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Showing posts with label workshop. Show all posts
Showing posts with label workshop. Show all posts

Tuesday, July 17, 2018

Nazi Snuff Porn, or How to Survive Bad Reviews.

Here are my notes for my workshop! I hope you all enjoy.

Nazi Snuff Porn or, How to deal with bad reviews
The very first review I got on my very first book was on GoodReads. Someone called my innovative, unusual vampire romance, “Nazi Snuff Porn.”

OUCH. Nazi Snuff Porn?? For a redemption story with Fallen Angels, Dracula, political commentary, AND a pretty fabulous (by my thoughts, at least) love story?

The second review I ever got on my book was on Amazon, where a woman claimed that it was the worst book she had read that year. DOUBLE OUCH.

That was quite the one-two punch, delivered within less than an hour of each other. People hated my writing, my characters, and weren’t even too thrilled with me. Bad reviews kill hope, strike in the heart of us. Their nasty insinuations ring in our minds, poisoning our confidence, cutting our dreams off at their knees. Every single writer in the world deals with negative reviews, nasty put-downs, and horrible rejections. In the midst of our pain, we think, “Oh, I just need to have a thicker skin.”

I’m here to say that you don’t need a thicker skin. Your thin skin is a gift. Thin skin is why we have a five day work week, why we have child labor laws, and the Society to prevent cruelty to animals. Thin skin means you see something wrong and you go fix it. It is what allows us to write with passion and the power to change the world. Our thin skin is what gives our writing power, emotion, and importance. Our concern for the state of the world and each other is the greatest motivator and the foundation of all we do.

But. Bad reviews still hurt. Life is hard and it comes at you fast and it hurts. What I’m going to give you today are concrete, real world tools to deal with these horrible people.
It can take time to recover. With these tips, you can cut that recovery time down to hours or days, instead of months.

Once you get a bad review or rejection.

1. Self-Care
a. Stand up. Brush off that nasty energy!
b. Do some self-percussion. Stimulate your circulation.
c. Jam out.


2. Celebrate!
a. Pop the champagne! Goddamn it, you wrote and published a book. You put yourself out there. You are brave, you finish what you start, and you have survived far more misery than these wanna-be Ebert and Siskels can imagine. Celebrate your courage. Have a party. You’ve made it! You’ve written a book and someone has hated it. You’re in good company. Damn it, you wrote a book and it created a reaction. That is fantastic.



3. Embrace the sisterhood of bad reviews:
Behold:
The Hitchhiker’s Guide to the Universe
One has to be puzzled why people would read such drivel as this. The characters, the plot, the story, the background, the atmosphere, the landscape, the tone etc. is just awful, with little or no redeeming social or artistic value... You'll save your eyes and your time and get more benefits by sleeping than by reading this book-like-object. 

Donna Tart, whose first book had won the Pulitzer, had someone say this about her second: and Donna Tartt’s The Secret History.
  Reading this book was like watching paint dry, fade, start to flake off, and finally disintegrate.   
or: This book is not worth the read unless one is looking for a long drawn out plot going nowhere.

And have you ever read Nora Robert’s bad reviews? Man, you’ll feel like a million bucks afterwards.
b. When the most likable character is a horse you have to wonder.....

4. It’s not about you. It’s not about you. It’s not about you.
a. These people get a kick, a thrill that is almost sexual, out of destroying someone’s dream. They will never admit it, but you can tell in all of their reviews and comments, that saying horrible things is how they fuel their self –righteous belief that they are smarter than anyone else.
Look at the Eggers quote on your handout. Remember that rage and envy. Because that leads us concrete actions.

5. How do you deal with these idiots with the IQ of a turnip? It’s one thing to deal with your emotions when you are safely reading in a magazine or behind a computer screen. But some people’s children The four most important words in a writer’s vocabulary:
a. “No Kidding!” and “Thank you.”

There are four words you need to know. No kidding and  Thank you. 
For example: “Your books sucks!”
“No kidding!”

“I read your dirty book.”
“Thank you.”

“I liked your book.”
“Thank you!”

The NUCLEAR OPTION
If nothing else works. If someone is trying to manipulate you.
Dale Spender story about lipstick. “Are you trying to orchestrate my response?”
In all honesty, I didn’t come with these. I stole them from much smarter people.

Now that you‘re feeling better, here’s how to read a bad review

6. Analyze the criticism
Take a look at the critic’s other reviews. See who they are, what they complain about, and what they do like. I’m going to lay odds, and really good ones, that they have a pet theory, a belief that things (often fictional things) are set in stone. We all have our beliefs and opinions. People with class, maturity, and style state those beliefs and opinions in ways that encourage the artist to keep going. They will say what they like, what they want to see more of, and tell you how to improve your work. But that’s hard and takes time, so your critics won’t.

a. Are the comments consistent in each bad review? Do they talk about convoluted plots? Historical inaccuracies? If your reviews tend to say that your characters are unrealistic, take a look at them. Do they mention problematic proofreading and editing? These reviews are helpful and let you know how to improve.

b. Nazi Snuff Porn, huh?
I had taken particular care with the section that dealt with Nazi War Crimes. As a historian, I found primary source materials from the men who liberated the first of the work camps – Mittlebau-Dora in Nordhausen. Everything I wrote had been documented from eyewitness accounts. The stories of bodies stacked like firewood, of feces being pounded into the cement from bombing? Those descriptions came from the survivors and rescuers.
I re-read the passages. I thought about how my characters responded to seeing this devastation. I decided that the work stood on its own.
c. “Worst book of the year”? After running around the house screaming, “I’m Number One! I’m Number One!”, I calmed down. And it struck me as *funny*. My little novel was the worst book of the year? The “worst book of the year” review also said it had too much sex. Well, that’s hardly bad news! After all, one person’s yuck is another’s turn on.
d. Also, worst book? Some self-satisfied yutzes on Amazon said the same thing about Left Hand of Darkness.

7. First exercise
a. Write down every single nasty thing you can imagine. Think of what your worst enemy would say about your heart project. 2 minutes
b. Give some space between each cut.
c. Take some deep breaths. Brush it off, and do some funk. :)

d. Now. Take a look. What is your wound? What wounds are these words hitting? Is it the fear of making mistakes? Of making someone mad at you? Write down what fear or hurt these things push.
e. When you go home, journal about these fears.

8. Second exercise.
Next, write down every single awesome thing you can think of. What an audience full of people who love you and want you to succeed would say? What would they like? How would they give helpful feedback if you made a mistake?

What is the wound these words are healing?
Pin that list up by your desk.

In Conclusion.
In the end, it’s all copy. Use it. Take these feelings; the loss, the hurt, the desire for revenge, and USE them. Write scene after scene of your heroine taking it on the jaw and coming up swinging.
Finally, the big point. The most important point. The only thing you really need to keep from this workshop is: The best revenge is living well. You want to get back at these bullies and bitches? Keep writing. Have an awesome life researching, writing, loving, laughing, immersing yourself in life.
Will these pixels on a screen or lines on paper stop you from writing??

If you stop, they will win. You are a writer. And you are invincible!

Now go out there and be excellent to each other.

Monday, August 7, 2017

Hello to the Willamette Writers who came to my workshop.

On Saturday, August 4th, we all met in Portland and shared an amazing forty-five minutes together. I am so bummed we ran out of time.

As promised, here are my notes from the craft section of From Arousal to Zipper. Let's begin!



Now, how do we take your observations, your ideas, and your passion and put it into clear, gorgeous language?  Through craft.  In fact, I would say that craft matters the most in a sensual scene because the stakes are so high. Everything is heightened when arousal is on the line.



III.            Craft, craft, craft. Sexy writing doesn’t mean lazy writing. You still have to pay attention.
a.      Spelling, punctuation, verb tense.  This part kind of goes without saying, but I’m saying it anyway. Like an accidental knee to a tender part, messing up here can really spoil the mood. Just saying.
b.     Point of View (POV)
                                                    i.     Quick recap: First person (I), Second Person (You), Third Person (He/She/They)/ Omniscient and Limited. The POV character is the one whose eyes the audience sees through. Make this person the one with the most to lose.
Valerie pinched the bridge of her nose. “You shouldn’t trust me.”
“I do lots of things I shouldn’t, darling. Do not fear.” He held up the forgotten bag of croissants. “If you put out, I’ll give you your sugar.”
Valerie snorted laughter against her sleeve. Clever man. 
“We can try, at least,” John continued. “Do you feel nothing for me?” 
She knew herself to be brave. What price would this choice demand? Did she have the courage to embrace everything this love had to offer as well?
She sucked in air, giving herself a rush from the oxygen.
Screw fear.
“I feel much for you,” Valerie answered and held out her hand.

                                                  ii.     Head hopping Going from one person’s POV to another back and forth can be really confusing. Don’t use it to avoid going into a character’s heart. Try to do it as little as possible. Use an extra return to mark different POVs.
                                                iii.     Using POV: The POV leads to how you use dialogue and monologue. Characters are rarely silent. What do their inner and outer conversations reveal during sex? Love scenes are about being cut open and vulnerable emotionally. The through line of confession emotions pushes and draws the plot along. This is how you integrate the emotions into sex.
c.      Emotions: Emotions lead to the body language and blocking. Action will logically follow how they feel. If she is feeling shy, she will look away and blush. If he is uncertain, he will rub the back of his neck. The blocking carries you to who will take the lead and what the subtext is to the scene.
                                                    i.      Feelings are more important than the action. When you write, ask the important questions: Did he make her feel good? Does she like him? Why did he lick his partner – because he wanted to? Or because of some internal quid pro quo?
                                                  ii.     Emotions lead to body language. Excite your readers’ emotions with details on how someone loosens their tie, licks their lips, or how they draw attention to their bodies. This is really makes your writing pop. For example: Bryan was turned on. Versus: Bryan’s cock pressed against his trousers. Desperate for relief, he faced the wall and shoved his hand under his waistband.

Extra note: Check out The Emotion Thesaurus by Ackerman and Puglisi 

                                                iii.     Double check your blocking. Use a pillow or a big stuffed animal and act it out to get all the limbs, tentacles, or fins in place. Make sure your positions are compatible with your characters’ physiology.

d.     Embody the sensations as much as possible – tight lungs, heat between the legs. WHERE do you feel arousal, where do your characters feel arousal? Ignore sexual stereotypes of “Men” and “Women” and figure out this individual character.
e.      Language: Also, the emotions will lead to variation in your writing – not just sexual variations like in a chair or on a horse (!) – but how long your sentences will be and how the language gets used (will he start off prim and then get more raunchy?). You have to know your characters and what language they would use for intimacy. Some people are demure. Would they use penis or thingy? Some people are blunter. Would your character be very clinical and use words like pudenda or phallus? Are they dirty and nasty to say cock and cunt? Perhaps they are more playful, like va-jay-jay and peen. Think about your character’s age, where they were raised, their family, the geography of their life. What brings them to this point in time where they want to have sex with the other characters?  For example, Julia Child, a chef, said, on taking something from the oven, “That’s as hot as a hard cock!”
f.      Geography. What happens at a rubber event in London is going to be very different than a young, inexperienced couple in rural Iran.
g.     Read it out loud.
h.     “Chekov’s Underpants”. "If you say in the first chapter that there is a rifle hanging on the wall, in the second or third chapter it absolutely must go off. If it's not going to be fired, it shouldn't be hanging there."  Anton Chekov stated the importance of not wasting your time on inessentials. If you mention the color or state of someone’s underpants in one section, you’d better be sure to mention them coming off. If one character admires another’s lips, those lips better show up somewhere doing something hot.


I really hope this helps. If you have any questions, please leave a message or email me at LindaMercuryRomance @ gmail.com (no spaces, natch).