Sierra Godfrey

Last week Jessica Faust had a post that dealt with a writer who felt terrible because his/her editor had caught a ton of mistakes that she/he felt he never should have made. I said in the comments that writing really opens you up to criticism because everyone thinks they're an editor, and it's tough. We writers are often filled with self loathing as a result.

Then INTERN had a post about how her copy editor ripped her a new grammatical arsehole with all the comments. This was surprising because INTERN's posts are pretty good. You can tell INTERN has a way with words, and is very good at what INTERN writes, so INTERN's admission of all the supposed mistakes she made was scary.

At my own work place, I am not seen as a great writer. Colleagues have seen some pretty stinky work from me, and I suspect some of thinking I'm not quite up to snuff. Ouch. It isn't worth arguing this; I would only come out looking like an angry beast, and arguing that kind of thing never changes minds anyway. What I do instead is quietly, but ferociously, edit past material and take a lot more time and care with my stuff--something yes, yes, yes, yes, FINE, I should have done from the get-go. I do this with my fiction now, so it's silly that I didn't do it for the stuff I actually get paid for. Once you stink, it's hard to remove the lingering stench no matter how hard you scrub. All I can do now is put more effort in to what I write, edit carefully, and remember that few people are fantastic writers right out the gate.

I think I have a natural inclination for writing, but it doesn't come easily. I have to work at it--in all aspects: storytelling, style, succinctness. This is common, I think.

Do you think you're a good writer? Do people respect you as a writer?

This week's word is rapscallion. A rapscallion is playfully mischievous, a scoundrel, and a rascal. In fact the word derives from "rascallion," which means rascal. I love these words because they all describe an awesome and delicious villain.

Villains are particularly good when they're mischievous and funny. In my novel about Santorini, my villain starts out as a rapscallion but sadly doesn't stay one. (He doesn't turn good, either.) Rapscallions don't always have to be bad, though. As the picture at right says, he can be "occasionally criminal." Han Solo is assuredly a rapscallion, but not bad. The word gives me an image of what he (because it seems that a rapscallion is always a he, no?) looks like too: on the thin side, wiry build...probably scrappy, and perhaps good with a sword. Foxy, in other words.

It seems pirates are often rapscallions. (Johnny Depp is certainly a rapscallion in the Caribbean movies, and oooooh what a rapscallion he is!) There's a rapscallion font, and it looks like a pirate font. Synonyms include scoundrel, rogue, scamp (scamp is a great word, too). It also carries a sense of old timeyness to it that makes it a delight to use.

Here's my sentence.

He looked into my eyes before turning to leap over the brick wall and make his escape--and for the split second the rapscallion held my gaze, I was his.

What's yours?

Last week I posted about dream-BFF Marian Keye's new book, The Brightest Star in the Sky (you know what, I'm going to just go ahead and presume to call Marian my BFF because I feel certain she would agree we were BFFs if she knew), and how when it ended, I was sad and regretted it. And then yesterday I posted about why--partly because of the amazing character portraits she painted.

Today we'll talk about likeable characters. I actually got this idea from a post Jessica Faust at Bookends did about likeable characters in literature. I think most of us will agree that likeable characters have the following traits:

• Strength
• Cleverness
• Dedication
• Charisma
• Humor

But those don't always make a character likeable. For me, I want a stand-out character, one who is strong in a way that jumps off the page. Maybe this means the character is slightly outrageous, or strong in his or her convictions. In the story I'm working on now, I have a character who started out as a peripheral friend to my protagonist. He served as the token unattainable, attractive male friend. Then he started saying the most unbelievable things! Even thought I had intended him to be a rapscallion, he was hugely likeable. And I went whoa, this guy is much more central a character than I originally thought. So, I gave him a subplot to work out for himself and I'm really pleased with the results. I knew he had a heart of gold in there somewhere.

And that seems to be what makes a character likeable no matter what the circumstance. If he overcomes a distasteful start-- in other words, overcomes his humanity, then he can really stand out. I want redemption of the sprint!

Some of the likeable characters discussed in Jessica Faust's post included Scarlett O'Hara, was a disgustingly selfish snot, but likeable because she had some really amazing reserves of strength that reminded me of a southern Energizer Bunny.

Someone else mentioned Humbert Humbert from Lolita. Bleeech. He is so repulsive in every way that I couldn't even finish the book. NO THANK YOU. I saw no likeability there unless he overcame himself, and I don't think he did.

Hannibal Lector. I like him. But then, I find cannibalism funny. He's also slightly redeemable--he seems to respect Clarice Starling and lets her go. I like him for that.

And the picture above of Ferris Bueller--the ultimate likeable character, one whose story revolved around being likeable. His own sister had her own subplot just to deal with his likeability. Was it the way he lip synced Danke Shoen on top of the float in downtown Chicago? Was it his ability to get out of anything? His sheer charm? All of the above.

Who are your likable characters and why?

Last week I posted a review of the (not even released in this country!!!) new Marian Keyes novel, The Brightest Star in the Sky. I said that I regretted the book ending. So what was it that captured my attention so well, apart from the usual mysterious elements Marian brings to each of her novels to make them so good?

Unforgettable characters
Some of them weren't even terribly likable, but there were some incredibly strong characters with amazing quirks. So quirky and so funny that I was thoroughly entertained. Chiefly, this consisted of Lydia, a diminutive taxi driver with a difficult family situation. Her manner of speech and her rage is just hilarious. She clear about who she is, and she's confident. Some of my favorites from her included a trademark "Ouuuutttttt!" when she didn't like a passenger, or when people were chatty, she would turn around and ask them if they had accepted Christ Jesus into their lives--with the Christ specifically coming before the Jesus for more impact (I think this is funny; she only did it on the assumption that people would stop talking to her). Or how her Polish roommates referred to her at the "evil pixie," and how she wasn't willing to stand for anything less than what she thought she deserved, or how she would tell people to "Up! Shut!" instead of a mere "shut up!" Lydia is just one example of brightly painted characters, but she was thoroughly engrossing. Loading your characters with strong traits makes them memorable and likable.
(Tomorrow we'll talk more about likable characters.)

Humor
Marian (who, as you know, I wish was my BFF) is very funny. She doesn't lay it on thick for the sake of trying to be funny, though. She gives her characters zingers throughout and they're so well-paced that by the end you can pick out some great places where you howled with laughter. I didn't howl all the time, just some of the time. Just enough.

Interesting situations
My BFF Marian always gives her characters high stakes and enough trouble so that you care about them and want to see what else they do by the end. I don't have any specifics on this, but it definitely translates into making sure your characters have a compelling enough story problem. If all your characters want is cooked spinach, mmmm, I mightn't care by the end, then. However if they want to, say, get over the hideous sexual attack they suffered that is totally ruining their marriage, then yes, I believe I might care.

An interesting overall premise
Marian, BFF of Sierra, has always had engrossing and smart premises for her novels. This one is no different--it's the premise that a being has landed in an apartment building and it will affect each of the tenants. It's a fresh way of handling a multiple POV story. Ask yourself: how many times has your premise been done before? In the case of my novel, I know without question that it's been done over and over. But I'm not sure the other accompanying elements have been done. I've hopefully freshened up an old trope.

These are but a few of the winning traits of the book. What are some of the winning traits you see in your favorite novels?

Here's my Google Reader roundup for the week, which is a list of the best posts I read this week for the blogs I subscribe to in my Reader.

• Editorrent on event sequences in scenes. This is such an important post. Look at the subtle way she recommends changing the scene if it doesn't end on a cliffhanger note.
  

• AND THEN LOOK LOOK LOOKIT!!! Editorrent answered my question the very next day! This means I'm famous! I was already famous, I'll have you know, because Van Halen used to practice next door to my aunt's house in Pasadena (or two or three doors down, whatevs) before they made it big. I am not a Van Halen fan, but this clearly makes me famous. Anyway I'm delighted they answered my question because it follows on the Scene events and I needed to know!!
  

• The Rejectionist has some important lessons for you from Terminator. As usual, delivered with passion and rage that we love the Rejectionist for.

• Roni's backstory tips, indispensable as always.
  

• The Jenny Rappaport Agency is closing at the end of the year. Sounds like she's not going to join another agency, either. She said "career change."

• By way of Janet Reid, here's a hi-LARious comic about writing.

• By way of Moonrat, the Guardian's List of Books of the Decade. (Remember that a decade is ending in a few weeks, yes?)

• Editorrent again on the concept of deep POV--I definitely learned something.

• Carrie Heim Binas on obsessions in your writing.
  

• Last but not least, Meghan Ward's very clear post on self-publishing. Please note all the places where she clearly calls crap out for being a scam. And then read the adamant comment left by a self-publisher in her comments. Peeps, listen to me. When you believe passionately about something, and you leave a comment or other editorial piece about it, keep your argument neutral and choose your words carefully. You wouldn't want to come across as insulting to the opposition. No, I know you wouldn't. Because it doesn't, um, sell you any books. Good lesson on what NOT to do in marketing. Knowmsaying?

I finished reading Marian Keyes's new book, The Brightest Star in the Sky, and I'm going to give you a wee review of it even though I don't usually do reviews,because I suffer from review-writing intimidation. Even if you would never read Marian Keyes, stick with me here because there is something very important about this book for all writers that I picked up.

For those of you not familiar with Irish author Marian Keyes, she is considered one of the mavens of the chick lit or women's fiction genre. What sets her stories apart is the focus on painful issues (rather than shopping), mixed with really delicious humor. Issues include depression, infertility, drug and alcohol addiction, grief, and physical abuse. This new one is no exception; Keyes takes on rape.

Let me first say that I am delighted to write this review right now because the book is not yet published in the US but I am impatient and could not wait for mid-January, so I paid more and ordered it from Amazon.uk. This suited me anyway because then I could be sure that editors wouldn't change any language for the US audience. I don't actually know if they do this with Marian Keyes books, but they sure as hollandaise sauce do it for books like Harry Potter. HP books (not to be confused with another British delight, HP sauce) which not only were given different titles in the US, but words were changed in what I believe was an attempt to dumb them down for us stupid Americans who couldn't be trusted to know a British word. Fine, many can't ("can't" in this case is the correct term!), but that's not the issue, it's the assumption. Digression. So anyway my UK copy arrived and it had no jacket! It was jacket-less! Instead, the hardcover was GOLD with STARS on it! (As evidenced by the above pic; the US version will look like this, which is hideously insulting in its difference.) It was delightful. Also it was the first print book I'd gotten my hands on that was overtly printed on recycled paper.

Now, The Brightest Star in the Sky starts off deliciously, with some kind of being popping in on the inhabitants of 66 Star Street in Dublin. We like this because the being observes things in a wonderfully-permissable omniscient point of view. But after that, we don't hear from the being for a while, except in different fonts. I found that a little disconcerting, but that is my only non-positive review.

The book follows several different characters through love, loss, and emotional growth (for some). It's hilarious often, but here's the thing--the part you care about. The book was great, as always--Marian is a veteran and it is expected (and I believe I've said before that I wish we were BFFs...maybe someday she'll read my novel and I can put a quote from her on the cover about how much she liked it and what a boundless talent Sierra Godfrey is...and then she'll blog about it and tell the world how she's discovered this amazing author, and we'll exchange Christmas cards and she'll send me Beleek china and Jo Malone candles, and we'll cite each other in the acknowledgment sections of our books, and we'll send each other our draft manuscripts for early feedback.... Anyway, there were a alot of characters and by the time the book eneded, I cared about all of them, and I regretted that the book had ended.

And that, mes amies (as Marian would say), is what makes a good book.

What do you think you can do to make a reader regret that a book ended?
Next week I'll blog about what it is exactly in The Brightest Star in the Sky that I think made me regret having it end.

This week's word is lavish. I love this word because it's wide and rich, and full of whatever it is. I find that it's best used when writing something extreme or silly, such as:

The man vomited in a lavish display over the curb.

I'm sorry to gross you out but the idea of lavish vomit is so funny (in theory only, please). In this sense, I think lavish adds description of the vomit that would be quite inappropriate to spell out: color, spread, and contents. No need for any of that; lavish takes care of it. I picture geyser-like sprays of sick, and...well, I think we have the picture here.

Lavish, when Googled, produces all kinds of pictures of curvaceous ladies and, inexplicably, candles. Why is this? Because the word implies a certain succulency, a certain idea of luxury, warmth, and extravagance. As you have seen, the use of lavish extends beyond these ideas since I chose to go with puke as my example sentence subject. And that is why I love the word.

What do you think about lavish? Can you use it in a sentence?