Showing posts with label writing. Show all posts
Showing posts with label writing. Show all posts

Sunday, October 14, 2012

Here's the Story I Read at LitCrawl

I posted this story a long time ago, before it got an edit over haul thanks to awesome feedback from friends/family/professional writers who wanted me to stop with the puppy eyes and critique partners. Remember helpful feedback is appreciated, also did you know that it makes you look sexier? It does..



That Which Lies Inside
By Heather Eccles

I stared as the boys’ eyes twitched in perpetual motion, from side to side. He lay unresponsive on the hospital bed, while beads of sweat rolled down his small heart-shaped face and into his thick, black curly hair. The seven year old had been climbing a tree, playing and laughing with friends at his birthday party when he fell and hit his head. The Church scriptures said that was one of the ways that the demons could enter our bodies. Now the demon was killing him.
            His mothers’ shoulders shook silently as she grumbled prayers and held one of his small hands. Her eyes were hidden from me as she leaned over him but I could see the exhaustion and fear hanging from her body as she held herself ready to do anything, something for him. My stomach ached, as I looked at her. I hoped that I would be able to help him.

The noise of the electronic monitor reassured me as it beeped with metronomic regularity and I reminded myself that I had saved many people. I would do everything in my power to save this boy.  
            Without warning, the boy’s body began flailing violently in the bed. The soft monotonous beeping of the monitor shrilled into alarm.
Splatters of blood flecked around the boys’ mouth as he bit his tongue. His eyes rolled back into his head and his body jerked. I leaned over and put my weight on top of him, trying to hold him down so that he would not hurt himself more, after several minutes of thrashing, his body slumped and resumed its’ slack, vacancy. His pupils slid back into view like a dolls’ and resumed their rhythmic swing - side to side. The soft beep of the monitor returned. His mother’s prayers became sobs, as she looked at me frantically. 
“You have to do something!”  
I watched his chest over her shoulders. It moved up and down, a familiar counterpoint to the metronomic hideousness of his eyes. I nodded at his mother, “Yes, Ms. Gonzalez. We’ve tried everything else. I’ll have to try to force the demon out.”

Her eyes were full of fear and fire. Her tiredness was gone. “Do it. I don’t want to  loose him.” 
“Yes, Ms Gonzales. I’m sorry but you will have to stay for the ritual. He’ll need your strength.” I tried to keep my own concerns out of my voice but she must have heard them anyway, she looked at me sharply. “We must both give him our strength Father.” I nodded as my eyes slid away from hers. I had had too many patients die despite my prayers. I took a deep breath and told myself again that I could do the ritual. I had succeeded before and I would this time as well. 
Really, there was no option left, we had tried every conventional medical therapy - nothing had worked. I had to get the demon out. I would have to drill a hole in his skull to release pressure on his brain; the force of the demon inside him would kill the boy otherwise. The Church said that our prayers would then force the evil spirit out of the boy through the hole that I created. I hoped so, for both our sakes.
Guilt made me avoid looking into Ms. Gonzalez’s eyes as I explained what I would do. I didn’t believe in the Church as she did any more. She believed absolutely that the gods would help her son. I questioned whether the gods would or ever had helped my patients. Did they even exist? Perhaps, it had always been the medications and therapies I prescribed, not my prayers that had helped my patients. My faith and I were tired, deeply tired, right down to my bones.     
I starred at the boy’s sweet face and hoped that this would work. I knew what would happen if I were to fail to save him. I had lost several patients recently. There were rumors that I would be cast down; no longer allowed to be a healer-priest. I had given my life to help people but that didn’t matter if the gods refused to listen to my pleas. 
I rubbed the prayer beads I had in my robe’s pocket, they were as old as my time in the church, smooth and dark from my hands, their shine was long gone and lately I had not bothered to say the rites of protection over the beads. I rubbed them for comfort now. As was usual lately, I received no solace from holding them.       
The monitor beeped sharply to show that the child’s heart rate was increasing; a manifestation of the building evil in his skull or the swelling caused by the injury to his brain? Or were they were one and the same? I had no idea. 
            I unclenched my jaw and urged myself to get it over with. I turned to my aide and asked him to prepare for the ritual.
Later, after I had washed, put on my ceremonial robes and face paint, I returned to the boys’ room. 
His mother sat in her chair next to him. 
“We’re ready”. 
The muscles of her neck and shoulders were ridged as she jerked her head and rose to stand next to the boys’ head. 
I prepared my tools – intravenous antibiotics to fight infection, a blessed iron blade to shave his head, a stone borer, sanctified water to bless the demon out and to wash away the blood and bone fragments. My aide and I tied the boy’s arms and legs with leather straps to help keep him still. His mother held his hand, as he lay in the bed motionless except for his eyes, which never stopped moving. 
            Looking around the bed, I checked that everything was ready, took a deep breath and started chanting. The droning monitor in the background was the musical accompaniment for the ritual. 
The boy’s mother reached out suddenly with fingers of iron and grabbed my hand. I gasped and looked at her. Her eyes were shining with tears and something else. Her hand felt fever hot as it held mine. Her eyes didn’t move from her son’s face. I breathed deeply then restarted the prayer, stumbling over the next few words as I watched her out of the corner of my eye. Her eyes grew wider and bright. Her hand held mine incontrovertibly, tightening around my fingers with desperate strength. I felt her absolute conviction as I stuttered through the benediction despite the fact that I wanted to run away – something that I couldn’t understand was happening, something out of my control. The room began to feel warm around us. I finished the first rite. I could feel my sweat merging with the paint I had smeared across my forehead and cheeks to help bring my mind closer to the gods. As abruptly as the boy’s mother had grabbed me, she let go of my hand – tossing it away. I froze for a moment, unsure. Her eyes were still fixed on her son as her hands wrapped around one of his. I tried to swallow as I felt something in the room, something heavy and I shivered as I looked around but saw nothing. 
I forced myself to concentrate. There was no leaving now, this would either work or the boy would die. I leaned over him with the knife and cut off his soft hair, then came the blessed water running down his skull and onto his starched white sheets, last came the borer - sharpened bone that I twisted around and around into his skull as I sweated oily black paint. Drips of it fell into the pool of bright red blood that was forming around his head as I worked. 
I made the hole as big as my pinky. His blood finally slowed to a sluggish trickle and then stopped as I finished. During the whole procedure the only part of him that had moved were his eyes. I saw no sign of a demon. The heavy weight that had filled the room disappeared.
“Will he live?” his mother said afterwards. Her eyes were full of frantic fire and judgment. Her judgment scorched my faithless heart. 
I didn’t know what to say. I didn’t want to feed her hopes.
“I.. I don’t know. We have to wait.” I motioned to the aide to clean up and clutched the boy’s chart to my robe-covered chest as I hurried out of his room. 
Suddenly, a wave of burning cold descended over my body as I walked. I shivered and fled down the hall. The cold invaded my mind and seeped everywhere. I knew it would not let me go.  
The rhythmic beeps of the monitor echoed down behind me but I couldn’t hear them. I could only hear the sound of laughter echoing inside of me, deep down inside, as I ran away. 

 Finis

Wednesday, June 27, 2012

Baycon is still tasty

This is the second long post discussing writing panels that I attended at BayCon this year.

I attended the "Aspiring Writers Toolkit" panel with Maya Kaathryn Bohnoff, BookView Cafe (http://www.mysticfig.com/), Todd McCaffrey (http://pernhome.com/tjm/), Brandon Sanderson (http://www.brandonsanderson.com/) and Margaret McGaffey Fisk, Forward Motion (http://margaretmcgaffeyfisk.com/) as panelists. I 'm not sure what my expectations were for this panel. The con guide said that the panelists were going to discuss writing workshops (I've been considering going to one, although I'm not sure which one). I remember having the feeling that more would be discussed. I was right. I'll attempt to sensibly relay the info dump that ensued. If you have questions please comment and I'll try to clarify. I've been assured that this here interwebs goes two ways so I can answer you back.


Aspiring Writers Toolkit


On Workshops:

The first thing out of the panelists mouths was "go to Clarion". For those not in the know Clarion is a six week writing workshop for writers of science fiction and fantasy - yes, six weeks. If that sounds like boot camp, past attendees have told me that it is. If you google Clarion you will find a wealth of attendees' blogs discussing their experiences at Clarion. I like to read these because I want to know what they recommend to read and hear what they learned. Invariably, I find good stories to read as well.

Clarion West (Seattle): http://www.clarionwest.org/
Clarion (held at UCSD): http://literature.ucsd.edu/affiliated-programs/clarion/index.html
*Clarion South (Australia) - http://www.clarionsouth.org/  
*Unfortunately, Clarion South is on hold due to venue issues right now. I'm including the link to their website so that you can check out writing info on their website.*

Other recommended workshops were Odyssey and Viable Paradise.
Odyssey (Manchester, NH): http://www.sff.net/odyssey/
Viable Paradise (Martha's Vineyard): http://www.sff.net/paradise/

For those who like podcasts, Odyssey has free podcasts of some of their lectures available on iTunes - highly recommended! 

There was a short discussion of online writing resources like Holly Lisle's workshops and Critters (both were recommended).


On Feedback and Critique:


Brandon Sanderson - 
  1. When giving critique, say what is working in a piece first.
  2. When giving critique on a story avoid being proscriptive, be descriptive - explain how the piece made you feel, don't tell the author to change sentences or point of view, etc. It is up to the author to figure out how to respond to your statements on how the piece made you feel, giving criticism does not mean that you should tell an author how to "fix it".
  3. When receiving feedback: don't defend or explain your piece, write descriptions of how the readers reacted during the critique - this can be invaluable when looking over their feedback later.
  4. Look at feedback after you finish the draft you're on.
Maya Kaathryn Bohnoff - 
  1. Make sure that you know sentence structure, the purpose of the different parts of sentences and understand basic grammar. 
  2.  Don't be nice in your criticism, don't be mean. 
  3. Telling an author 'I don't like X' doesn't give an author enough information to help them resolve a problem in the piece - be descriptive in your feedback. 
Todd McCaffrey -
  1. You can over-workshop a story. Figure out when to stop workshopping a piece. 
Margaret McGaffey Fisk
  1. If you over-workshop a story the initial spark will die. 
  2. When critiquing, read the piece with the assumption that you will love it - this will affect your critique. 
  3. Practice writing synopses - write one as part of your critique of a story. It will tell the author what you thought the story was as opposed to the one the author thinks they wrote.


Writing Groups and Beta Readers


Brandon Sanderson -
  1. Writers groups are horrible at finding problems with pacing in books because they often read a chapter at a time. Beta readers are great at finding story issues like poor pacing because they read the whole thing together. He recommends that you use both for book feedback.
  2. Don't let the group get stuck or emphasize small problems that can easily be fixed like spelling errors.
  3. Don't workshop a piece until it's done - you may end up changing it to fix criticism and loose what made your story good.
Margaret McGaffey Fisk - 
  1. Writing groups want a lot of information up front about a book because they are reading chapters separately. They want the information so that they have context for the chapters. This can be problematic because they may miss things like pacing problems or plot holes. 
  2. Feedback summary notes from someone else at the critique can be helpful so that you don't miss something while you are listening to the critique comments.
  3. Writers groups can get stuck on the "rules". The rules are things like don't start a book with a prologue, don't use flashbacks, etc. Be careful not to let the group get stuck on these - they're not written in stone.
  4. Track changes and the different stages of critique on a story. 
Todd McCaffrey -
  1. Keep old versions of stories. Don't torment yourself by reading them, but keep them for reference. Come up with a naming system for your files so that you know which ones are old versus latest.

Books/How-to's on writing


Maya Kaathryn Bohnoff -
  1. Watch out for "How-to's". If a book lays out dogma, put it back. Everyone's process for writing is different.
  2. Read professional writers books on writing (Lawrence Block and Stephen King).
Margaret McGaffey Fisk -
  1. If a book on writing doesn't click put it down.
  2. Check when the book was written - look for more current books as times change so does writing advice and information.
Brandon Sanderson -
  1. Don't just read "How-to's" - write!
  2. Try a book, if it doesn't work for you drop it and keep trying.

Book recommendations:

Todd McCaffrey -
  • "Self Editing for Fiction Writers" - Renni Browne & Dave King
  • "Save the Cat! The Last Book on Screenwriting You'll Ever Need" by Blake Snyder - Todd said it was great for outlining.

Maya Kaathryn Bohnoff -
  • "Writing Great Screenplays for Film and TV" by Donna Cooper
  • "Danse Macabre" by Stephen King

All panelists recommended "On Writing" by Stephen King.


On Editors/Editing/Publishing

Maya Kaathryn Bohnoff -
  1. Edit as well as you can before hiring a professional editor. Get a beta reader before hiring an editor.
  2. It breaks Maya's heart when a writer doesn't want to learn craft and how to edit their work. If you hire a profesional editor try to learn from them how to edit.
  3. Make sure to check an editors past work and references before you hire them!
  4. There are two types of editors, freelance editors and instructional editors. Freelance editors fix the writing, instructional editors fix the writing and show you how to do these fixes yourself.
  5. On book doctors: book doctors are often hired by people who just don't want to edit their work.
  6. Be careful of what a freelance editor does to your story, it may not be what you want.
  7. Don't pay someone to look at or publish your book. You shouldn't have to pay a publisher (self-publishing is different obviously). 
  8. You shouldn't have to pay an agent - they take a percentage of sales.
Brandon Sanderson -
  1. Watch out for scams involving book doctors who work for fake agencies. Watch out for scams period!
  2. A reason to hire a book doctor would be to see what a professional editor would do with the book, other than that there isn't really a good reason to hire one.

General thoughts on writing


Maya Kaathryn Bohnoff -

  1. Deadlines are great. If you don't have one, make one up. It will help you write more tightly.

Contests

Brandon Sanderson -
  1. Be skeptical of contest fees. Check Writer Beware (http://www.sfwa.org/for-authors/writer-beware/) - it has info on scams.
  2. Some genres do have contest fees - romance for example. Research a genre to see what is normal before you pay.
Todd McCaffrey -
  1. Highly recommends that people enter the "Writers of the Future" contest - winners are well regarded (Todd was a judge this year).


That's the end of the panel comments. That was quite a bit of info for you to digest. I hope this was helpful. Again, if you have any questions please feel free to comment. Happy writing!






Friday, June 15, 2012

A bit of BayCon for writers - lean and crispy


BayCon was a few weeks ago and I've been trying to get this post done since then but alas and alack it didn't happen in a timely manner - apologies. I'm going to break this into two blog posts because there is a lot of information. Please enjoy part one.

During BayCon, I was able to go to a few writing panels and readings and meet up with some of the wonderful members of the Outer Alliance. I had a wonderful time. BayCon is held on the same weekend as WisCon, which is unfortunate for those who would like to go to both.

My first panel was Jay Hartlove's "So You Want to Write a Novel" panel on Saturday. Jay discussed getting publishing and gave a bunch of useful info in regards to getting a book written. He discussed getting his most recent book out, including some of the hoops he jumped through and choices he made regarding publishing before he went with Damnation Press (who he has been very happy with). You should go check out his book, it looks like a fun read - I'm always up for a good paranormal/horror. I've added it to my "to-read" list. Go check it out: "The Chosen" by Jay Hartlove

Jay gave us a handout with some words of wisdom on writing - the following bullets are from Jay Hartlove (http://jaywrites.com/) except those in italics, which are mine.

"Jay's Hartlove's Rules for Getting Things Done"

  1. You don't need passion to express yourself. For that you need skill. You need passion to get excited enough about a project to sacrifice doing anything else with your time.
  2. If an idea doesn't get you excited enough to see it through to fruit, then it probably isn't a good enough idea to spend your time on.
  3. Until real inspiration strikes, do exercises to keep your skill honed & to keep yourself in the habit of being creative. Collect ideas that can be used to develop an actual project once one takes shape. 
  4. Some projects aren't supposed to get finished. Many half-finished projects are better viewed as prototypes and exercises in skill building. Don't fret that they didn't get done, be glad they helped you prepare for when real inspiration hits.
  5. Something is better than nothing. A blank page is daunting. Don't be afraid that you are going to start in the wrong place. Even if you later decide your start is garbage, you will have started. Which is better than not having started.
  6. A nearly finished work can be as frightening as an un-started one. In both cases you are paralyzed by the fear that you are going to do the wrong thing next. You get over the finish-it fear the same as you do the start-it fear: you just do what next comes to mind, knowing that it is better to put down something you know you are going to change than to put down nothing at all. Because...
  7. They are just words on paper that can always be changed. What matters is the story you are telling and the effect you are having on your reader, not the words you choose. Words are the tools and the medium, not the message. Focus on getting the message right. Yes, good prose matters. Dialogue that sounds appropriate to each different character matters. But these are all just words on paper and you can go back and change them later if you want to.
  8. You know you're done writing when each time you go back to rethink a passage, you find you like the way you have it already written.
  9. You know you've done your job when your critics no longer comment on whether you have successfully communicated your message. They may love or hate your message, but if you have made it clear, then you've done your job. You can now move on to the next project.
* Emphasis is Jay's

Other points that Jay made during his talk were:
  • Have a clear mission statement - a one line synopsis of your story. The synopsis is not the moral of the story, it's an explanation of what happens.
  • This one happens to me routinely: Don't put too many stories in your story. Pick which story you are telling and stick with it. Jay isn't saying that you can't have multiple story lines, however they should converge to tell one main story. 
  • This is one I hadn't heard before: Write down every decision that you make for your story. If you decide that character A has an antagonistic relationship with his aunt and uncle - write it down along with your reasons for making this decision, so that you can stay on track or back track if you need to. I think I prefer to have character biographies and notes on plot, conflict, and setting instead of this. For me, comprehensive notes take care of the need to back track/stay on track around particular decisions but everyone has their way of doing things; maybe this is because I'm a pantser. Perhaps, I'll change my mind when I finally force myself to start outlining.
  • The end - refer to your mission statement to figure out the ending. Have you fulfilled your mission statement?
  • The hook - this means 'why this book'. A hook is what sets it apart from all the other books in the world and you need to know exactly what your hook is if you try to sell it to a publisher or get an agent.
  • Agents - write and practice a thirty second elevator pitch for your book. An elevator pitch is a 'what would you say if you had 30 seconds to get an agent interested in your book' speech. Jay suggests that you refine this speech until it's a diamond that an agent can't resist.
  • Jay discussed a blog post by Kristine Kathryn Rusch, in which she discusses how traditional publishing works, the effect self-publishing has had on the book industry and how all of this affects authors: The scarcity and abundance model. I highly recommend this article. It made a lot of things clear to me that I hadn't understood before about the publishing industry.
That is all for part one of my post, post BayCon info dump. Please stay tuned tomorrow for part deux - Baycon is still tasty.




Sunday, April 1, 2012

FogCon and writing

It's been eons since I went to a con. Last minute I decided to head on over to FogCon (www.fogcon.org). I was only able to attend for one day but it was worth the drive out to Walnut Creek to meet some fabulous people and learn some good stuff. Read on and benefit my dearies.

I hit part of the Occupy SF/F panel, Nalo Hopkinson's very fun & interactive presentation on children's games with Ellen Klages, an informative and supportive panel titled "You are Not Your Rejection Slips" and a panel on body image.

I have to say the "You are Not Your Rejection Slips" panel gave me warm fuzzies. It was nice to be in a room with other people who were writing which doesn't happen as often as I wish (I'm on hiatus from my writing group this semester). Hearing other writers talk about writing is like suddenly finding yourself in group therapy with other crazy people who don't think you are completely irredeemable while every non-writer acts as if you are, even if they love you. Non-writers do not want to hear about your plots, characterization, story arcs, your whinging, complaining and confusion because the words are acting differently on the page than the vision that is in your head and all of the myriad other writing blah-blah-blah's that our friends, loved ones, coworkers and therapists get deluged with. I'm guessing that it can be boring.
*My wife is now kindly and very firmly confirming that it can be boring.*
I don't blame her. I find it boring to listen to people obsess when I have no interest in their obsession. Seemingly, all most people who write become a bit obsessive over it. It's because it is so freaking hard to get it right! Well, it is for me, maybe it's easy for you but it's my blog dammit so I get to say it's hard for me.

Being in a roomful of writers was empowering. We were united in trying to get published, all of us were frustrated, disheartened and confused - strength in masses. The panel moderator was Cassie Alexander. The editors were John Joseph Adams (Lightspeed), Gabrielle Harbowy (Dragon Moon Press, http://www.gabrielle-edits.com/), and Christie Yant (Lightspeed). Cassie asked the editors one question that I have wondered about many times. Do editors actually read stories submitted by an author who has submitted previously and been rejected? The answer from JJA (John Joseph Adams) was yes, Lightspeed will read stories from people that have submitted hundreds of times even if they have rejected them previously. He said he always hopes that this story is the one that he gets to publish (it's happened several times before) and that as far as he was aware all editors of publications did. By the way JJA seemed like a genuinely nice guy. He went out of his way to say kind and supportive things. I'm sure he wouldn't accept a story if he didn't like it but I think that he tries to be fair and as considerate as possible about our babies that we throw to the wolves of possible rejection, which is really all I ask. Also, all of the editors on the panel said that they have had to reject well known authors - it really is about the piece, not the authors name. I imagine that that could sting for a published author. Rejection sucks for everyone regardless of experience.


Anyway, I've never submitted to Lightspeed but now I will as well as other markets. It was a great pleasure to meet Rachel Swirsky (seriously, a very nice person who was wonderfully informative and kind to this newbie) who told me about Ralan for spec fic markets (http://www.ralan.com/) and of course Duotrope (http://duotrope.com/) which is an amazing resource for finding markets for all kinds of writing. Duotrope is where I've found places to send poetry and literary fiction as well as spec fic. If you use Ralan or Duotrope to find markets please consider sending them a few bucks so that they can continue to help other writers. They spend a lot of time helping us, so give back please.

I had the great pleasure of getting to hangout with Charlie Jane Anders who did the best karaoke version of What is Hip? by Tower of Power that I have ever and probably will, ever see. It was epic.
It was also wonderful to get to meet Lisa Eckstein (http://www.lisaeckstein.com/), Juliette Wade (http://talktoyouniverse.blogspot.com/), Naamen Tilahun (http://naamenblog.wordpress.com/), Laurie Toby Edison (Body Impolitic: http://laurietobyedison.com/discuss/), Debbie Notkin, and Keffy Kehrli (http://kehrli.livejournal.com/) and the many, many other folks who I didn't get cards or info from but all of whom were full of the curiosity, kindness, imagination and intellectual force that make sci fi and fantasy conventions ridiculously fun.

Friday, August 26, 2011

Revising Short Stories: Building a Tree Branch by Branch

I used to find myself revising until my initial story had morphed - usually into a completely different story and one that wasn't coherent or well.. good. Frustrated and disappointed I would toss it in a pile and hide it away. I felt like I hadn't remained true to my initial idea for what I was trying to say and I had lost the threads that held the story together in the first place.

Many writers love revising - they think of it as the phase of writing in which the story really comes alive and manifests itself; where the story begins to breathe and interact with the reader. I'm learning to love revision as well although, it's a tempestuous relationship and I don't like her mother (she whines about my punctuation).

I've gotten a lot better at revising - practice creates improvement. I often wonder if I am killing good darlings in revision and I'm still figuring out when and why to axe things that aren't working towards making a strong story.

One of the exercises that I've been working on is one in which I revise a layer of craft at a time. If you consider each aspect of craft as a branch, as you revise and rework each one, you are creating a tree that is your story. Your branches will intertwine supporting each other. This builds a strong tree comprised of the different elements of craft growing together. All elements of craft should work together to make your story. Voice, characterization, setting, etc. are tools that work in service of the story and if one of them is not working you need to cut it off and revise that branch.

Many writers that I respect use this revision method so that they a) don't get confused and b) finish that aspect of craft to their satisfaction. I've done at least 20 drafts of one of the stories I'm working on trying this method out to see if it improves my writing. I did revision passes for voice, dialogue, plot, pacing, setting, characterization, and show vs tell. I feel like I'm forgetting some revisions in that list but hopefully you get what I mean.
I'd say overall this has been a very successful experiment. It allowed me to create a level of consistency that I hadn't experienced before in my stories. While it's been hard trying to control my desire for instant gratification (I want the story done NOW!), I've been really pleased and plan on doing this for every story going forward.

I'd love to hear about other writer's processes. Care to share some tips?

Friday, May 13, 2011

Thoughts on writing erotica

First off let me say I am not a professional writer. While I have been published (enabled by bribery), my lunch money only got me a poem in my school newspaper. So, this thought is based purely on my personal experience of being a beginner who is trying to learn the craft of writing.

A few years ago, I decided to try to write some erotica because an ex's ex-girlfriend randomly gave me a book of erotica with one of her stories in it. Inspired and gung-ho, I said loudly, "What the hell! I can write better than that!" As these things usually go, my story sucked -- sucked like that pitiful thing that some people call a movie, "Elektra". Not even the tasty red leather covered body of Jennifer Garner could save that movie. That was how bad this story was, except my story did not have red leather. Perhaps red leather would have helped redeem the story; however, I sincerely doubt it. Anyway, I realized how much it sucked and its successor as well. I apologized to my ex's ex for being an egotistical git and tried to write more because it was kind of fun and I'm stubborn. Now that I'm up to about twenty of the little darlings they have gotten...well, almost readable but they need a lot of love and kindness before I would let friends look at them. The reason I share this with you, kind reader, is because of a conversation I recently had with my wife in which, in a moment of insanity, I had her read one of the stories I had written. Strangely, my wife's first comment wasn't about the writing or the crafting of the story. Her first comment was, "You did a good job of writing how you like to have sex." Unexpected.

One of those canons of writing is 'Write what you know'. I hadn't actually meant to; I'd just written what I thought was sexy. However, I feel like I failed on the 'fantasy' part of writing erotica, specifically that part where we write not what we know but what we could or do want -- the unknown, the uncovered secrets of inner desires.

There is also a part of me that thought, "Yay, I wrote a good enough description that my lover knew exactly what I meant. I conveyed it." So, I'm glad about that at least, but it still feels a bit like I got a 'C'.

Anyone want to share their experiences with erotica? What do you think about writing the fantasy or reading it? Of course you may never know that the story is about how the author has sex, but would it change your reading if you did know that?