What to Do About Flashbacks

Greetings from Shiny New Story Land! Where I should definitely not be residing. Where the story is so shiny and so new that the characters don't even have names yet! But they have made out a few times! (Priorities!) But seriously, it kind of feels like being a fugitive on the run. I'm currently hiding from the You-Should-Be-Editing-Your-Novel-Squad and the Federal Bureau of Anthology Blogging and Marketing. I'll have to assume a new identity.

The good news is that I'm actually using Scrivener for this book and trying to plan it out before I really get into writing it. But of course, this story is already complicated and I'm trying to figure out how exactly I should write it. The dual POVs may be tricky at first since I've never actually written that way, but I think once I get the voices down it should go more smoothly. So what I really haven't figured out are the flashbacks.

I'm not sure I've ever written an actual flashback. I've had characters quickly reference things that have happened in the past, maybe even a dream sequence or two, but never an actual whole scene that takes place in the past. It's not really the actual writing of the scene that seems difficult, but how it should be placed alongside the scenes that are taking place in the present. I know they can be distracting and jarring if not done correctly (or even done correctly). But with the way I want to set up this story, I need a lot of them.

I realized that I am basically telling three stories at once. There's everything that's happening in the present, which will be from both characters' points of view. Then there's Character A's flashbacks, which are pretty much all about how the characters met and formed a relationship. Then we have Character B's flashbacks, which are all about his troubled past. They all kind of collide when some people from Character B's past come back to cause some more trouble.

So far I think there will be a lot of flashbacks in the first half of the book, not so many (or perhaps shorter ones) towards the end. I'm just not sure where to place them. Should I break up each chapter into half present action/ half flashback (depending on how long the flashback needs to be). Should each flashback just be its own chapter? Do I put the flashbacks in italics or do I write the present action in present tense and the flashbacks in past? I've never been that good at writing present tense so I'm a little wary of this, although I do think it would make it much clearer for the reader (and reading all those italics could be annoying). And of course, I have to do all this not for one, but two characters.

So how the heck do I tell three stories at once without it being distracting? Am I already setting myself up for failure? I have no idea yet! I think I should find some books that rely on flashbacks as well as some writing tips or articles on the subject. Otherwise I'll just keep mapping out the story and try to figure out what works.

Jordan Takes Over: Mix it Up (Also, I'm Not a Girl)

**The first Monday of every month, I let my muse take over the blog. I apologize in advance.**

Look, I feel like there’s been some confusion for people who don’t regularly stop in here (I know the regs know waaaaaaaaaay better. Especially anyone who’s been to a Muse Party and had to deal with my sass in person). But it seems that every so often whenever I make my monthly post, someone comes along and leaves a comment that calls me Miss or Ms. Muse. Well, I’m just gonna have to put my foot down here.  

I’m not a girl. I am, in fact, a guy. I could explain this more graphically if you’d like, but Sarah says I have to keep it PG. And I thought I was allowed PG-13!! Not fair. 

Now I understand where some of the confusion may have started. I don’t really blame you if you just stopped in one day never having heard about me before and just assumed that I’m a girl. Well, first of all, this blog belongs to a girl. Most muses you hear about are also girls. And of course I have a name that could be a girl’s or a guy’s. So sure, fine, I’ll cut you some slack.

Or perhaps you were confused by me talking about a boyfriend or a hot guy or something. Well…you can do math, can’t you? (Let’s not talk about me and math. That’s a looooooooooooong story).

Plus, you can’t actually see me. But remember the Anti-Valentine’s Day Muse Party? With the cartoons? In which I am so clearly a guy?? Remember???? Here, I'll refresh your memory (this is also a fairly accurate representation of my relationship with Sarah): 

She's the one in the pink dress, if that wasn't clear. I don't like pink.

Why does this require an entire blog post, you say? I’m not just whining here, I swear. And it is not because of my "fragile masculinity," no matter what Sarah tells you. Yes, I can have that. Doesn't mean that I do.

Well, because writers can write about whatever the hell they want. And they can write from whatever character’s point of view that they want. So just because a writer is a girl doesn’t mean her first person narrators all have to be girls, too. She can write from a guy’s POV. Or vice versa, of course. If writers could only write about characters who were exactly like them, that would be soooooo boring! Blech. Ugh. No thanks.

That whole "write what you know" advice can be complete crap, really. What, are you all just supposed to write autobiographies? Have a little diversity, people. Mix things up. Write from someone's point of view that's different from you. Write about things that never happened to you. Research exists for a reason, right? I mean, sure, my life story would probably be pretty interesting (not trying to brag or anything), but is everyone's? Who wants a boring story? NO ONE. Duh. 

So, in conclusion: write whatever characters you want. Also, I am not—I repeat—NOT a girl.

JP 

The Anthology Where It Happens

It's the first Wednesday of the month, which means it's the posting day for the Insecure Writer's Support Group! Click here to learn more and sign up!

This post is kinda sorta a sequel to another IWSG post called "Wait For It." Ok, so the references will make a lot more sense if you've listened to/seen (you lucky duck! *side eye to my August tickets which may or may not be chained in a briefcase to my wrist*) the musical Hamilton. Because when it comes to my writing, how I go about it, how I deal with motivation, I am, in fact, Aaron Burr. 

Ok, so you may be scratching your head even if you know the musical inside and out. Basically, I would call myself a hesitator. I do not actively seek out inspiration, I don't even push myself very hard to get any writing done--even though I want to, and I do want great things to happen with my writing. And I do get terribly frustrated seeing other writers succeed and thinking, why can't I have that? All the while knowing deep down the answer is that I'm barely even trying. 

Still with me? Horribly depressed now? Don't worry, we'll fix that. This story has a happy ending (and does not end with a duel). 

So, you all know about the IWSG anthology. We'll talk about this year's in a bit. I actually have to go back to last year's anthology to tell this tale. When they first presented it, I thought maybe I would enter. I bounced around a few story ideas but didn't feel that strongly about them, so I didn't write anything and didn't enter. Obviously, you can't win if you don't enter. Of course, I was happy for the authors who won and were published, but I couldn't help thinking, what if? 

I put the thoughts aside for about a year, that is, until they announced the theme and deadline for the second anthology contest. I didn't have a concrete idea in mind right away, but I thought, I have to enter. Why would I want to be on the outside looking in over and over again? I can't get anywhere if I don't even try. So it was a bit of an epiphany. 

(I wanna be in the room where it happens, the room where it happens...err, I mean, anthology. You get it). 

The thing was, once I actually started plotting out my story, I just had this feeling. If I could get it done, and edit the crap out of it, I really did think I stood a chance to get in. And for once I was not horribly wrong. I did get in! It was good! I was no longer on the outside looking in! There may have been some dancing.

And you know why? Because I actually tried. Because not only did I put my mind to it (because ideas come easily to me), but I actually motivated myself until I pulled it off. I didn't just sit around and wait for an opportunity to come to me. I had to actually get it for myself. So, there you have it. 

Click-boom. 

On a related note, all of the authors for the Hero Lost anthology have created a website you can find here! There's lots of info on all of the authors and our stories. We should be adding some regular blog posts pretty soon, too!

How to Immediately Over-complicate a Story

Do you like a simple story? Something straightforward, completely linear, no fuss, no muss? Well, this post may not be for you! But stick around for some exciting information and maybe you, too, can come up with a ridiculously complicated story before you even write the first word!

Ok, so maybe that's not a great selling point. But over-complicating a story is just kinda what I do. What's unusual this time is that I haven't even started writing it yet.

So getting a new story idea could not come at a worse time for me. I really just want to be working on my third draft for UL, and I've got a lot of anthology nonsense to work on. I just do not have time to be working on something new, or even something different. But the universe had other plans, because I just got a shiny new story idea. And boy, is it shiny! Meaning:terribly distracting.

I actually got this story idea from a dream I had last week. There were two characters who were in an interesting situation, and when I thought about it afterwards, it was like: "Huh. Now why would they be in this situation? What has led up to it? Where do they go from here?" And so I kept thinking. And before I knew it, a plot started rapidly unfolding. The beginning of the story wasn't completely clear, but the middle and end seemed pretty solid, and actually, exciting. I couldn't stop thinking about it (SHINY!!!).

Here's where it gets complicated. Based on the whole interesting-thing-about-my-characters'-relationship-that-makes-me-want-to-know-more-and-hopefully-the-readers-too factor, I know my story actually has to start in the middle. Why? Ok, I'll break it down. Basically one of main characters begins the story by telling the reader that he has two secrets. I'm thinking one of the secrets gets revealed during the first chapter. The other secret, however, I want to keep from the reader until maybe halfway through the book. I'll drop hints, of course, but I want there to be a reveal and have them go, "WAIT. WHAT?" Because why not??

So there's that. So basically the secret happens before the book even begins. I'm thinking there will need to be some flashbacks to explain how my characters got to this point. But that's not the only thing that makes it complicated. I know I have to have two POV characters. I really dislike doing it in most cases and try to pick a character to be the narrator, but in this case, I really think it has to be two. During some of the more suspenseful moments, my characters are split up, so you'll have to know what's going on with each of them. Plus one of my characters has a very complicated past and I know that will be the focus of most of his flashbacks. The other character doesn't really know that much about it but it will be important to the story.

So: two different POVs. Plus flashbacks. For both of them. Sounds easy, right? I don't know why I do these things to myself. But it's soooooooo shiny...

Hero Lost Cover Reveal!!!!

So this cover reveal today is awesome for many reasons. First of all, I didn't have the brain capacity for a blog post today! Since I worked this weekend, I'm exhausted and brain dead. I'm way behind on my reading goal and don't even get me started on the whole working on my novel thing. I'm trying to keep up with the promotion plans for this book, but to be honest, I'm a little overwhelmed. I also have to do laundry today. I think I need a day just to breathe (and sleep).

But anyway, the more awesome reason is that the cover is here for the Hero Lost anthology! In which I am one of the authors! I still can't really believe it. I think I'll have a post for February's IWSG that will go more in depth with how I made the decision to write my story and submit it (and will actually kinda be a sequel to an older post--weird).

But I'll stop rambling. HERE IT IS!!!

Hero Lost

Mysteries of Death and Life

An Insecure Writer’s Support Group Anthology

Can a lost hero find redemption?

What if Death himself wanted to die? Can deliverance be found on a bloody battlefield? Could the gift of silvering become a prison for those who possessed it? Will an ancient warrior be forever the caretaker of a house of mystery?

Delving into the depths of the tortured hero, twelve authors explore the realms of fantasy in this enthralling and thought-provoking collection. Featuring the talents of Jen Chandler, L. Nahay, Renee Cheung, Roland Yeomans, Elizabeth Seckman, Olga Godim, Yvonne Ventresca, Ellen Jacobson, Sean McLachlan, Erika Beebe, Tyrean Martinson, and Sarah Foster.

Hand-picked by a panel of agents and authors, these twelve tales will take you into the heart of heroes who have fallen from grace. Join the journey and discover a hero’s redemption!

Release date: May 2, 2017

Why are Girls Bad Kissers? (or, Symbolism After the Fact)

I find there are two different ways that symbolism pops up within my stories. Either I plan it ahead of time and figuring everything out before I even write it, or it just shows up on its own and then I have to dissect these moments and maybe even flesh them out so that the symbolism actually makes sense. Funnily enough, it's usually the latter. For the most part, I don't plan out symbolism. It just happens. 

When I say "symbolism" I actually mean a few different things. It can be actual symbols--an object or something that occurs and represents something else. Or it can be other things. Moments that connect over the course of the story. A similar theme or idea popping up over and over again. Really just anything extra that makes you stop and go, "huh." It means more than what is just there on the surface. 

But anyway, I'm getting off track. You're probably wondering what the heck this has to do with girls being bad kissers. I realized that while there are only two teenage girl characters in UL (and only one of them gets real page time), they had something in common. Jordan just had to tell the reader what sloppy kissers they were. 

I honestly don't even know where that came from. And it's definitely not supposed to be some kind of "Oh, he's only gay because every girl he kisses is terrible at it!" thing. No no no no no. I'm definitely not in the position to be giving any wrong impressions in this book. So why the bad kissing? In the first chapter he mentions going on one date with this girl Kristen, who is--obviously--a bad kisser. Later on in the book he actually does start going at it with another girl, Madison--also a bad kisser (until he shows her what's what). 

So. What exactly was I supposed to do with this nonsense? Cut it? Only have one of them be a bad kisser? It just seemed like a weird thing to keep mentioning, and really wasn't all that necessary of a detail (especially for Kristen). 

I actually went in a different direction with my thought process. I thought about the main female character--Jordan's mom. It's pretty obvious throughout the book that she's a neglectful mother. I don't think she ever would have kissed her son, even when he was a baby. So what the heck does that have to do with my sloppy kissers??

Well, these are really the only three women mentioned in the book. I figured that maybe there was a way for some kind of symbolism to happen here (especially because I love things that come in threes for this book). The final scene with Jordan's mom has always been a big fight, although it's going to change a lot from the last draft and I still have to figure out what to do with it. But the basic idea is that she betrays Jordan in some way and he feels he can never forgive her. So I was thinking, what if in her desperation during this moment, to get his forgiveness and actually be a good mother, maybe she tries to kiss him--on the forehead, cheek, maybe even the hand--just something. And he still rejects her. I think it could be a powerful moment if done right. 

So I'm definitely still figuring it out. But I think there's something there. I think the bad kissing girls can be more about building up to the moment with the mother rather than having anything to do with sexuality or that sort of intimacy. Hopefully it will be fun to figure out and not too much of a struggle!

Speed Up or Slow Down?

I've been having a predicament when it comes to editing lately. Ok, I've had several predicaments over the course of editing this novel, but one in particular seems relevant right now. I finally finished up my Chapter 3 edits and Chapter 4 should be relatively easy (just line by line edits, no major changes--hopefully I can get it done in one day). So that brings me to Chapter 5, and also to my predicament.

Well, technically it's about Chapter 5 and Chapter 6. They've always gone pretty much the same way. In Chapter 5, my characters admit that they're attracted to one another. In Chapter 6, one of the characters reveals a darker secret, and then my narrator is left wondering what to do with all of this information.

My concern with this is that I've been feeling like Chapter 6 may be slowing the story down. It's basically just a giant conversation. The information is important, but I've wondered if it really needs an entire chapter to get the point across. So what I wanted to do was take all of the important bits and move them onto the end of Chapter 5 instead. Then the story could keep going at a faster pace.

Well, that's what I planned on doing, anyway. Now that the moment is finally approaching, I'm not so sure if it's the right decision anymore. There's already a lot going on in Chapter 5. Every part of the story beforehand has basically been leading to this moment. So it's a lot to deal with already. Then the information in Chapter 6 is a lot to take in as well. So maybe it's too much to put into just one chapter.

There's also what happens after these chapters. Basically a decision has to be made and I'm worried if I combine these chapters that the decision happens way too quickly. Maybe it won't seem realistic anymore if the action is sped up. There's a thought process involved and if I speed up that process it may seem irrational.

So what to do? Speed it up or slow it down? I'm leaning toward the latter at this point, AKA keeping exactly the way it's always been (just writing it better, of course). That way--hopefully--the reader won't be overwhelmed and wondering what exactly is going on.