Apple-Obsessed Author Fella

Category: Guestpost (page 4 of 4)

The Writer Who Is Also A Parent

As you may know, I’ve a novel due in the next couple weeks. By the time you read this I may already be done said novel, but I still want some padding during these days to give it a once over and make sure it’s in tip-top shape before it leaps forthwith into the publisher’s open, loving arms. That means, over the next two weeks, you’re going to see a bunch — nay, a bushel — of guest posts here at Ye Olde Terryblemyndes bloggery hut (“Where the Elite Meet to Delete Deceit”). Friday’s flash fiction will remain ongoing, however. Anywho, here then is a guest post from Penmonkey and Munchkin Wrangler, Marko Kloos. His website is here. And don’t forget to follow him on the Twitters.

Somewhere out there, there’s a writer — let’s call him Buck.

Buck likes to write in his special space, a quiet office with view of the garden and the squirrels cavorting therein. He has a certain time for writing — the sacred slot from eight in the morning to noon, when Buck takes the phone line out of the wall and doesn’t answer the door. When Buck sits down to write, he likes to drink his special coffee blend, listen to his special writing music, wear his special writing jacket, and write with his special pen in custom-made notebooks. If even one of those conditions isn’t met, the muse will stay away, because Buck can only work the prose magic when everything is Just Right.

Right now, while Buck is finishing Chapter Two of his SF epic SPACESHIPS WITH LASERS (Volume One of the GALACTIC KABLOOIE tetralogy), his wife is in the bathroom, looking at a pregnancy test that’s showing a friendly little plus sign.

Right now, Buck is completely and utterly fucked.

Being a full-time parent and being a writer aren’t incompatible. Hell, if you truly want to write, there’s no job so time-consuming or tedious that you can’t scribble down 250 words a day in your lunch break or on the subway ride home. Where there’s a will, there’s a word count, and all that.

That said, there’s one thing you need to kiss good-bye when preparing for the job of stay-at-home parent, and that’s the lofty notion that your word count is the primary concern of your day. Your new job description is “Parent and Writer,” not the other way around. Your primary concern in life is now the naturally self-centered little thing snoozing in the bassinet nearby — the one who wants to be fed or changed or snuggled exactly thirty seconds after you’ve opened the laptop to tack some more words onto the first draft of ELVES IN CHAIN MAIL BIKINIS. If your muse needs seclusion, silence, and a predictable schedule to come visit, you won’t see the flighty little bitch again until your kid goes off to college. That’s why you have to flag her down for a little chat the moment you know you’re going to be a stay-at-home parent. You need to convince her to switch to an on-call schedule. If that means pulling the old trick where you offer her a smoke, quickly handcuff her to your own wrist, and then flush the key down the toilet, then so be it. Because from the day you bring your baby home from the hospital, your schedule has been switched to “on-call,” too.

My kids are now six and four. I have been a stay-at-home parent for every day of the last six years. Here’s where I have written in those six years: on a park bench, in the playground, in the waiting room at the pediatrician’s office, on the couch in the playroom, in the bathroom (that last desperate quiet refuge of the parent), out in the backyard on a TV dinner tray, at the kitchen counter while waiting for milk to heat up, and even–occasionally — at my desk in the office. You will quickly learn to steal your writing time wherever and whenever you can get it, or you will see your word count plummet faster than Borders stock.

(It helps to have a writing tool that’s portable and easy to drag into the playroom or to the park with you. Laptops are great, paper notebooks are even better. A composition book with a pen clipped to the spine is less attractive to thieves when you’re out and about, and a spilled sippy cup won’t mean a thousand-dollar write-off.)

Combining a writing job with a parenting gig is tough work, mentally speaking. That kid is a smelly little wrecking ball that will smash your comfortable and self-centered little writing schedule into tiny bits, and then swing around and pound your brain into pudding on the rebound. If you are going down that route, you will need a lot of determination, and a substantial booze supply. That way, my friend, lies madness.

I’m exaggerating just a bit here, because giving new parents the pre-natal heebie-jeebies is one of the joys and perks of being a veteran parent. Sure, a child will screw up your writing schedule, and you will have to adapt to some degree, no matter how docile the little tyke turns out. But in the end, you’ll find that having to do so will make you a better writer.  There’s simply no time for lollygagging anymore. If you have to carve your writing time out of the day in ten- and twenty-minute slices, you’ll learn to pound out the words at a moment’s notice. And if you can manage the brain work that goes into novel-writing while a little kid runs around the room going “OOOWEEE OOOWEEE” for an hour straight, there won’t be much left in this world that can derail your mental train. A veteran writer-parent can crank out prose in the middle of an artillery bombardment, or while sitting in the first row at a Justin Bieber concert.

(There are also the other fringe benefits of the Daddy/Mommy-Wordsmith job. Those puke stains on your t-shirt, and your general hobo-like appearance? Those are a legitimate, respected work uniform when accompanied by a kid in a Snugli. The two cocktails you usually have with lunch? Those are mental health medication now.)

Just don’t get the bright idea of having two kids, and then deciding to home-school them. There’s simply not enough liquor in the world.

“Sequelitis” (A Visit From The Mighty Russel D. McLean)

Ladies and gentlemen,

I am not Chuck Wendig.

Chuck Wendig is in this box here [points to large wooden box wrapped in chains. The box shifts as though something is struggling to get out]. But don’t worry. I’ve left him a couple of airholes.

I think.

Anyway, my name is Russel D McLean. If you have any trouble understanding me, don’t worry. That’s because I’m Scottish. I’m also a writer – author of two noir novels, the second of which, THE LOST SISTER, has just been released upon your United States. In celebration I’m doing a series of invasions of other author’s blogs in a manic attempt to shill… uh, I mean spread the beautiful word.

Anyway, while Chuck’s locked away I figured I’d talk a little about sequels. Because, ya know, the new book is kind of a sequel (or at least the second in a sequence that started with THE GOOD SON) and I found myself thinking a lot about what that meant.

A sequel has to achieve a lot of stuff. It has to pull in new readers while pleasing old ones. It has to remain true to established facts while giving something new. It has to stand on its own and yet acknowledge the past.

It has to do something different.

Oh, yes. That’s the one that most people forget. While it’s considered the safe action to rehash old glories – see National Treasure 2, The Mummy 2 etc etc – what you wind up doing is boring people. Because while people think they want the same experience, what the really need is that same sense of excitement and unpredictability they got the first time round. It’s just tougher to put that into words than it is to say, “more of the same please”.

Why is THE GODFATHER PART II considered a perfect sequel? It expands upon and gives new life and new perspective on the first movie while still telling its own perfectly logical narrative. You could see GFII on its own, conceivably, and catch up to this world without having seen the original. Sure, some of the grandeur would be lost, but you wouldn’t be so confused as to throw the movie away and then batter your head against a brick wall until your brains dribbled out your ears.

Sequels.

They’re tough.

And not just when it comes to movies.

With THE LOST SISTER – which is a novel, not a movie* – I wanted to tell two stories. First there is the story that stands on its own. The one about the missing girl. Mary Furst, a girl who has no apparent reason to run away, is missing. There are questions about her disappearance, facts that don’t add up. As Our Hero – J McNee – digs into her life, he uncovers some very uncomfortable truths.

That’s my A story. And sure it could have been enough to hold the book by itself. After all, we established our hero in book 1 and if you want, you can keep a series character static. Many people enjoy that kind of thing. Some writers do it wonderfully. Robert B Parker kept Spencer is stasis for decades. Lee Child rarely changes Reacher or gives us any more about him than we need to know.

But I’m not that kind of writer. I need to let my characters change. Be affected by events. So THE LOST SISTER became a chance for me to explore my central character and find more about what makes him tick. I wanted him to confront some of his own choices over the course of the book, to see things in the case that made him question his own ideals and motivations. I wanted there to be something different in his outlook by the end of the book. In short, I wanted to tell a different kind of story with the same characters. Because otherwise… what’s the point? It’s like eating lukewarm leftovers. There’s something in there you recognise, but really it’s not the same.

I also wanted to explore the supporting cast and to see how they reacted in different situations. People I hadn’t expected to see again. Susan Bright, for example, who was supposed to be a throwaway character in THE GOOD SON and became something far more important. And David Burns, local “businessman” who is one of my favourite characters to write for: a man who does bad things for what he believes to be all the right reasons.

THE LOST SISTER changes all of these characters by the end of the book. Not all of them get to “learn” from their experiences, of course. I think we’re all lucky that I’m not God. Because as cruel as He can (allegedly) be, I think I’d be even worse in charge, winding folks up just see how they’d react. But then that’s the job of a writer – wind those characters up and watch them go!

Word so far on THE LOST SISTER – both at home and now in the US – has been positive. I like to think that it’s a good sequel, that it does more than rehash former glories, that it changes things for our characters, that it presents with new challenges and new situations. I’ll tell you what, I had a bloody ball writing it.

The Lost Sister is out now from St Martin’s/Minotaur as shiny hardcover or e-book.

*At least, not yet, if any prospective producers out there are listening…

— THE LOST SISTER at Amazon, and B&N

Russel D. McLean is an author, reviewer and general miscreant from Dundee, Scotland. You can read more about him here, at his website and author page. Click the pic to follow him on Twitter.