebrant on the Day of Undoing.

Don’t get me wrong–naming things is half the fun of writing fantasy and science fiction. And capitalizing a regular old word or concept can definitely lend it a sort of otherworldly gravitas. Just be careful not to over-use this trope, or your world will quickly begin to feel lazy and unoriginal.

perfect_planet-626x1024Making your races/cultures/societies too homogenous

So the indigo-skinned Topworlders enslaved the ruby-eyed Burrow Folk a hundred years ago, and now they hate each other with a vengeance. That’s fine, but does every Topworlder relish owning a Burrow slave? And do all Burrow Folk agree with the politics of the Burrow Queen who surrendered to the Topworlders’ superior technology instead of fighting for their land?

Here’s where taking cues from humanity is a good thing. I could strike up a conversation with the person sitting beside me on the bus and within ten minutes we’d be able to think of at least a few things we disagreed on–politics, religion, whether cilantro tastes like soap. Races, cultures, even sub-cultures don’t have monolithic beliefs that trump individuality. Make sure the individuals in your alien races or fantasy societies reflect this diversity.

Introducing a world-changing technology/magic without taking into account all its ramifications

“It’s like our world, but everyone can teleport!”

Yikes. The minute you start talking about wide-spread teleportation, it ceases to be anything like our world. How could it be? Something as potentially life-changing as that would have first-order, second-order, and third-order effects on the way a world was structured and the way its citizens operated within it. Do your world the service of thinking through massive changes in technology or magical power, and what kind of structural changes might arise from that.

Language that doesn’t reflect the world

Contextual short-hands and idioms are rife in the English language (or whatever language you’re writing in!) and they can really trip you up if you’re not careful. This is something I’m constantly correcting in my own worlds–if a concept or idea doesn’t exist in the world you’re creating, why would the character make any kind of reference to it? Good examples of this might be “inching along” if the unit of measurement isn’t inches, or “red as a rose” when there aren’t roses in space.

paperback04Not thinking about minutiae

Do you ever have that moment when you’re watching an intense adventure movie and you think to yourself “Good thing none of them have had to poop this whole time.”?

Worlds, at their core, are pretty boring. Your character may be battling the Dark Overlord of Doom, but the rest of the world isn’t. There’s waste removal and food service and communication infrastructure and architecture and the menial jobs that hold a society together. While your novel doesn’t have to focus inordinately on these things, it helps if you as an author have a basic understanding of how these processes work in your world, so there’s a seamless backdrop for the story to play out against.

Unless you’ve created a magical and majestic world were people literally just don’t poop.

Basing one-dimensional fictional ethnic groups on real-life ethnic groups

Okay, this is basically a continuation of the very first point, but it’s kind of a biggie. Rule of thumb, if you want to have Italians (or Native Americans, or the Irish, or Nigerians) in your fantasy or science fiction novel, you’re going to have to do your utmost to create an accurate and nuanced view of Italian culture. What you cannot do–please please don’t–is name them Etolians and have them running around shouting “Mamma Mia!” while they stuff their faces with spaghetti.

Any cultural or ethnic group within your novel should have multiple dimensions and a believable culture regardless of whether your main character comes from this culture or sees it as “other.” And this is where it gets tricky–the more your fictional group resembles the real-world group, the more you’re going to have to worry about being respectful and true to life. This becomes especially true when dealing with marginalized groups, but should really be implemented across the board. When in doubt, find a sensitivity reader, but that should be your back-up plan. Do your homework, and make sure you’re not basing a fictional ethnic group on a real-world ethnic group just because it’s easy.

Well, that’s world-building in a very large nutshell. Any questions? At the end of the day, creating a made-up world as complex, multi-faceted, and often nonsensical as our own world isn’t something that happens overnight. Take your time, be creative, and don’t rely on short-hand to make your point.

What are your favorite/least favorite SFF world-building tropes? Leave your thoughts in the comments below!