8.23.11

So close to being finished I can taste it. I've been in the same position for about six hours, I think. (creak) I want to be done so badly that I'm making myself stop, so I don't rush the end. A great work day today - I think by the time I'm done I will have added a lean 5,000 words to the book - clocking it in at just at 90,000 words. 400 pages. Perfect. That's exactly my goal for this one.

I always grow my books during revisions rather than shrink them. It's just how things have naturally played out with every manuscript I've ever written. So I always have to warn my editors beforehand - I come in short, but don't worry. It will be the right length when we're all done.

Have an interview to answer and one to give, so I'm going to keep this short so I can dive into them before dinner. I thought I'd leave you with this fascinating link to an interview Julia Stiles did about her time on Dexter. This was last season, when she played Lumen, who started as a victim, then reclaimed herself through vengeance. She's my all-time favorite character on Dexter. The 5th season's arc is a perfect example of how to grow a character.

THR: What was the most challenging aspect of playing a victim-turned-revenge killer like Lumen?

Stiles: I never think of myself as an actor who takes work home with them, but I was surprised, especially toward the end of the season -- around episode 10 -- when some of the details of what Lumen had experienced became really harrowing, and I started to realize that it was affecting me outside of work. One scene in particular, in episode 10, when the detectives have found DVDs showing what has happened to the victims -- it was really dark. It made it more difficult for me to sleep.

I am slowly conquering my nightmares, but it is nice to hear I am not alone when it comes to falling into the abyss.

Stiles' thought process is as close to my own as I've ever seen. Actually, her process mimics mine to the letter. She had to become the victim in order to play her, and of course, as a writer, you must do that as well, so you can truly allow the reader (or viewer) to experience their terror, and feel true sorrow for them.

And of course, you must be able to identify, even if it's just a tiny bit, with the killer.

Here's the link to the full interview. Enjoy.

See you tomorrow....

8.19.11

Lordy, I am so far behind today! I couldn't get online because I'd set my Freedom for four hours accidentally, a byproduct of that crazy 10K day.

But making great progress on the revision. This is the word by word pass, the last chance to make substantial changes pass, the I just used that word on the last page pass. Which means it's painstakingly slow. And slow doesn't fit my mood today.

I am happy! I am giddy!

I have absolutely no idea why.

C'est la vie, right? You never question those moments of happiness, you just shake their hand, say, "It's so nice to see you," and enjoy.

I did get a fun email this morning, which contributed to my good mood. The art for the May '12 book has arrived! It is stunningly gorgeous, very moody and different from the Taylor books' art. I keep having to remind myself that this is trade paperback art, which is different. I really like it. Sorry to tease, but there it is.

Also had a nice chat with my agent this morning. A check in call, just to touch base on a few things. He does that. It's nice.

Let me give you some unsolicited agent advice.

Pick one you're going to enjoy working with.

The agent author relationship is like a marriage. You need to find someone you're compatible with. Someone who gets you. Who will call and check in for no reason. Who you like. Who has YOUR best interest at heart. Who you trust.

Because if you don't trust him or her, you won't listen to him or her. And that's not good.

I happen to trust my agent implicitly. So that's a good thing. I like him too. He's cool. And he gets me, which is really nice. I can say bad words and tell naughty jokes and not wince. That's also very nice.

I happen to be one of those authors who doesn't need a lot of hand holding but sometimes my agent and editor like to hold my hand. So I have to let them. And that's nice too.

Had a blast from the past today. When I was in college, CLOSER TO FINE by the Indigo Girls was one of my favorite songs. I was really into Taoism, and fancied myself a great philosopher, so of course it would pique my interest. But I haven't heard it in years. I'm talking at least a decade. It came on the radio this afternoon and I started to sing, and remembered all the words. How is that possible? I have a horrid memory. And yet I nailed it - and the harmony too. Yay me! (I forget, there are new people here. I can't sing. Trust me on this. If I hit a note on key, it is truly a divine miracle.)

That's all, folks. I'll be working very hard over the weekend to get all the words in proper wordly order for the May '12 book. I plan to turn it in by Wednesday. Also get to have coffee with the insanely talented Paige Crutcher (@pcrutcher on Twitter) who is interviewing me for an upcoming magazine article. I can't think of a better way to spend a Saturday morning.

See you Monday! I'll trace my path to writing then. If you have questions, leave them in the comments. But I have one for you. What was your favorite song when you were 19?

8.18.11

Home again, home again, jiggity jig. If you laugh, you don't like figs.

According to The Writer's Almanac (if you're not reading it, you should - very cool) on this date in 1958, Vladimir Nabokov's Lolita was published in the U.S. to mixed reviews. Lolita is my all time favorite book. I read it for the first time in college. The opening lines captured me:

Lolita, light of my life, fire of my loins. My sin, my soul. Lo-lee-ta: the tip of the tongue taking a trip of three steps down the palate to tap, at three, on the teeth. Lo. Lee. Ta.

Wow. It's always amazing to me to see genius in action. It's a brilliant book. Highly recommended.

Hubby caught the flu whilst I was away, so I've been nursing him today, and finally settled in the the manuscript at noon.

Liz asked about the epilogue - I can say with all certainty that I am not writing the epilogue of the last Taylor and Baldwin book. Nor is it my first epilogue - almost all my books do have a semblance of post script - though THE COLD ROOM had an actual "epilogue" at the end. We usually don't use the term, simply because for some odd reason, some people don't read prologues or epilogues. Which strikes me as quite strange, because those are perfectly valid parts of the story. Would you ever skip the prologue or epilogue? I wouldn't.

But I will admit, this book is not a Taylor book. And that's all I'm going to say until after #7 comes out. : )

And to answer both Liz and Rachel - yes, I intend to rework that original manuscript as a prequel to the series, but not for another year or so. I think we all want to see how they got their start.

After the week of cake and pies and green chile and burritos and fish tacos, I need to eat clean. So this is what I had for my elevenses today:

Jamie Oliver's Pea, Broccoli & Feta Pasta Salad
(as seen in People Magazine, modified a bit)

Ingredients

• 1/2 lb. whole wheat penne
• 1 head of broccoli, cut into small florets
• 6 tsp. red wine vinegar
• 2 tsp. Dijon mustard
• 2 tsp. honey
• 5 tbsp. extra virgin olive oil
• 1/2 c. frozen peas, thawed
• 1/2 tsp. red pepper flakes
• 1/4 c. chopped fresh mint
• 1/4 c. chopped flat-leaf parsley
• 1 c. Athenos light crumbled feta cheese
• lots of sea salt and black pepper

Directions:

1. Cook penne in a pot of boiling salted (sea or kosher salt is best!) water according to package directions. Add the broccoli florets for the last three minutes of cooking. Drain and set aside.

2. Meanwhile, combine the vinegar, mustard, honey and olive oil in a small container (that has a lid) with a pinch of salt and pepper. Shake well with the lid on.

3. Toss the pasta and broccoli with half of the dressing in a large bowl. Stir in the peas and red pepper flakes and leave to cool.

4. Once the pasta is cool, add the chopped herbs and feta. Toss with the remaining dressing, add salt and pepper to taste, and serve.

Truly delicious - and good for you! Next time I make it, I'm skipping the mint and doubling the dressing.

Tomorrow is my day at Murderati - I'm talking about epiphanies!

8.17.11

Back on a plane this afternoon, heading home. I'm always sad to leave Colorado - and of course, my parents. But my life is in Nashville, and so to Nashville I go.

It's a three hour flight. With all I've done this week, now seems like a good time to write the epilogue for the May '12 book, so that's what I'll do. (And shhh.... I did download the new movie version of Jane Eyre...)

Donna asked about my beta readers. Betas are a very important part of the process for me. I don't like writing in a complete vacuum. Nine novels in, I have a lot of confidence in my work, but I still love to get feedback. My husband is my number one beta reader, my Dad is number two. I also have friends I've made along the way who read for me - my critique partner and literary twin sister, Jennifer Brooks, is my go to gal - and my comma cop. Laura Benedict reads for me as well - she is an amazingly accomplished writer whose opinions I trust implicitly. You'll see the dedication of WHERE ALL THE DEAD LIE goes to her - the book just wasn't working, and she made mention of something that made it all click for me. Joan Huston, a reader from the great Northwest territory, has been my beta from day one as well - she even read the first manuscript that wasn't ever published, so she's one of the few people who actually knows Taylor and Baldwin's backstory. And no, she won't share ; )

That's my core, those five. Now my newest critique partner, Paige Crutcher, reads, and I always farm out to some experts - a cop, a medical examiner, a death investigator, and a military man, just to make sure I get all the details right. Once I get everyone's opinions, then and only then do I feel ready to submit to New York.

I also do have a critique group. We meet every two weeks and bring 10 pages to read. That's a huge help as well - just to see if things are working.

Here's the deal: Having friends that you respect and trust is vital to your life, and that's especially true in writing, where hooking up with the wrong people can actually hurt your career. Nora Roberts said in her keynote luncheon speech at RWA last year that finding a cadre of friends you can trust, who you can travel this crazy path with, is incredibly important. I agree with that sentiment. I've been blessed to find some of my dearest friends in the literary world.

So with that in mind, a little something for you to nosh on - 11 Literary Friendships We Can Learn From

See you tomorrow!

8.15.11

Hope y'all had a good weekend. I did - got the first pass revision of the May '12 book done. Now it's on to the second revision.

In case you're curious, this is how things usually shake out - I do several drafts, my beta readers read it and give their input and corrections, I do one more pass, then sent it to New York. My agent and editor read the book, and give me notes. For this particular book, my editor and I talked at length over lunch about some issues he though could be fixed, then followed up with his thoughts in the manuscript proper. We use the editing functions in Word for this. That method was a big change from my first editor, who sent me the manuscript hardcopy with her notes in red pencil scribbled all over it.

But I've gotten used to it. I read through the manuscipt start to finish just to get an idea of what he had to say, then I start at the beginning and go through each comment individually - adding, subtraction, refining. That's what I've been doing the past few days.

I saw something last week that I wanted to share. It's from the writings of Andre Dubus II:

"A first book is a treasure, and all these truths and quasi-truths I have written about publishing are finally ephemeral. An older writer knows what a younger one has not yet learned. What is demanding and fulfilling is writing a single word, trying to write le mot juste, as Flaubert said; writing several of them which becomes a sentence.

When a writer does that, day after day, working alone with little encouragement, often with discouragement flowing in the writer's own blood, and with the occasional rush of excitement that empties oneself, so that the self is for minutes or longer in harmony with eternal astonishments and visions of truth, right there on the page on the desk; and when a writer does this work steadily enough to complete a manuscript long enough to be a book, the treasure is on the desk.

If the manuscript itself, mailed out to the world where other truths prevail, is never published, the writer will suffer bitterness, sorrow, anger, and, more dangerously, despair, convinced that the work was not worthy, so not worth those days at the desk. But the writer who endures and keeps working will finally know that writing the book was something hard and glorious, for at the desk a writer must try to be free of prejudice, meanness of spirit, pettiness, and hatred; strive to be a better human being than the writer normally is, and to do this through concentration on a single word, and then another, and another.

This is splendid work, as worthy and demanding as any, and the will and resilience to do it are good for the writer's soul. If the work is not published, or is published for little money and less public attention, it remains a spiritual, mental, and physical achievement; and if, in public, it is the widow's mite, it is also, like the widow, more blessed."

Some seriosuly sage advice there.

Tomorrow I'll talk about series arcs. Played golf with my dad this afternoon - didn't do too badly, either. Sunflower seeds were consumed. A corrolation? I'm just sayin'.