The Adulterous Life of the Writer

Jay Faulkner resides in Northern Ireland with his wife, Carole, and their two boys, Mackenzie and Nathaniel. He says that while he is a writer, martial artist, sketcher, and dreamer he’s mostly just a husband and father. His work has been published widely, both online and in print anthologies, and was short-listed in the 2010 Penguin Ireland Short Story Competition. He is currently working on his first novel. Jay founded, and edits With Painted Words, a creative writing site with inspiration from monthly image prompts, and The WiFiles, an online speculative fiction magazine, published weekly. He can also be found as a regular co-host and contributor on the Following The Nerd radio show. For more information, check out jayfaulkner.com or follow him on Twitter at @thejayfaulkner.


Clocks slay time … time is dead as long as it is being clicked off by little wheels; only when the clock stops does time come to life. ~ William Faulkner

Hi there, my name is Jay and I’m a writer. I thought that it would be best to start this guest blog off with a simple introduction and that seemed quite apt. Except that isn’t quite true. You see if I was to tell you what I am – and being honest – ‘writer’ would come some way down the list of things. First and foremost I am a husband, to the beautiful Carole, and father, to my two wonderful boys: Mackenzie and Nathaniel. After that I am a worker, for which I travel about 90 miles a day and put in about 45 hours a week. I teach two martial art classes a week. I’m a regular co-host and contributor on a weekly radio show. I’m part of the Northern Ireland Rare Disease Partnership, where I do social media work and try to raise awareness of issues facing people with rare diseases. Oh yes, and I write.

I occasionally like to sleep as well.

There are the lucky few who are able to put the ‘writer’ tag at the top of the parts that make their sum, so to speak. The ones who have worked hard, and caught a break or two, and now write full-time, for a living. Then there are the others – the ones like me – who are writers after everything else has been taken care off. The ones who grab whatever time they can to sit down in front of the keyboard and knock out the words that have been swimming in their heads whilst everything else is going on.

You see I might put everything else that I do, that I am, before the ‘writer’ part but I can honestly say that I go to sleep thinking about words, plots and characters; I wake up thinking about protagonists, antagonists and even tritagonists … though, admittedly, when it gets that far I have to do something as my mind gets far too crowded! I have notepads in my workbag, in my martial arts bag, in my jacket pockets even. I have electronic notes on my phone, on my email, on my laptop and on my PC. I have notes that never make it out of my head to anywhere else.

Because, even when I don’t have time to write – when I am busy being a husband, a father, an employee, a teacher, an advocate or any of the other things that fill my life – I am thinking about the words that are yet to come.

I used to think that the adage of a writer having to write each and every day, to set a word count and hit it no matter what, was the right thing to do; that without doing so you weren’t a writer. I used to feel frustrated if I couldn’t meet the word counts I had set myself, or wasn’t able to sit down for a solid couple of hours each and every day, and write. I used to feel guilty when I did take those hours, each and every day, because I could hear my children playing outside, or missed a social engagement with my friends. It got to the point where I was making excuses about what I was doing:

“Do you want to come to the cinema tonight, Jay?”

“No thanks, I’ve got a meeting in the morning to prepare for.”

“Did you get a chance to read that report last night, Jay?”

“No, actually, I went to the cinema with some friends.”

I’d actually done some research into men who go to any lengths when having an affair. They lie to everyone around them in order to fill whatever part of them it was that wanted to be with someone else. Eventually they even began to lie to themselves about what was going on, perhaps believing their own untruths.

And, just like a mistress, writing became my own guilty secret. Rendezvous with the laptop at 1am in the morning when everyone else was asleep; the notepad taken out, discreetly, and words fumbled between the tedium of project updates; a text message, or email, sent to myself in the middle of the night, hoping that my wife wouldn’t wake up with the glare of the phone as I sent my other love another furtive ‘quickie’.

To meet the spurious targets I had set myself, in order to satisfy myself that I was still a writer; I entered into an illicit affair with my Muse.

And then I caught myself on. I realised that it wasn’t something real, something tangible, I had with my Muse anymore but, instead, furtive moments in the dead of the night where neither of us were ever truly satisfied. I wasn’t living up to Her expectations at all: I wasn’t going the distance for her, in terms of time or words.

… yeah, I know, it happens to everyone and She was quite understanding about it really but one’s masculine ego does take a bashing the first time, in the middle of the night with the sheets wrapped around you, you can’t finish what you started.*

Something had to give and, finally, it did.

My ego.

I realised that I don’t have to write one thousand words a day, each and every day. I realised that I don’t have to try to ‘fit in’ my writing amongst everything else and try to keep up the pretence that I am a writer above everything else. As long as I write, to the best of my ability, each and every time that I can, then that is all that truly matters because, after all, a satisfying fifteen minutes is better than a wasted hour.

So, at the end of the day I am a husband, a father, a worker, a teacher and many other things too. Amongst them all – the parts of my sum – I am a writer. My family accepts that, and supports it, as do I.

My Muse is still happy to tease me, to call me at all hours of the night and day but, ultimately, knows that I will always be Hers, no matter how much time I get to spend with Her; She no longer watches the clock.

As long as I continue to write for Her, of course.

And I will.

– Jay

*I was talking about a short story, you filthy minded people! ;)

Tie-In Novels as Historical Fiction

Dave Gross is the author of Prince of Wolves, Master of Devils, and the upcoming Queen of Thorns. His other recent work appears in the anthologies Tales of the Far West and Shotguns v. Cthulhu. You can read some of his stories for free at paizo.com or follow him on Twitter @frabjousdave or frabjousdave.blogspot.com.


After a couple of decades editing and writing for shared-world settings, I still enjoy playing in someone else’s sandbox. The advantages of building your sand castle in a popular setting make up for those occasions when you scoop up a cat turd. You can avoid those unpleasant surprises, or make the most of them, by approaching tie-in fiction as an archaeologist and historian.

Do Your Research

When approaching a tie-in project, you’ll start with either a wealth of source material—as in a big property like Star Wars—or with only a few pages of concepts—as in a brand-new setting like Far West. Each situation offers a different advantage. If your strengths lie in research and interpolation, you’ll love poring over dozens of volumes in search of details to bring your story to life. If the material is well organized, with a wiki for instance, it’ll be a breeze. With smaller settings, you’ll enjoy the freedom to invent within an established atmosphere. I’ve written novels for which my research filled a banker’s box and some for which my research fit on two pages.  Each method has its pleasures.

Obey the Canon

Whether you’re developing from existing elements or creating new ones, it’s crucial not to break with the established “physics” of the world. When pitching a story for a steampunk/wuxia/Wild West setting, I assumed incorrectly that magic was a part of the world. Thankfully that happened at the pitch stage, so the editor gently pointed out my mistake, and I moved on to a different pitch.  When I write for Pathfinder Tales, the editor asks me to footnote any mentions of spells or monsters from the game—or to point out where I’m inventing something new—to help him make sure my story jibes with the source material. As with any writing, the better your communication with the editor, the less pain you’ll endure in revision.

Resolve Existing Conflicts

Just like the real world, large settings like the Forgotten Realms occasionally produce conflicting references to a single location, time period, or character. Sometimes these vagaries are intentional, as with multiple interpretations of a religious prophecy. But discrepancies can slip through, just as archaeologists unearth contrary evidence or historians disagree in their interpretations of that evidence. If your editor can’t resolve the question and it’s left to you to make the call, make the most of it. Pick the interpretation that best serves your story, or the one that best reflects the “truth” of the setting. At the same time, trust your editor to make sure that writers working at the same time each have their own corners of the sandbox, minimizing conflicts.

Beware of Apocrypha

Fans love to add to their favorite tie-in settings, as do third-party-publishers (3PP). Take care to avoid both fan-created and 3PP content. Not only is that extra material unofficial, it’s also legally off-limits. This situation is especially dangerous to writers who have read widely from a setting’s source material.  Recently I discovered some fan-created material in a big folder of official source material, reminding me of this danger.

Extrapolate the Small Stuff

Even the most comprehensive setting won’t provide you with all the details you need for a rich story, and that’s where the real fun begins. You may know everything else about the goddess of death, but when you need the equivalent of the sign of the cross for a frightened character, it’s your moment to add a new detail. Some of my favorite additions to established settings have been the smallest: rituals, courtesies, and curses. The key is not to throw in something just because it’s cool by itself; it should make sense within the existing setting, so find a way to link the small to the big. For example, in a country where the authorities impale criminals on giant forks, “shooting the tines” might be the most offensive gesture. Do it well, and other authors will use your invention as their source material in the next book.

 

Writing tie-in fiction isn’t for everyone. Some precious souls look down on the work, despite its appreciative audience and many excellent examples of the form. And maybe you just don’t enjoy research; I know at least one brilliant writer who has done excellent tie-in work in the past but who avoids it now because it’s too much like studying for an exam. Still, if you’re a fan of a setting or its genre, if you play well with others, and if you do your research, you can have a lot of fun in the sandbox and uncover far more treasure than turds.

In Praise of Editors

I love editors. I love them in theory and practice. In general and particular. Right now, every single editor I work with is awesome. And every single one of them would’ve eaten that previous sentence for lunch.

In fact, I wouldn’t dare file a story to any of them with “awesome” in it, except as a joke (or if I were really, really tired). Besides, the editors I work with know me well enough to know that “awesome” isn’t a word I’d use. That kind of familiarity is … well, it’s awesome!

Sure, there have been editors I didn’t get along with for various reasons.

Sometimes an editor wants something very specific, but doesn’t articulate exactly what it is that he or she wants. Freelance writer and designer Will Hindmarch calls this the “bring me a rock” scenario. It goes something like this:

Editor: “Bring me a rock.”

Writer: “Here’s a rock. I found it just for you!”

Editor: “I want a different rock.”

Writer: “Here’s another rock. Isn’t it wonderful?”

Editor: “Not that rock. Bring me a rock.”

Writer: “???”

Sometimes editor states very clearly what he or she wants and I don’t really listen.

Editor: “Bring me a rock.”

Writer: “Here’s that fish you wanted! Isn’t it neat?”

The latter example is all my fault. I can own that. And I also own a drawer (actually, a digital file folder) full of fish that have yet to find a place to swim. Want one? I’m giving them away free of charge.

I know the rules, the dos and don’ts of the writer/editor relationship. I’ve written about those rules and taught them in classes. I’ve even followed them (most of the time) since my first newspaper job over twenty years ago.

I’ve also broken just about every one of the rules and tried my darndest to learn from my mistakes.

Some of us, however, are slower learners than others. Being life-long learners, sometimes, has more to do with how slowly we learn than with the infinite scope of our curiosity.

The best thing about the editors I work with (other than their patience) is that every last one of them calls me on my BS and, for the most part, doesn’t hold that very same BS against me.

And that is so, so awesome.

I admit it: sometimes I blow deadlines or turn stories in so close to the print run that the editors involved have no time even to copy edit them. Sometimes I forget to update my editors or I drop completely off the grid. Sometimes I need to be re-angled multiple times. Sometimes my stories are, shall we say, structurally unsound, organizationally baffling, epically confounding. And I get wordy, especially when I’m tired. If I have too little to do, I procrastinate. I pitch stories impulsively. Heck, I even space out on sending in the invoices. And, let’s just face it: my comma usage is definitely not awesome.

I don’t do these things all the time, but for most editors once is enough. I should know better. I should do better. I should be a better writing professional.

That’s what an editor does. Pushes us to be better writers. Demands our best and deserves to get it.

Writers need editors. And I don’t just mean aspiring and new writers. Every writer. Each and every one of us needs editors.

Editors pull us out of our own heads, gives us fresh perspectives on our work while it’s still growing. Editors help us see with fresh eyes. They inspire us, have faith in us. They lend us their skill and the benefit of their experience. They teach us to be better writers … if we listen, if we keep our eyes and ears and egos open to what they have to offer.

How could we not love someone whose job it is to help make what we’ve written better?

Do I have an idealized view of editors? Maybe. Do I have an idealized view of the editors I work with? Not at all. They are human, every last one of them. They are imperfect. They get cranky. Annoyed. That’s all part of the give and take, the human interaction, the creative process.

Editors are awesome. And we writers should treat them as such. We should open up a document file or pull out a pen and some paper this very moment and write them some of the cleanest, smoothest, most on-topic copy we’ve ever written. Flesh it out. Develop it. Dig deep and push past clichés.

When we have something worthy, we should send it in early, receive edits as though they were birthday gifts, revise as though possessed by a higher being, and file glorious final drafts.

I’m not being sarcastic, here. I’m not kidding. These people play a vital role in what we do as writers. We should treat them as accordingly.

 

Everything I’ve learned about writing this year I’ve relearned by watching the Olympics [Part III]

Today is my last visit to BookLife and I want to thank Jeff Vandermeer again for asking me to contribute this week. It’s been fun parsing thoughts about the Olympics through the lens of the writing life and I appreciate all the support and comments I’ve received. Remember, I can be found at Writer’s Rainbow at any given moment; this weekend I’ll be adding the March monthly dispatch, an introductory discussion into the three basic building blocks of a writing platform, so drop by sometime, check it out, and leave a comment! I wish all of BookLife’s readers a solid 2010 filled with inspiration and prosperity. 

Back to our regularly scheduled programming… I left my favorite observations for last. I live in the Puget Sound area, so the fact that I’m a huge fan of Apolo Ohno should come as no surprise. I do appreciate a golden child whenever he or she does come along (complete with awesome attitude), so I must also confess a fondness for snowboarder Shawn White. How can we not live in awe of these two Olympians? Here is what I took away from each of them over the last couple of weeks. Continue reading