Tag Archives: blogging

D.B. Jackson, David B. Coe, Thieftaker Chronicles, Writing

Writing-Tip Wednesday: How To Handle Profanity In Your Writing

Have you watched the HBO series Deadwood?

It’s a Western, the creative child of the brilliant David Milch. It’s violent, brutally realistic, and absolutely the most profane thing I have ever watched, with the possible exception of the Academy Award-winning movie The Departed, (directed by Martin Scorsese, written by William Monahan).

I would challenge anyone watching Deadwood to record a full minute of dialogue in any episode that does not include an f-bomb, or some other curse. Over the three full seasons the series ran I suppose it’s possible that a “clean” minute exists somewhere. I would be hard-pressed to find it. As you might expect, some viewers are put off by the profanity. Check out online reviews of the series and you’ll find lots of people who want nothing to do with it because of all the cursing, and plenty of others who recognize the excellence of the characters, the imagery, the plotting, but lament the explicit language.

And then there are viewers like me. I LOVE the profanity. I find it poetic, and I felt the same way about The Departed. I believe there is an art to writing works that depend so heavily on strong language. While some may dismiss the profanity in Deadwood or The Departed as gratuitous, I don’t believe it is. I have seen and read other works that DID have gratuitous profanity, and you can tell the difference. For my part, I have never tried to write something with this much strong language, but neither have I shied away from using curses in my writing.

Every author has their threshold for explicit language, just as every author has their threshold for violent and sexual content. Friends of mine pretty much refuse to use any profanity at all. Others throw in a ton. Either approach is fine, so long as the author can make it work. But authors should also understand that, as with sex and violence, they also have to be aware of the predilections of editors and publishers.

The default in publishing these days is that profanity is accepted. Publishers or short fiction markets that DON’T accept manuscripts with curse words in them will generally say so in their guidelines. And, of course, we all know we’re supposed to read and follow the guidelines before submitting any work anywhere, right? Right. At one time, YA markets were assumed to be profanity free, but that rule is less strict now. Still take extra care when submitting to YA markets and understand that while mild swearing might be accepted, stronger language, including f-bombs, might not be. Works aimed at middle grade readers and younger audiences should be entirely clean.

Beyond that, the key things to remember include the following:

1) Profanity for its own sake is not good writing. I generally avoid blanket statements like this one, but in this case it seems appropriate. Just as sex and violence for their own sake, without any narrative or character-related justification, can ruin a book or story, so can pointless swearing. When is profanity justified and how much of it should you use? That will vary from author to author, story to story, even scene to scene. Only you can decide what’s right. But as with things like gore or erotic content, you need to consider your audience AND the characters you’ve created, and then decide what is appropriate for both. Beta readers can be enormously helpful in this regard. I have been working on a trunk novel recently that includes what is far and away the most explicit sex scene I’ve ever written. But the sexual encounter is essential to both my character’s journey and my plot and, therefore, it warrants the attention and detail it’s given in the book. I didn’t write it this way for a cheap thrill. I had a narrative purpose in mind. And that, I believe, should be the test for profanity as well.

2) Your setting also must be a factor in how you handle profanity. As D.B. Jackson, I write the Thieftaker Chronicles, a historical fantasy set in pre-Revolutionary Boston. Throwing in a bunch of f-bombs to a Colonial setting simply would not work. No one would believe it – excessive profanity would yank my readers right out of my world, which I don’t want. I have also written several epic fantasy series set in alternate fantasy worlds. Some of these do have a bit of strong language, but only in contexts that feel appropriate to the world. To my mind, having a foul-mouthed character in most of my fantasy novels would feel wrong; it would seem too much like OUR world instead of my characters’ world. I know of some authors who deal with this by creating their own profanities for their fantasy worlds. They can then have foul-mouthed characters without offending readers or risking too much of a “real-world” feel to their books. I think that is a brilliant and elegant solution.

3) Finally, remember that despite extreme examples like Deadwood and The Departed, a little bit of profanity can go a long way. Think about it the way you might think of hot pepper in your cooking. Yes, there are some dishes that are meant to be REALLY spicy, and you might love dishes like that. For the most part, though, REALLY spicy appeals only to certain palettes. Most people like some heat in their food, but not so much that their eyes water. Profanity is much the same. Masterful writers can get away with extreme language. They can preserve the other flavors in spite of the “spice.” For most of us, a softer touch is often the better approach. Our audiences will likely be more comfortable with the occasional f-bomb and other curses, but not with page after page after page of strong language.

Put another way, you don’t have to be Puritanical, but you don’t have to be fucking rude, either.

Keep writing.

Blogging, D.B. Jackson, David B. Coe

Monday Musings: Race — Again, and Still, and As Long As It Takes

This past week, I listened to an NPR interview with some Trump voters in Florida. One woman, who swore she couldn’t be a racist because she was of a non-Caucasian ethnicity herself, spoke of the George Floyd killing and the need “to get all the information. Like if he was doing drugs or something like that.” And I wanted to ask her, in all seriousness, what drugs could Mister Floyd have done that would justify a police officer kneeling on his neck for eight minutes until he died?

The Department of Justice this week released additional information about the shooting of Jacob Blake in Kenosha, Wisconsin. So, too, did the police union to which the officers involved belong. It seems that Mister Blake admitted to officers that he had a knife, and that a knife was later found in the car. And I would like to ask the police union and the DOJ, how big would the knife have to be to justify a police officer shooting Mister Blake in the back seven times at close range?

Yesterday, video surfaced on Twitter of Brandon Marshall, a former NFL All-Pro and current ESPN television commentator, having the police called on him by security officers in the subdivision in Florida where he had just purchased a new home. Mister Marshall’s name, apparently, was not yet on a list of people authorized to access the gated community. So the security guys, rather than checking with him, calling the real estate agent, or taking any number of remedial steps that could have cleared up the confusion, called the police. Mister Marshall’s children were in the car and witnessed the entire incident. Thankfully, no one was hurt. But I would like to ask the security guys – and I would hope they would answer honestly – would they have done the same thing if he was White?

I would rather be writing about puppies, or making a top ten list of my favorite Star Trek: TNG episodes, or finding new ways to call Donald Trump obnoxious and incompetent – because that never gets old. I don’t want to be writing about systemic racism yet again. And if I, as an ally, am tired of writing about it and drawing people’s attention to the problem, I can hardly imagine how exhausted my Black friends must be, not only by the conversation, but by living with yet another tragedy, with new aggressions small and large, with the constant emotional abuse that comes with being Black in America.

None of us who are White, no matter how empathetic or sympathetic, can begin to imagine what it is like. It is unrelenting. Try to think back on your worst moments of humiliation, of fear, of righteous anger at injustice directed your way, of frustration with slights that you cannot control and cannot escape. And then imagine putting up with those things all the time. Every. Single. Day. Maybe that comes close.

I’ve had online conversations with several friends the past few days. We’re all progressives, all terrified by the prospect of four more years of Donald Trump in the White House. And we were discussing a point made by a political commentator to the effect that some of the optics surrounding protests in D.C. and in Kenosha, and elsewhere – property damage, confrontations with police, inconveniencing city residents, etc.– might wind up hurting the Biden campaign. None of us want that, of course. But I have to ask of myself, if I were Black, would I care?

Yes, Donald Trump is a White supremacist; I believe that with all my heart. And no, Joe Biden is not. I think a Biden Presidency would be better for all Americans, and for non-White Americans in particular. But systemic racism has been around for a long, long time. Police have been persecuting Black Americans for a long, long time. Black Americans have felt the effects of these things under Republican Presidents and Democratic, under the first Black President, and under all the others.

Is “No justice, no peace” the most political convenient slogan for Democrats right now? Probably not.

You go tell that to the protesters. Because I can’t bring myself to do so.

I don’t have any answers. I didn’t earlier in the year, either.

I can say the words and mean them: Black Lives Matter.

I can and do try to explain to my White friends who don’t get it why it’s so important that we support BLM, that we set our privilege aside and recognize all the ways in which our society and politics and economy favor Whites over non-Whites, that we stop taking personally discussions of rampant racism in our culture. But that only gets us so far, and at a pace that feels glacial.

I can say to my Black friends, I hear you, I see you, I support you.

And I can say to all, please vote.

Blogging, David B. Coe

Photo Friday: Late-Afternoon Vista, and a Message

Last Friday, at the end of another week of work and screaming headlines, I spent my late afternoon, exploring our little college town, enjoying the golden light and ever-changing cloudscapes. As I’ve mentioned before, our town is perched atop the Cumberland Plateau, and we are fortunate to have several viewpoints that offer dramatic vistas of the valley and extensions of the plateau. This particular one, which faces north, is called Green’s View. Nancy and I lived a short walk from it many, many years ago, when our first daughter was just a baby. Despite the passage of more than twenty years, the view has remained stunningly beautiful.

This has been sad, painful week — another police shooting, more protests, another senseless act of gun violence, a national convention that offered little more than falsely apocalyptic warnings, blindly revisionist history, and a cult of worship for a man who deserves anything but.

And so I offer this simple image as a reminder — to you and for myself — that beauty remains in our world, that even as things seem to be getting darker and harder, there remain places of peace and solace untouched by the passage of years. We will get through this. Better days lie ahead.

I wish you a peaceful weekend filled with laughter and love. Stay safe, be kind to one another.Green's View, Late Afternoon, by David B. Coe

Blogging, D.B. Jackson, David B. Coe, Writing

Writing-Tip Wednesday: Writing Musically

It will come as no secret to anyone who knows me that I am a huge fan of The West Wing, in particular Seasons 1-4, when series creator Aaron Sorkin was writing nearly every episode, and his creative partner, Thomas Schlamme was directing most of them.

Sorkin talks often about writing musically, about bringing to his dialogue cadence, rhythm, motif, and even melody and refrain. Take a moment to watch this clip from one of the best episodes in the series’ long and storied run, “In the Shadow of Two Gunmen, Part II.” Listen to all of it, but pay particular attention to Ron’s monologue, starting at time stamp 1:15.

Notice not only the gorgeous cadence of all he says, but also the return to two refrains: “It was an act of mad men,” and, from earlier in the scene, “The Secret Service doesn’t comment on procedure.”

Often in these Writing-Tip Wednesday posts, I will offer advice that is concrete and easily implemented. This is not one of those posts.

Thinking musically about our writing is an abstract idea, but, I believe, a helpful and important one. I strive, in my dialogue and my prose, to find a musical cadence, to create a rhythm that carries my narrative along. We all know what it feels like to write a clunky phrase or sentence or paragraph. Hell, I’ve written entire chapters that were clunky. I would imagine some of my less generous reviewers on Amazon would say I have entire books that are.

But of course, it’s easy to say “write musically, think about rhythm and beat as you craft your stories.” It’s another entirely to explain how this is done. And I should pause here to say that simply repeating phrases in our writing doesn’t make us Aaron Sorkin. Sorkin is a master, and this technique works beautifully for him. That doesn’t mean we can repeat a few lines and say, “Hey, look! I’m writing musically!” Learning to write this way comes with years of practice, and even more years of reading. And the process is not easy to describe in concrete terms. The books of Guy Gavriel Kay, my favorite fantasy author, are incredibly musical – like symphonies. But I would be hard-pressed to tell you what specific things he does to achieve this. He just does.

Here, though, are a couple of tips that might help.

Let’s stick with that symphony analogy. Consider a movement from your favorite piece of classical music. No doubt its tempo varies from section to section: it has moments when the pace of the music quickens and others when it slows. Likely the dynamics vary as well, thundering in one passage, softening in another. If you’re not a fan of classical music, think about your favorite rock album. Chances are the rhythms and moods of the songs vary — an upbeat, fast track, followed by a ballad, followed by something moody and tense, followed by another rocker… You get what I mean.

Writing, to my mind, works best when it follows a similar pattern. Some writers like their entire novels to go at one speed — fast, fast, fast. They create one action scene after another, leaving readers breathless and, they hope, eager for more. That is a perfectly legitimate approach, but I don’t like to write that way, and I don’t particularly like to read books of that sort. I prefer to intersperse crescendos of action with quieter moments, pushing the plot forward and then allowing my readers, and my characters, to catch their breath and contemplate the implications of what has just occurred Some scenes must be breakneck and loud — absolutely. Others, though, should be softer, slower. A battle scene, followed by a spoken confrontation, followed by a love scene, followed by hand-to-hand combat, followed by a chase, followed by a key conversation, etc. The narrative flows this whole time — writing musically is not meant as an excuse to insert scenes that don’t advance your story — but sometimes it flows with cymbals crashing and sometimes it flows with the sound of a single violin.

Another way to think musically about writing: Again, think about that symphony or your favorite song. And think about the ways in which melody works. Some phrases end with the perfect note, resolving the musical tension; others end more discordantly, ratcheting up harmonic conflict and propelling the piece in question forward. Storytelling works the same way. I try to vary the narrative energy. I finish some chapters with a resolution of conflict; I end others by heightening tension, by leaving things hanging, by leaving my readers still waiting for that resolving note.

Rhythm and tempo, dynamics and volume, tension and resolution, harmony and discord. I find that these terms work equally well in describing musical performance and the written word. You might find that incorporating these concepts into your narrative will help you find the perfect pace and mood for your current project.

Keep writing!

D.B. Jackson, David B. Coe, Not at all Writing Related

Monday Musings: Political Rant, No Punches Pulled

Okay, serious question: When did the world get so insane?

When did people start believing wackadoodle conspiracy theories while refusing to believe that wearing a mask over their nose and mouth would keep them from spreading germs that come from their nose and mouth? When did they start believing a President who says that Democrats at the DNC refused to say “under God” during the Pledge of Allegiance, despite the fact that we have video showing them saying “under God” during the Pledge of Allegiance each night of the convention?

When did people who believe in strength and faith and patriotism start to worship a President who blames everyone else for his failings, uses churches and the Bible as props, and seeks help from foreign powers in order to win domestic election campaigns?

When did the richest country in the world, the self-proclaimed greatest nation on earth, become so clusterfucked, so dysfunctional, that it would find itself leading the world in Covid-19 cases and deaths?

How did this happen? I really want to know.

I hated Ronald Reagan – I know many consider him a great President and even liberal historians cite him as a hugely consequential one. But I was in college and grad school during his Administration, and I despised him. And yet, I cannot imagine Ronald Reagan letting Russia get away with placing bounties on the lives of American soldiers.

I hated George H.W. Bush, too. I cannot imagine him allowing efforts to protect people from a lethal virus to be hamstrung by liberty junkies and science deniers who put their own hang-ups before the public good.

I couldn’t stand George W. Bush and I believe he was a terrible President. I cannot imagine him coddling white supremacists, praising anti-Semitic marchers, demonizing immigrants and peaceful protesters.

I grew up in a Democratic household – we ALWAYS supported Democratic candidates for all offices. But we understood that having two vibrant parties made our nation stronger. Just like the Yankees need a strong Red Sox team to make their successes meaningful, so the two parties need each other to engender of productive debate over how to govern a sprawling republic. I cannot imagine the Republicans I recall from my youth – Howard Baker, Alan Simpson, even Barry Goldwater – tolerating, much less enabling, the malfeasance, racism, and disregard for Constitutional norms that we see from this Administration.

We have faced crises before. We have had Presidents of both parties who lied to us, who held beliefs that to this day make my skin crawl, who were overly partisan and too obsessed with their own electoral prospects.

We have never had a President who lied as frequently or as blatantly as this one. We have never had a President who was so willfully ignorant and lazy. We have never had a President who was so corrupt and who surrounded himself with so many crooks and liars and incompetents.

But beyond all of that, we have never had a President who demonstrated such utter disdain for the norms of republican government, for the Constitutional principles that have guided our elected leaders for more than two centuries.

America, it turns out, is far more fragile than we thought. Yes, we survived a Civil War, and a Constitutional crisis in the 1970s. But we are in danger of seeing our democracy collapse because this President recognizes no limits on his power and refuses to acknowledge that Congress and the Courts are co-equal branches of the government. Without respect for our institutions and governing laws, he will soon make us nothing more than another failed state, another moral backwater ruled by a kleptocratic despot.

That day, I fear, is far closer than any of us imagined it would ever be. This President is willing to use the Department of Justice as his own personal consigliere. He believes the armed forces exist to impose his will on the people he is supposed to serve. He sees in every act of governance an opportunity to enhance his family’s wealth. He has far more in common with the tin-pot dictators of what we used to refer to, in our arrogance, as “the Third World,” than he does with any of his predecessors. And his reelection would be a death blow to all that we Americans have held as sacred and good in our system of government.

These are the thoughts – the terrors – that consume me on this, the first day of the Republican National Convention. No, I will not be watching, thanks very much.

But I did watch the DNC last week. I have given to the Biden-Harris campaign. I have volunteered to write letters to voters in swing states on behalf of the Sierra Club.

What have you done?

Have a good week.

Blogging, David B. Coe

Photo Friday: Sunset Among Friends

Last weekend we had a socially-distanced get together with friends at the home of one of the couples. Their house, as it happens, sits right on the bluff in our little corner of the Cumberland Plateau, looking west and north toward Nashville.

It was a glorious evening. Cool, breezy, clear. During the course of the night, we were treated to the calls of Eastern Screen Owls and Great Horned Owls, a few beautiful shooting stars courtesy of the Perseid meteor shower, and this stunning sunset.

Best of all, we had a lovely evening with friends — talking, laughing, catching up, feeling at least somewhat normal in this time of historic abnormality.

Wishing you a weekend of simple joys. Be safe, be kind, take care of one another.

Bluff Sunset, by David B. Coe

Blogging, Case Files of Justis Fearsson, D.B. Jackson, David B. Coe, Islevale Cycle, Writing

Writing-Tip Wednesday: Let’s Talk Trunk Novels

A good idea remains such, regardless of the market and our inability to execute that idea when first it comes to us. Sometimes we need to grow into the ambition of certain projects.

Let me tell you about my trunk novels. Not all of them – that would take a while. But I have two in particular, the first two books of what I once thought might be a three- or four-book series, that I have been working on for the past week or so.

Many of us have trunk novels and don’t even know it. For those unfamiliar with the term, a trunk novel is a book – complete or partial – that we worked on for a time and then put away, for any number of reasons. The idea is, we shove them in a trunk somewhere – metaphorical? Metaphysical? – and try to forget about them.

Sometimes we put these projects away because we can’t sell them. Sometimes, we are so convinced that the books are deeply, deeply flawed, that we don’t even try to sell them. Sometimes we get feedback on the books – suggestions for revisions – that we’re unwilling or at least not ready to implement. Sometimes we write something, but the market is not right at that moment for the book in question.

I put these books away for several of those reasons. I LOVE the first book, but the market wasn’t right for it. And while I thought it had some great moments, I also knew that it needed serious revision. The prose needed tightening. It had too much exposition, which was slowing down sections that should have been punchy and concise. The second book… well, the second book was a hot mess. Again, I liked elements of it, loved certain passages and plot twists. But I never did figure out the ending. I knew it needed to be torn apart and put back together and I had neither the patience to undertake such a massive rewrite nor a concrete vision of what I wanted the book to look like.

I wrote these books several years back, and around the time I might have forced myself to tackle the revisions, we sold the Justis Fearsson series. Into the proverbial trunk they went. I got them out a couple of years later, but then we sold the Islevale novels and I shut the lid on the trunk once more.

Now, though, with the Thieftaker novellas in edits, with other projects lurking but failing to excite me, I have opened the trunk once more and taken out the books, determined this time to do something with them. My old impressions of the novels remain intact. I still love the first book, but see serious problems with the writing and the excess exposition. And I still see potential in the second book, but it remains a train wreck.

What are the books about? Well, they’re sort of a blend of Celtic fantasy and urban fantasy. Hence the marketing issues. Urban fantasy is well past its peak, and Celtic stories have long since flooded the market. There is no strong demand for either. That doesn’t mean, though, that there won’t be again. Or that my readers wouldn’t be interested in new novels, even if they are not on the cutting edge of what New York publishing considers “hot” and “trendy.” Self-publishing and small press publishing make it easier than ever to bypass the marketing gatekeepers and reach our readers.

Because, while the books need work (I’m about 20% through the revisions on book I), they are engaging and fun. I love my characters, I love the magic. I love the snark in the dialogue and the relationship between my two heroes (both women, one looking to rebuild her life, one bored to tears with hers). There is lots here to like. And the books might make a very nice premium for readers if I wind up creating a Patreon.

These posts are supposed to include tips for those of you trying to establish yourself as writers, and so here goes:

Chances are, you have trunk novels, too, even if you didn’t know them by that name. As writers we ought never to throw anything away. Yes, there are books and stories in my trunk that are irretrievably bad, that will never, ever see the light of day. But there are others that, despite their flaws or lack of market viability at a given time, represent quality work. I’d wager you have books like those, as well.

Don’t give up on those books. I know plenty of people who have sold trunk novels five or ten or even fifteen years after they first wrote them. A good idea remains such, regardless of the market and our inability to execute that idea when first it comes to us. Sometimes we need to grow into the ambition of certain projects. Sometimes it just takes time to figure out where a story ought to have gone.

And in the meantime, reading those old stories and books can tell us things about ourselves as writers. We can see our own growth, recognizing the mistakes and shortcomings of things our younger selves did. And we can also see, from the distance of years, with fresh eyes, the raw potential and effective moments of stories we soured on long ago. Those insights have value in and of themselves, even if we decide in the end that those trunk stories still belong… well, in the trunk.

Do you have trunk stories and books? Might it be time to dig them out and take a look?

Best of luck, and keep writing!

Blogging, D.B. Jackson, David B. Coe, Writing

Monday Musings: How Are You Doing? How Am I Doing?

How are you holding up?

No, really. I’m asking. I’m asking you, and I’ve been asking myself over the past week or so.

This is a remarkable time we’re living through. Obviously, I don’t mean remarkable as in “This is great!” But remarkable as in, “We’ll be talking about this, and recovering from this, for years to come.” It is fraught and troubling and disorienting and challenging and, well, insert your own adjective here. I tend to be a news junkie; I rarely tune out the world. But I know many people who do, who prefer to keep politics and social issues in the background except for those moments – Election Day, for instance – when they feel they need to tune in.

Right now, though, we are living the news on a daily basis. There is no escaping it. There seems to be no distance between the world and our lives. There’s a direct line from those Covid maps on CNN and MSNBC and the cloth masks we put on to shop or go to the bank. Nor does it help that the Administration, which has failed utterly to develop a strategy for combatting the pandemic is, nevertheless, more than happy to exploit it in the most cynical ways possible for political gain.

But I have addressed those issues in past Monday Musings, and I’m sure I’ll do so again in future ones. Today, I’m focused more on the personal costs.

How am I doing? Thanks for asking. As I say, this is something I’ve been asking myself recently.

I’ll start with this: In all ways that matter I’m fine. My family and I have been fortunate so far and have avoided the virus. I am also fortunate in that I’m self-employed and have resources to fall back on even as the publishing industry has ground to a halt. I’m white, upper-middle class, and I live in a relatively isolated area. For those who are non-white, who lack financial security, who live in cities or crowded suburbs, all of this is far, far worse.

That said, I find that I’m struggling. I miss my kids, who I haven’t been able to see in months because of Covid concerns. Our older daughter is supposed to come pick up our old car tomorrow – our first time seeing her since December – but even this visit will be brief (just the evening) and distanced. Our other daughter we haven’t seen since March, and even that is far too long. I also miss my brother and his family, who we likely would have seen at some point this summer or fall.

I honestly don’t mind masking at all, but I miss seeing people – friends and even strangers. I miss going to a restaurant or bar. I miss travel. Problems of privilege, I know, but I’m being honest here. I really miss conventions – hanging out with friends, talking shop with fellow writers, interacting with fans. This past weekend, I was supposed to be in Calgary for a writing festival. A couple of weeks from now I am supposed to be in Atlanta for DragonCon, a highlight of my professional year. I work alone, and most of the time I enjoy delving into my imagination each day. That’s my job. These days, though, it feels particularly lonely.

I walk every day, but I miss my more vigorous workouts at the gym. And because I’m dealing with an unrelated medical issue that is affecting my shoulder, I have had to cut way back on my home workouts as well, which I find deeply frustrating, even depressing.

Mostly, I am weary of thinking about the pandemic, about the politics of the pandemic, about the logistical gymnastics we all have to go through for even the most mundane of errands because of the pandemic. This is exhausting – and way more so for those who have compromised immune systems and/or belong to at-risk groups. It would be terrifying if we had no health insurance, or lacked faith in the medical professionals in our area. Again, I recognize that I am very fortunate.

(And this, by the way, is what makes the Trump Administration’s mail-system machinations and its blindly foolish insistence on opening schools — just to name two of its worst offenses — so insidious. We are, all of us, dealing with heightened emotions, tensions, apprehensions. I can hardly imagine being the parent of school-aged children and, on top of everything else, worrying now about sending them to school.)

I get mad at myself when I am less productive in my work than I would like to be, or when I let everyday chores slide. The truth is, I should be cutting myself a bit of slack. We all should. The stress induced by this particular moment in history in unlike anything I’ve experienced in my lifetime. To my mind, it is rivaled only by the aftermath of 9/11.

I am, in the end, tired of it all. And I’m tired of whining about it. But for all of us who care, who take the threat as seriously as it merits, this is hard. I have no answers, no wisdom to dispense. As I said, I’m struggling, too. I do believe life will get better. I won’t say I expect us to go back to the old normal, but I expect the new normal – whatever that looks like – to be far more enjoyable than this.

Until then, please know that I am wishing all of you good health, simple joys, moments of peace and laughter and love. Stay well, be safe, take good care of one another. We will get through this.

Blogging, David B. Coe

Photo Friday: Thinleaf Coneflower

Happy Friday, all. Another week has drawn to a close — another spate of news, some of it maddening, some of it tragic, some of it uplifting. And another set of work tasks — editing, writing, revising, online convention panels. Even stuck at home, with the pandemic continuing to tightly circumscribe my life, I feel that from week to week I’m doing different things and struggling with new emotions.

The one constant in my routine is my morning walk. A bit over three miles on the rails-to-trails path not too far from our home. This week, I found a bloom I hadn’t noticed before. Superficially, it resembles the Black-eyed Susans blooming in Nancy’s garden, but it’s substantially smaller — the plant itself and the blossoms. A bit of research leads me to believe this is Thinleaf Coneflower, but I could be wrong.

Whatever it is, it’s beautiful.

I wish you a wonderful weekend. Stay safe, be good to one another.

Thinleaf Coneflower, by David B. Coe

Blogging, D.B. Jackson, David B. Coe, Writing

Writing-Tip Wednesday: Short Fiction Anthologies — When Does an Idea Become a Story?

Galactic Stew, edited by David B. Coe and Joshua B. Palmatier What is the difference between an idea and a story? It sounds like a basic question, but we have just begun the Zombies Need Brains Kickstarter for the coming year’s anthologies, and once again I am hoping to co-edit one of the collections. (This year, I co-edited the Galactic Stew anthology; last year it was Temporally Deactivated. I also had stories in both, writing as D.B. Jackson.) In past years, one of the most common issues we have found with submitted stories is that they fail to move beyond being an idea. They introduce a concept, often an intriguing one. But that is all they do.

Hence today’s post.

Temporally Deactivated, edited by David B. Coe and Joshua B. Palmatier I have touched on the subject of creative ideas in other Writing-Tip Wednesday posts this year (here and here), and I have also spent a bit of time on tips for short fiction writers (here). Today, though, I would like delve in a bit deeper, in order to spell out what distinguishes a story from a partially developed idea.

Let me begin with this: Every successful fictional story blossomed from an idea. Not every idea yields a story. That’s just fact. Some of the “best” ideas I’ve had kind of fizzled out before becoming anything close to a story. I find this frustrating of course. I expect all writers must. But, as I say, it’s simply the way it is. Some ideas “have legs,” while others don’t.

The problem comes when we write an idea and submit it as a story. Not to be too simplistic, but a story has a beginning, middle, and end. It involves characters and emotion, and it carries those characters through changes that a reader can trace. Too often when reading through submissions for past anthologies, I have encountered pieces that introduce a concept and a set of characters, but do no more than that.

Let’s take a for instance: The theme for this next anthology I’ll be co-editing is “Derelict.” We are looking for stories about abandoned or wrecked ships, be they sailing vessels, spacecraft, or something else that we haven’t even considered. Someone might come up with an idea for, say, a haunted shipwreck (and I would urge you to look beyond this for an idea — we are going to get LOTS of haunted shipwreck stories) that traps the unwitting and makes them permanent members of the ghost crew still onboard. Cool idea, right? But what are we going to do with that idea? It’s not enough simply to show us a character being ensnared in this way. That is no more than an illustration of the idea.

It becomes a story when we follow a character through that transformation in a way that dips into emotion and creates a true character arc. Perhaps an elderly woman has come to an island from which her grandfather once sailed a hundred years before. She was estranged from her parents while they were alive, and has lost her siblings to age and disease. She seeks some connection to the family she has lost. Knowing that her great grandfather died here on the island in a storm a century ago, she goes out to the site of the wreck. While there, she realizes that ghosts still inhabit the ship, and venturing closer, she sees a man she recognizes from ancient family photos or portraits. She makes contact with him, but that isn’t enough for her. In the end, she chooses to join that crew and become a wraith like her grandfather, seeking in that ghostly partnership solace for all she lost in life. THAT would be a story. (In fact, maybe that will be my story for the anthology…) We have taken an idea and turned it into a narrative that has emotional weight, that allows our point of view character to develop and progress.

Coming up with the idea is only step one in a far more complex process. We want to think of the most unusual, emotionally potent way to express that idea. And, I would add that this is not something we can usually do in five hundred words, or a thousand, or even two thousand. I don’t like to say that word count is essential to a story, but the fact is true flash fiction is VERY hard to do well, particularly with intriguing speculative fiction ideas. It CAN be done, of course. But generally speaking, full development of an idea for a themed anthology — into a story that touches on emotion, that traces a meaningful arc for our main character or characters — demands that we write more than a couple of pages.

I would urge you to think about this as August gives way to September, and the open call for the Zombies Need Brains anthologies approaches. In the meantime, the Kickstarter is well underway. In our first week, we have already funded well beyond the halfway mark, which bodes well for the ultimate success of the campaign. But please consider helping us out. We have a great roster of anchor authors, and our list of authors chosen from open submissions could include you!

Best of luck, and keep writing.