kerfuffle

Sell-Out

You may remember a two-part post from a while ago on the subject of anonymity. Part two dealt specifically with foetry.com, which started as an anonymous poetry-prize watchdog.

You’d have to decide for yourself if I made my point in my post or not. Alan Cordle (the founder of Foetry) takes exception to a number of points, and his readership agrees with him. (L is for Loser, in case you didn’t realize.) In the comments Cordle says:

I never met her, but she had a contentious relationship with her colleagues. Her (only) friends in the department told us that she got a settlement from the university when she left. Maybe that’s why she’s imagining litigation everywhere.

She calls Kathleen’s career “half mast,” but remember that’s from the perspective of someone capable of writing literature who sold out to write genre. I’m grateful Kathleen didn’t lower her standards and that she has three books published in an ethical manner.

He doesn’t remember that his wife introduced us; he recounts (inaccurately) how I left the WWU; and best of all he pronounces me a sell-out. I am capable of writing real literature, you see, but I chose to write for the masses.

In his post he also claims he can’t link to this weblog or the relevant post, which I believe is simply his way of responding to me in an under-the-radar way. It’s so much safer to pontificate in a whisper.

stripping down to sell books

There’s an article in the Washington Post (“Leaping at the Chance“) about a conversation between editor Nan Talese and one of her authors, Valerie Martin (author most recently of Trespass). The question:

What will it take to get the American public to pay attention to Martin’s book?

They have some pretty outlandish suggestions, but in fact they both know the answers. There are a couple things that would make this happen.

[asa book]0385515456[/asa] 1. With the right publicist and a lot of money, any book/author can be thrust into public view. Show your face on the big talk shows, get celebrities to talk about it, and voila. Best seller. This approach is the easiest and most expensive, and clearly would require Martin’s publisher to invest heavily. Which I am sure they’d be willing to do — if she were already on the best seller list.

2. A scandal is a quicker way to get to the best seller list, which Nan Talese knows very well, as she was the editor of Frey’s A Million Little Pieces. (I posted about that here.) You can listen to Nan (on YouTube) telling her version of what happened with Oprah, which is extremely interesting.

3. A scandal that escalates and becomes a legal matter, even better. Ask Cassie Edwards about this. I have no figures, but I’d bet that her sales have not suffered as a result of the plagiarism kerfuffle.

back to business: padding verbs

It is really hard to keep focused when the cyber universe is going nuts, as it has been since mid January. In the last couple weeks readers and authors and bloggers (primarily in the romance community) have been trying to outshout each other until everybody is deaf and hoarse, too. Saying even the calmest, most reasoned thing (and there were lots of people who tried to do this) could get you called outside for a fist fight. I tried to stay out of it for the most part (I’ve already got one Author Behaving Badly badge, after all). Though I admit it was tempting to say some things. Some things that might have brought the mob to my door. I could be incendiary and get lots of attention that way, or I could get back to talking about writing. One simple sentence before I do that:

Plagiarism is morally and ethically wrong.

So there you go, my stance on the subject. Now, about padding verbs.

Right now in fiction the trend and fashion is for very distinct point-of-view boundaries. Head-hopping is frowned upon. A story written in third person will have more than one POV character, and the writer switches back and forth between them. So you experience the beginning of the argument from inside Maria’s head, then comes a break (usually a double return so you get an island of white space on the page) and you experience the rest of the argument from inside Gwen’s head. Gwen sees Maria’s reactions and interprets them, and you get that information in the narration.

Maria lifted her upper lip and Gwen had to turn away or laugh. Mandy was right, Maria did look like a chipmunk when she was mad.

This clearly comes from Gwen and not from Maria, who observes Gwen in her turn:

She’s not going to leave this alone, Maria realized. This is that ridiculous episode with the toilet plunger and the squirrel, all over again.

One of the challenges of this switching back and forth is signaling the switch to the reader without being too blatant. This is managed most usually with little coded phrases

Maria thought (so you are inside her head)
Maria felt (ditto)
Maria saw the color leave Gwen’s face.

This might not seem like a big deal, and in many ways it isn’t. But this constant signaling the reader (yoohoo! we’re over here now, in Laura’s head!) can be a burden.

You might write: Gwen felt the sweat soaking into her silk blouse, or, more vividly: Sweat blossomed under the arms and along the collar of Gwen’s silk blouse. The difference starts with that padding verb: felt. I think of this as a padding verb because it steps between the reader and the action or emotion in order to establish POV. This habit can get out of hand.

I try, when I’m writing, to look for these padding verbs and if I can do without them without confusing the reader’s sense of which character has the POV, I’ll cut the little intruder right there.

Elizabeth saw Nathaniel reach down and grab at a root sticking up out of the ground.

Do we need those first two words? Maybe not. Probably not.

Of course, if you are writing a first person narrative this will not be much of a problem for you because there’s no POV switching at all. On the other hand, you’ll have to figure out a way to keep the reader informed of all the stuff they need to know — but you can’t tell them because the narrator doesn’t know them.

On a different front: I’m delaying the photo contest, and I may fold it into the other, bigger giveaway. The same prizes, so never fear about that.”

open communication

There’s another (yet again) clash in one very small, limited corner of the internet, but as it happens to be the corner I inhabit, and as I would prefer this not blow out of all proportion, I am going public right here and now. My hope is that it can all be settled immediately. If you are tired of all this (and I am, so I wouldn’t be surprised if you were) please feel free to pass on by. (WW, I’m looking at you.)

There’s a Yahoo discussion group to discuss Diana Gabaldon’s books. It’s a great community of readers who like to talk about the Outlander series. I have been lurking on that board for years, but I’ve never posted, and there are also longer periods where I’m off doing other things and don’t check in.

A few days ago somebody posted on the forum here to ask a question. I’ll refer to this person as WB. It was a simple question. Had the title of the next book in the Wilderness series changed? Because there was a discussion to that effect on the Yahoo Gabaldon board. Also, the person who had started the discussion seemed pretty critical generally of my work.

So I popped over and indeed, the title of the thread included the words “Donati” “Body Snatchers” and “Spoilers”. Once I read the post I understood: RK (as I’ll refer to her here) had just finished Into the Wilderness, and she disliked it. A lot. She was voicing her opinion on the Gabaldon board, which of course is her right. The “Body Snatchers” reference had to do with her claim that ITW is populated by characters I have borrowed or stolen or adapted from other sources, mostly Diana’s books, and that there’s nothing original or interesting in my work.

Let me be clear: RK is entitled to her opinion. I can’t pretend that it’s nice to be accused of plagarism and lack of originality but I am also comfortable enough in my skin to let my work stand on its own merits.*** So let’s take RK’s opinion at face value: she prefers Diana’s books for a lot of different reasons, one of them having to do with the fact that she feels my characters are uninteresting and recycled.

Back at this forum I answered WB’s original question about the title confusion (no, Queen of Swords was not changing title to Body Snatchers). I clarified what I thought was going on, and I responded to the review, very briefly. As was my right.

Now this is where it gets messy. This is where you really need to pay attention. Fact: WB did not email me me the text of RK’s posts or comments on my work. The Gabaldon discussion forum is public, and anybody who has a Yahoo identity can join the group and read the posts. It’s true that WB mentioned RK’s posts, but that’s it. I see nothing wrong in that; she was asking for clarification, and I provided it. Some of the fen over at the Gabaldon forum were upset, however, and WB heard about it from RK and from others as well. I know this because WB told me.

I am a little confused why RK should be surprised that something posted on a public forum might indeed be more widely read. It also seems less than logical to me to accuse WB of bad etiquette for sharing posts from the Gabaldon forum. After all, RK got hold of my post on this whole mess somehow, most likely because somebody pointed her to it.

So let’s be clear.

1. WB did nothing wrong. She likes Diana’s books, she likes my books, she was confused and taken aback by the tone of something she read and so she asked about it. I went and had a look, and answered.

2. RK is entitled to her opinion about my work. The tone of her review is not what I would call professional or balanced or respectful, but it is certainly strongly emotive. Again: that is her right. She can be as vocally negative as she likes; she can stick her tongue out at me and blow raspberries, if it makes her feel better. Following from that, it’s also true that other people are free to agree or disagree with her, on that board or this one. I have to point out though that anyone who publically reviews a book is in fact opening up a discussion, and that in judging, they will also be judged.

3. I defend RK’s right to be negative about my books, just as I defended Beth’s right to post a negative review of one of Diana’s books. And I must point out again: Beth’s review did not appear here. I did not endorse it because I haven’t read the book. I did open up a discussion on the topic of negative reviews, pointing to Beth’s website. I did make it clear that I admired her for her willingness to put her neck out, and for her obvious love and admiration of the early books in the Outlander series. Apparently some few Gabaldon fans are still angry at me for supporting Beth’s right to post her opinions. I wonder if they will also be mad at me for supporting RK’s negative evaluation of my work.

I harbor no deep resentment toward RK, no anger or need for revenge. On the other hand, I feel no need to try to win her over, as she suggests I should. If anything at all was offensive in her posts, it was this idea that it is somehow my obligation to convince anybody of the value of my work. I suppose I could email authors who have written books that didn’t work for me. I could get in touch with John Updike or Nora Roberts or Jodi Picoult or Stephen King or Toni Morrison and offer them the opportunity to pitch their books to me, but then that would be presumptuous and less than respectful.

Finally, a point I need to make: In the course of all this back and forth, bits were copied from my website onto the Gabaldon forum boards. And I’m fine with that — I make the material public, and people are free to share it as long as it’s not done in a misleading way.

***I will point out that it has been postulated that there are only so many plots out there, and everything is a rehashing of something else. Certainly time travel has been done before, as have novels about Scotland, Revolutionary America, and the War of 1812. I have always said quite openly that I got the idea for ITW from an exercise where I put some of Jane Austen’s characters in the same room with some of Fenimore Cooper’s characters. Sparks flew, and ideas sprouted, and here I am five books later.