Honors update

Somehow, as I transition into what my new routine of normal might be for 2013, I have managed in three days to edit 42 pages of my undergraduate honors thesis. It's been more fun and more thought provoking than I thought it would be.

This project has moved in directions I never thought it would, including an invitation from my College to present at the National Conference for Undergraduate Research (NCUR). What began as an invitation from my faculty adviser in the wake of Hurricane Sandy received a pledge of financial support from the Dean's Office so if I get accepted by the NCUR folks, I may be presenting this piece in Wisconsin in April.

While that is pretty exciting, it's also intimidating. It's transformed something personal and fun into something that will see broader audiences. In a way, I lament that change.

I won't hear from the NCUR people for another two weeks, but it's certainly transformed how I look at my own work. The difference between what we do for ourselves versus what we do for presentation to others... Psychologists might say I know my material and getting out there to share it will only enhance my performance.

Research

Besides the poem I wrote about my tooth, my writing time has been limited. I'm formulating a lot of ideas right now on how to revise my manuscripts, who to submit to next and what I'd like to do with my very brief pre-summer vacation. Summer class starts Monday.

I have many ideas and not much focus or energy, so I flit from idea to idea trying to find one that sticks. I have several ideas inspired by The Write Stuff and by the conference's keynote speaker agent Donald Maass. Those are for the manuscript I finished a month ago. I also have some concerns about Manipulations, the book I've been pitching, that I'd like to address. Primarily, the bad guy got tougher in book two and I think he needs to reflect that in book one.

I've resisted diving too far into Galen's back story because of the research I knew it would entail. Today I thought I'd read the passages that relate to his past and see if they spurred any idea of how I could strengthen them. I found something in this:


"A Huguenot couple had lost their daughter to a fever that their eldest son now had. They had traveled with him and his brother from the south of England. Hesper healed the boy. ... When it came time for the family to return to England, and escape the Irish climate, they offered the baby as payment. Or so Hesper had told him."

In my head I heard this voice say, "She lied."

I knew Galen's family were Huguenots from Bretagne (Brittany, the north of France). But what if the whole story was hooey? What if they fled Bretagne for some other reason? What if they left the south of England for the same reason?

I started with a quick internet search via the iPhone and discovered revolts in Bretagne, legends of Ankou, tidbits about the landscape and the language, and now I'm at the college library looking for more.

And Ankou? I haven't researched him here yet but he's Death, the Reaper. A skeleton in a shroud and flat Breton hat with an upturned scythe and an oxcart...

Sometimes with the right research, the story amazingly tumbles together as if you knew it all along.

Logistics

When certain moods strike, I love to write the naughty parts in manuscripts.

They always start WAY too long, going through every motion of the encounter and get hacked to pieces. These scenes often research (or merely thought), and not necessarily the "is this position physically possible?" kind (although that happens). Things like if she's 5' 2" and he's 5' 8" does she have to stand on tip toe to kiss him? Can your hand physically bend that way?

The other important part of a love scene is to make sure you edit ALL IN ONE SITTING. Because otherwise, you can miss important details.

For example, I have this:

"Confusion flashed in Zélie’s eyes and her lips parted. She released him, her hand falling to her side. Étienne brought his kiss to her clavicle and then closer to her breast. He spun her..."

Now in the original version that line about her hand falling away was not there, nor was the release. This doesn't seem like a big problem until you realize her hand was in his pants, holding something important for this scene, and he spins her around without letting go.

The reader can assume she let go, but since she's confused, maybe she didn't... and depending, that could be painful or merely lead to some getting twisted up and falling over... You get the idea.

And after you hack the scene down to its essence and have what you like, read it out loud. You may blush, but it's the only way to check how smooth it is.

Take a Chance and Tap Dance

As writers, we often get to research topics that interest us and no one questions this. Like Nisha, from Pocono Lehigh Romance Writers, who spent last weekend at an archery lesson for her book (which sounds like an incredible retelling of some mythic Indian stuff).

For me, this usually means fashion and French stuff and Paris.

Artists get to explore their dreams in unique ways. Normal people could, but normally don't give themselves permission.

I gave myself permission.

There's a side bit in my story. It's serves a purpose, as an indicator of Étienne's health and... um... self-control. He learns to tap dance.

I have always wanted to tap dance, but I have cerebral palsy so it seems like a stupid thing for me to try and do. My daughter is in ballet and tap now. So, I asked her:

"If you knew something Mommy didn't know and wanted to learn, would you teach me?"

She said sure.

So I bought tap shoes.

And we started lessons. I love it. It took ten minutes for the six-year-old to forget anything else to teach me, so we turned to YouTube and we've started working on Rod Howell's dances classes from UnitedTaps.com.

I'm no Gene Kelly, but tap is teaching me lots of exercises for moving my feet and my ankles. It's also using muscles in my calves that I don't normally use. Which is great for my CP. I wonder if someone would have enrolled me in tap as a kid if I would have better control walking now...

So, it just goes to show, everybody needs to indulge. I've been told I don't know how to have fun, and this summer has worried me that maybe that's true. Tap dance is something that serves no purpose, other than having fun.

Yeah, I can blame Étienne, but really, I didn't need to learn to tap dance for him. I did it for me.

Resources

All of my computers always have a generic folder for "research." This is dangerous because the folder gets very full and disorganized. I usually have one research folder for every novel, but during revisions when I do my fact-checking or don't understand my own description (yes, it happens) I have a hard time finding the right files.

Tori from my critique group has pointed out some problems with navigation in the Fashion and Fiends country house. So as I'm removing some minor characters, I'm also fleshing that out. Problem is, I have to make sure the details are consistent with the first book. I remember the layout of the house and the important stuff, but for example:

What does Étienne have for the countertops in the kitchen? Granite seems to popular and easy. Marble is too fancy for a country house. I don't remember.

So I started an "Étienne Household" file and divided it by room. Anything I use will go in that folder to refresh my memory later. I searched to answer the countertop question (and I searched the original manuscript hoping the answer was in there, but I deleted that chapter with the in-depth description). I googled and pondered and found other items I had to use in the house. Just had to. Into the file.

But I thought I'd mention, that the Behr paint company has an online paint center where you can select colors and then "paint" them on the walls to see how they look. You can use four colors at a time.

See www.Behr.com for details.