The Hemlock Notations

~ The writings of Faust S. Amazing

Tag Archives: Samuel Eden

I’m Prepared to Prepare for the Preparing

01 Monday Sep 2014

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beginning writing, getting started writing, hemlock notations, how to write, Samuel Eden, Superiority Complex, writers, writing, writing preparation

How’s everyone doing today? That’s good (and conversely: I hope it gets better).

Today I want to talk to you about preparation. This goes beyond making sure you have the power cord for the laptop and a refill for a Venti-Grand Pumpkin Seasoned Frappa-Latte hold the Whip. What I want to talk about is preparation for your story.

As with the actual writing process there are as many different ways to prepare for writing your story as there are people who write. We’re going to look at two of the biggest in this post and touch on some others. Research is a part of the preparation, but I have enough to say about just that that it will get its own post.

The first way of preparing is the outline. If you’re unsure how to outline something try this: http://web.psych.washington.edu/writingcenter/writingguides/pdf/outline.pdf . This is a PDF from the University of Washington, it’s straight and to the point. A good way to think of an outline is as a skeleton for your story. What you’re doing with an outline is putting down the bare bones of the story. You then use the outline as a road map, reminding you where the story was going when you first conceived of it. Many writers hang their hats on the obvious and genuine successful utility of an outline. It is a tried and true method of writing preparation. The upside of using an outline is that it is clear and easy to read, everything is right there for you in an order anyone can follow at a glance. The downside I’ve seen with the outline is that newer writers see the outline as an absolute. They believe that because it’s on the outline it has to be in the story, that if they have something as the third scene on the outline it has to be the third scene in the novel. The best advice is to remember that an outline is just prep; if by the time you have some/most of the story down and something you have in the outline doesn’t fit right (or at all) anymore don’t try to force it into your story just because it’s in the outline. If a scene works better later in the story than where you have it in the outline move it. The outline is a static thing, but a story is alive and grows listen to it as much as possible.

The second way of preparing is note taking. Basically this means as ideas about the story come to you you write them down in a notebook. Notes can be as detailed or as sparse as you want, as long as there is enough information down to remind you of what you wanted to say originally. Many writers jot down notes on anything they have at hand (one author-damned if I can remember who now-said he once wrote notes to one of his books in the margins of another novel), but most carry a small notebook with them for when inspiration strikes. I want to state now that this is the method I use. It just works for me because of the way my mind works. My notes will include a character list, with a few sentences about personality/role in the story/some history, but mostly there will be notes on scenes and lines that I thought were cool when I heard them/they came to me. Sometimes the notes for the scenes are a few lines (this happens, then character A does this, and character B is saved/abhorred/dead), sometimes I write the whole scene down because I like what comes to me originally and want to get it all down. The upside of this approach to prep is that it’s much more free form than an outline. It doesn’t come with the same stigma of rigidness as an outline. The downside is this approach can be far less organized than the outline; which means you may have to backtrack during the writing to put in a scene you missed because it’s buried in a page of notes. This happened to me once, I was three-fourths of the way through a story, looking for a note about a line I liked, and found a scene that was supposed to go in the middle of the story. As it turns out after reading the note on the scene I decided not to include it because it didn’t really fit the story at that point. So be warned that you can miss notes, and if you’re the type of person who is disorganized outlining might be a better way to go for you.

At this point I want to bring up that these two types of preparation are not mutually exclusive. There are plenty of writers out there who take notes and before they sit down to actually start writing organize their notes by putting them into an outline. There are writers out there who do outlines and write notes about scenes and characters on it as they go and the information fills in during the writing process.

And again these are not the only ways to prepare for writing. I’ve heard some writers say they just sit down and pound out pages when they get an idea and then go back and take out things and rearrange scenes when they’re done. This can be good for a short story, but I’ve found it hard to pound out a novel (eventually I’ll forget something, which is more annoying to me than taking the time to write down some notes).

I do have a point to make that goes beyond mentioning how people prepare for writing. The point I want to make with this post is: Preparing to write is not writing.

I want to share something with you. I’m acquainted with someone who calls themselves a part time writer. He really likes epic fantasy and so wants to write epic fantasy. A couple years ago, being polite and semi-interested, I asked him how his writing was. He replied that he had some notes for a new story he was excited about. I asked him what it was about, he mumbled a few sentences, and we went on our ways. A couple weeks later I saw him and again asked how the writing was. He replied that he’d finally organized his notes into an outline. That’s cool I said, and again ways were went. Couple weeks later, how’s the writing? He’d found a map generator online and he’d finally settled on a map for his world. Okay. Ways. This time it was a month before I saw him again. How’s the writing? He’s been working on detailed backstories for his characters so he knows how they’d react in any given situation. I stopped asking after that.

I’m not telling anyone specifically how they should write (I like to think of these posts as suggestions to help get people started). However at some point preparing to write your story becomes putting off writing your story. I know for me writing is my addiction. On days I write I’m happy and bouncy, but the longer I go without writing the more irritable I get. So the fact that this person was doing everything they could except writing their story seemed like they were afraid to write it.

So today’s piece of writing addiction advice: Don’t be afraid to write your story. You’re the only one who can.

Superior Free Stuff!

07 Thursday Aug 2014

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fantasyworldwriter.com, free stuff, Samuel Eden, Superiority Complex

Hey, All!

Just to let you know, I’m working with fantasyworldwriter.com for a promotion of Superiority Complex (my first book). If you go to his website and talk to him he can set you up with a free digital copy of the book if you promise to write a review about it.

This is a good chance to get a good chunk of writing from me if you’ve always wanted to but didn’t necessarily have the money to do it.

Enjoy the book, and good reading everyone.

Genres the Niche in Your Market

25 Friday Jul 2014

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Christopher Barzak, Christopher Merkner, F. Scott Fitzgerald, Genre Fiction, Genres, George R. R. Marten, Literary Fiction, Samuel Eden, Stephen King, writing

Alright, y’all, I recently got something stuck in my craw about genres, and what’s considered “literary,” and stuff. A few months ago in a discussion someone brought up literary fiction and the idea that it was a niche market unto itself since only a certain type/amount of people actually read it. The conversation didn’t really go anywhere because most of the people there were literary types. I guess maybe they thought it was a null point since everyone they knew reads literary fiction.

Over the next weeks the subject kept popping up, I couldn’t escape talk about literary fiction and what the people who read it thought about it and genre writing.

Clarification: For those of you who might not know according to Academia there are basically two types of fiction, literary fiction and genre fiction. Literary Fiction refers to books like: Jonathan Franzen’s The Corrections, F. Scott Fitzgerald’s The Great Gatsby, and Christopher Merkner’s The Rise and Fall of the Scandamerican Domestic. Genre Fiction (and this term is almost used in a derogatory sense) refers to books like: George R. R. Marten’s The Song of Ice and Fire series, Stephen King’s IT, and Christopher Barzak’s One for Sorrow.

Here’s my problem with the people in the Literary Fiction corner: they are continuously writing papers and articles about literature. In most of them there is a clear bias towards Literary Fiction and how so much better it is than Genre Fiction. They are clearly arguing that Literary Fiction rules while Genre Fiction drools.

This makes them a bit of dicks for two reasons. 1) This is a one sided argument, because most (not all) of the people reading these papers and articles are other Literary Fiction people (most of the Genre Fiction people are reading something fun). It’s easy to win an argument when you’re the only one arguing. 2) They want people to read but then they’re telling people that how they read is wrong. It’s like a person telling someone they need to eat to stay healthy, watching them eat, and then telling them how they eat is wrong and they should stop until they figure out how to do it better.

Not that there haven’t been salvo’s fired from the Genre Fiction side, and now here’s my two cents. The whole Literary vs. Genre Fiction argument is just plain dumb. And not just for the above reasons. The simple fact is Literary Fiction is a genre. Go into any bookstore or library. There’ll be a section marked Literature (it will be the section that’s empty or populated by some teens looking for a school assignment).

Genres whether they be literature, fantasy, horror, or mystery are there to help people find what they like to read. It’s really quite clear. That’s it. How hard would it be to find the book you want if you walked into a store or a library and it was just a big pile? That’s why some smarty said: “Why don’t we put them in order like the alphabet?” When there got to be too many books for this to be helpful some other smarty said: “Why don’t we group the books that are like each other in the same section and label the sections after the unifying theme?” Hocus-pocus genres were born. And how helpful they are too.

The point of this whole thing: find what you like to read and don’t let anyone stop you.

Not As Many As A Lost Princess But I Do Got Some LINKS

21 Monday Jul 2014

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AJ Sabino, Community, Fantasy World Writer, hemlock notations, Samuel Eden, Teen Ink, writing, Writing Community

Okay, so as you can see I have some links up on the page. I want to talk a bit about them.

First is AJ Sabino. AJ is the first person I met through a convention. He’s a good guy and a talented artist. He actually did the superheroine for the All Ameri-Con flyer this year. If you get a chance give his site a look.

Second, we have Fantasy World Writer. I met Matt at this past convention after sending some e-mails back and forth about him wanting to review my work. He’s got a review up for Superiority Complex that I think is more than fair. He’s a good guy. From what he told me he runs the website as an aside from his day job. And that’s why I love the Internet; it allows you to indulge in what you like/love/are obsessed with and find other people who like/love/are obsessed with the same thing. It’s a great place to build a community or find one. He doesn’t just do books either, he also reviews movies and television shows, and recently setup a calender for release dates on movies and shows and books. Go on over and join the community.

Thirdly of the new links: Teen Ink. A young woman at this past convention told me her story was on their website. After checking it out (search: Raven Darius, the story is Delusional), I spent some time bopping around the site. It’s pretty cool. It encourages teens to write. There ain’t nothing wrong with that. They have both a print magazine and the website. Again I think this is great because of the whole sense of community. When I was a teen and trying to find my voice through writing there really wasn’t anything like this. I’m a fan of anything that encourages people to write. So once again take a look at the site and be part of the community.

Now a word on future links, while I like the distinct lack of clutter on my website I can’t very well rave about building a community through the Internet and then not put links up on my site. So more links will appear, but there isn’t a set list or schedule for that right now. Just keep an eye out. Until next time.

2014 All Ameri-Con

07 Monday Jul 2014

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Akron Comicon, All American Cards and Comics, All Americon, Samuel Eden

Hey, All!

Just wanted to let everyone know that I had fun at the Con. Thanks to everyone for showing up and supporting comics, actions figures, and everything geek-tastic. For those of you who stopped by the table I had fun talking to you. I dispensed a lot of writing advice (and I hope that helped).

For those of you who picked up a card, and are visiting the site for the first time: WELCOME! There’s a free story here that I hope you enjoy, a brief bio of your’s truly, and tons more writing advice along the way. You’ll also find links to electronic versions of the stories I had at the convention if you’d like to take a look at those in your own time.

I just want to say that I’ve enjoyed my time at conventions thus far and it’s all because of the people (you guys and the organizers). I was hoping to head out to The Akron Comicon later this year, but was late in getting my calender organized so I’ll be missing it. I do want to give it a shout out though because it’s an awesome convention. You can learn more about it by clicking here. You can also follow them on the book of face.

I also met a few new friends who’ve inspired me to fiddle with the site controls and try to get some links going to their pages. So hopefully I’ve figured out how to do that by the time you read this post and you can take a look at them. Over there ——————————————————————————————>
I think.

Until next time, keep thinking good thoughts and writing good words.

The Uncle Karl Fix Pt. 2

21 Saturday Jun 2014

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beginning writing, editing, editing process, how to write, Samuel Eden, writing, writing advice

Okay, so enough people have said something about “Uncle Karl” that you’ve (begrudgingly) decided to take a look at the scenes he’s in. Hopefully there’s been a few days/weeks/months between you finishing the writing and you going back to edit. The reason for this is that time can help you get a better perspective on your story. I can’t tell you how many times I wrote something that made complete sense in the middle of the writing, but when I went back through editing I was like: Wait! What?!

So, you’re looking at the scenes with Uncle Karl. The very first thing you need to ask yourself is: What is Uncle Karl bringing to the scene?

Try to be as objective as possible. This will be difficult. Probably at some point during your re-read of the scene you smile because of Uncle Karl. It’s tempting at this point to go: Hey, I don’t know what they (your friends who have been nice enough to read your story to help you edit it and make it better) are talking about. Uncle Karl is great. I’m the cleverest motherfucker here.

Alright, stop right there. Now I’m not saying you’re not clever, and you may be the cleverest one among your group of friends, you might even be the cleverest motherfucker writing about what you’re writing about, but…BUT…what if you’re not? And even if you truly are the cleverest writer to ever write, if people are too distracted by Uncle Karl to notice then in the end it doesn’t matter.

So you’ve re-read the scene with Uncle Karl in it with the question, What is Uncle Karl bringing to the scene, on your mind. Now for the second question: What is the scene trying to accomplish? Thinking of this question re-re-read the scene. Now is Uncle Karl helping or hindering what you’re trying to do in the scene?

Obviously if Uncle Karl is helping then Uncle Karl gets to stay. If Uncle Karl is hindering Uncle Karl gots to go.

You have to do this for each scene individually. I must stress: DON’T GET RID OF UNCLE KARL IN EVERY SCENE BECAUSE HE DOESN’T WORK IN JUST ONE. The reason I bring this up is because Uncle Karl isn’t just taking up space on the page, he’s taking up space in the world of the story. You took the time for the story to have Uncle Karl in it so the story WILL have a hole to fill if you take him out.

This is actually a good segue into the coolest question of “The Uncle Karl Fix”: What happens to the story if you take Uncle Karl out completely? BA-BA-BUUUUM!

For instance what if Uncle Karl is hindering one of your scenes, but he’s there to introduce something that will be important later in the story? So Uncle Karl is hindering the scene but helping the story. Fair enough, but what does taking him out completely do for the story? What if taking Uncle Karl out forces the Main Character to be more proactive? What’s wrong with that?

What I’m trying to get at is that getting rid of Uncle Karl doesn’t have to be a bad thing. It can provide opportunities for the story to grow and move in directions you didn’t expect. From part one I mentioned my most recent “Uncle Karl” was that my story was from a character’s POV and that it just wasn’t working from their POV.

Yeah, I was upset. Something I wanted to do didn’t work. The story sucked. I had my maybe-they’re-just-not-smart/cool/into my genre-enough-to-get-what-I’m-trying-to-do moment, and once I calmed down I started thinking about the other characters in the story. When it occurred to me who’s POV it should be from all these ideas flooded into me about how I could play around with different aspects of the story, things that hadn’t even occurred to me the first time around, things that couldn’t have because the way the story was coming out. All of a sudden the story was breathing and alive again.

At the end of the day that’s all we, as writers, really want isn’t it? To have a story that’s fun to write and lives on its own.

The Uncle Karl Fix Pt. 1

06 Friday Jun 2014

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editing, editing writing, hemlock notations, how to write, Samuel Eden, Uncle Karl, writing

Okay, all the way back in March I talked about being objective about your writing and about the process of writing. As an example of objectivity I mention a character I called Crazy Uncle Karl and being attached to him even though he might not be the best thing for the story. If you don’t remember, or haven’t read, that entry go ahead, I’ll wait.

Now that we’re all caught up I want to talk in detail about the fixing of the Uncle Karl Problem. I want to clarify that the Uncle Karl Problem, as I like to call it because I like pithy names for things, doesn’t have to be just a character. It could be a character, a location, a scene, an object, or a concept. For instance in my most recently workshopped piece my “Uncle Karl” was the fact that I really wanted to tell the story from this one character’s point-of-view. It worked until about half way through the story and then because of the POV everything sort of doesn’t make sense and the people reading it had too many questions about what exactly was going on in the story, instead of just enjoying the story (which is really what I wanted). So the Uncle Karl wasn’t the character it was the fact that I wrote from that character’s point-of-view.

So let’s talk about how you know you have an Uncle Karl Problem. In the same post I mentioned that you should have more than one or two people read your stuff. It’s so you can more readily identify the Uncle Karl(s) in your story. For the sake of argument let’s say you have a group of six people to read your writing.

If one person in that group doesn’t like Uncle Karl: What are you going to do? You can’t please everyone all the time. Don’t worry about it.

If three people don’t like Uncle Karl: It’s a good idea to look at Uncle Karl. Maybe you can pull back on how crazy he is. Maybe only have him in the couple scenes no one really commented on him being in. At this point it’s a minor deal that people don’t like him. Still fifty-fifty is a good balance you don’t have to worry too much about him.

If four or more people in the group don’t like him: Okay, that’s a majority. I’m not going to lie to you it may be time to let Uncle Karl go. Look, he was fine in the first draft, you had a good time writing him, but if he’s getting in the way of the story he’s got to go.

At this point I’d like to disclaim that this system is just a guideline. I use this guideline and it helps me a lot in determining if something (or an entire story) is working or not. It is just a guideline though. It’s possible (very slimly) that you just so happened to beat the odds and stacked your writer’s/reading group with people who specifically don’t like Uncle Karl whenever he pops up in any story not just yours. It’s impossible to know that until you sit down and take a good hard look at Uncle Karl and what he’s doing for the story (suggestions and techniques on how to do this will be discussed in part 2).

Of course you don’t have to listen to your reading group. You can decide they don’t know what they’re talking about and not do anything with Uncle Karl. You are in charge of your writing. But then again, if you didn’t want their opinion why give them your story to read?

The All Ameri-Con 2014

21 Wednesday May 2014

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All American Cards and Comics, Amazon.com, Comics, Conventions, Samuel Eden

Oh, that’s right! Your favorite author will be attending this convention. So anyone in the Warren, O of the hio, area on July 6th should swing by the Packard Music Hall. I’ll have a table where I will be selling, and signing for those of you who’d like, copies of Superiority Complex and The Man With the Invincible Gun. Hopefully, I’ll also have a small book collecting the novellas I have on Amazon.com (presses willing). So come on down if you have the time. I won’t be hard to find; I’ll be the guy in the Hawaiian shirt. You can find out more information on the All American Cards and Comics Facebook page about the event.

And sorry that I haven’t been posting more regularly lately Life and things. I’ll try to get back on a schedule soon.

Until then, have a great summer!

I’m Coming to You Today FROM THE FUTURE

07 Wednesday May 2014

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how do I write, L. Ron Hubbard, Samuel Eden, writing, writing advice, writing contest

I’m so excited. My story, Warm Blooded, is getting an honorable mention in L. Ron Hubbard’s Writers of the Future contest. We’re all very excited here in the land of notating hemlocks.

If you haven’t heard of the contest (or have but have never taken a look at it) I encourage you to check it out. It’s a free to enter contest which is always good, and it’s judged by some of sci-fi’s top names. It’s also not just a writers’ contest it’s also for illustrators (if you’re into that thing). The contest accepts the longer-ish stories too so that’s also a plus for those of us that don’t have a handle on the short-short.

An honorable mention isn’t a win, but this means I can keep sending them stories until I do. And I hope you guys decide to join me.

The Subject of Objectivity; The Object that is Subjectivity

21 Friday Mar 2014

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hemlock notations, how do I write, literary blog, Samuel Eden, Superiority Complex, the writing process, writing blog

Being a part of a writing group is very insightful. One of the things it has taught me is that a writer can only be objective about other people’s writing.

That’s not to say it won’t make a person more critical of their own writing, but I’m going to be honest with you, it won’t be enough.

No one is quite as objective towards something as someone who has nothing invested in what they’re doing. After spending hours upon hours of figuring out your characters and your stories, and then hours upon hours of writing them and putting the story together the way you want it, there’s going to be a ceiling of objectivity for you.

This is absolutely fine. You shouldn’t be objective about your writing. It’s your baby. It’s a piece of you. At the end of the day we write because we have something to say. Let’s face it there are easier ways to get fame and money. So the fact that you can’t see that crazy Uncle Karl character is too clichéd and cluttering the scenes is to be expected.

What you have to do is stay objective about the process of writing. When you give your story to someone else and they tell you that crazy Uncle Karl is clichéd and clutters the scenes he’s in you have to be able to hear that critique, go back, and look at Uncle Karl with the eyes of your reader. Maybe the fix is as simple as just having Uncle Karl in the background; maybe the fix is fusing Uncle Karl with another character; maybe the fix is getting rid of Uncle Karl altogether.

The point is: you have to be open (and objective) about the process of your story’s development. To that end you have to pick the right readers. Inevitably our loved ones become the first ones to read our stories. This is good and bad. The positive: they have a vested interest in you and in encouraging you so there’s that. The negative: they have a vested interest in you and in encouraging you, so they might not be as harsh on your story as someone else. So be sure you’re having the right people reading, not that your loved ones shouldn’t read your stories, but you should have others too. You need other people to read your stories, because you’re going to need someone to be harsh on your stories for them to get better.

There’s an inspirational sports poster I remember seeing in my high school: Pain is weakness leaving the body. The same can be true of the harshness of a critique. The reason for editing is to get the best story possible.

Who doesn’t want to put out their best work?

So stay open to the process (no getting mad at people for helping). And remember, very few books are their best on the first draft.

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