Starting Over Again… Again


by Janis Patterson

If at first you don’t succeed, try, try again.


The definition of insanity is doing the same thing over and over again and expecting different results.


Small wonder we’re all confused.


I am a writer… and that was not a conscious decision. I am the third (or fourth, or perhaps even fifth – the family history is sometimes a little vague) generation of a wordsmith family. Writers, teachers, editors… they festoon the branches of my ancestral tree like sweet fruit. Obviously I didn’t have a chance to be anything else, as words are encoded into my DNA.

At the age of four I wrote – and illustrated and published, using a #2 pencil, typing paper and white sewing cotton to stitch it all together – my first book, of which the entire family was very proud. It was a timeless tale of several children walking home from school through the park where they captured a lion which had escaped from the zoo and still got home in time for dinner. I had a melodramatic imagination even then.


So – you’d think with such a strong genetic disposition and a supportive family by now I’d be on the top of the writing heap, wouldn’t you? Consistently on all the best seller lists, two major book tours a year, lots of tv interviews, maybe even a castle in France… Didn’t work that way. Even with over 60 books to my credit (there are more, but we don’t talk about them) I’m still clinging by my fingernails to the bottom of what used to be called the mid-list.


So what happened? In a word, Life. While I will pit my wordsmithing skills against any and all, Life – sometimes called the blind villain – does happen. After selling my first two novels (New York was all there was in those days) I fell in love and followed a false path that did not end well. When I came back to writing the editors I had known had found other pets and though I still had a good reputation and could of course write very well, I had to forge new relationships.


I sold a few more books, then my father entered the lengthy downward spiral of his final illness. As there was only my mother and me and both my parents were then considered almost elderly, I spent more and more time helping her with his care and writing slipped to a less and less important position in my life. Then when he finally passed away there was another half year of keeping my mother together. They had been a very devoted couple.


My editors had been very kind and understood my problem and tried to work with my situation, but we both knew they had slots to fill and schedules to follow and services to coordinate… and while the door was never closed to me, it swung to a very narrow entrance.


And did I mention that during this long stretch of time I was working a very demanding full-time job?


Time passed. I wrote, made still more new contacts and sold a few books. I still had a good reputation, though by now I was pretty sure whenever my name was mentioned it was prefaced with ‘poor’…


Several years passed in this pleasant semi-stasis. I sold several books, never enough to justify quitting my job, though, and when my job dissolved I went into a series of other, very unusual jobs, not career stuff but some were fun and they kept the lights on. I kept writing, though, because I am a writer.


Then my mother fell suddenly and disastrously ill and my world changed. Writing had to go totally by the wayside. Suddenly I was not just looking after Mother, I was working two jobs, and occasionally a third one as well, because she had something rather exotic and strange, and nothing but experimental medicines would budge it. Experimental medicines are expensive, and most of them were not covered by her insurance. This went on for almost ten years.


During this time, though, fortune did smile on me, because I met my husband and married. Then mother passed away three weeks after the wedding, and I went totally off the rails. It had been just her and me for twenty years. My poor husband deserved better, but he was and is my rock.
Until some five months after Mother’s death, when he was deployed overseas. (He’s an officer in the Navy, thankfully now retired.) When he asked me what I was going to do while he was gone I murmured something vague about getting a job, but he shook his head. All I had ever talked about doing that I really liked was writing, he said, so perhaps I should go back to writing.


Could I? I didn’t know. I thought about it long and hard. The long empty days wore at me, though, and the siren song of words, of creating worlds and populations out of nothing but caffeine and imaginations worked their magic on me. so I dusted off my laptop and began again.


He was gone a year, and when he returned I had sold two books – both to small publishers, as my cred in New York was totally gone. The editors I had known there had either been promoted to the stratosphere, vanished completely or died. Sigh. It was writing.


This was the beginning of the era of self-publishing, and with no little qualms I began to investigate, eventually ending up with my own publishing imprint, a freelance crew with skills that would rival those of any NYC publishing house. I reprinted my old books as they came back to me, did a book or two a year with a wonderful small press and released at least one new book a year.


At last, I thought, things are finally going my way. It’s been a long time, but I’m finally on the way up!
Humph! This past July my husband and I were at a Grand Ball, the conclusion of a convention which we always attend. I was so proud to be wearing the beautiful gold-embroidered dress we bought earlier in Cairo… and just as the dancing started I passed out cold.


Things went downhill from there. EMTs. Ambulance. Emergency room, then straight into surgery for a massive blood clot blocking my renal artery. Barely in recovery when suddenly a team of doctors ran in and snatched me back into the operating theater. Apparently either the clot had split, or there had been two of them. The doctors said nothing, but I heard my nurses whispering amongst themselves that I had died for well over a minute on the table. The writer in me stewed – one of the seminal events of life itself, an event people have discussed for millenia – and it actually happened to me, but I was under deep anesthesia and don’t remember a thing about it!


After a week in the hospital I came home, and moved into my own bed, where I didn’t move for weeks. Writing? I was doing good to eat. And six months later I’m still not up to speed. My own doctor said I was a bit long in the tooth for such extreme things. I told him it wasn’t my choice, and promised to be better. And I have been, sort of. Yes, we did take a Christmas Market tour of Southern Germany, a costly and long awaited trip and I was most definitely not going to deprive the husband, who had looked forward to it for months.


A fascinating but exhausting trip. I probably shouldn’t have gone, but I did and I survived it, even if I had to be wheelchaired off the plane and to the taxi. One small bright spot is if I do a story about it the entire trip is tax deductible. But I haven’t written a word in over six months. There are half-finished projects languishing on my computer which I cannot remember at all.


And so I am back to starting over. Again. Will I do it? That’s a dumb question. Of course I will, whether I choose to or not.


I am a writer.

Of Dinosaurs and Digits

by Janis Patterson


Be warned. There is a rant coming!


I am old. I must admit it. Some people might even call me a dinosaur… an appellation I am proud to claim. I mean, how nifty to have someone talking about you and being interested in you a couple of million years after you died!


I even wrote my first real book on an ancient manual typewriter. (My very first book was done with pencil and paper, but I was only four I hadn’t learned to type yet. I was ten before I could convince my dad to teach me.) Then, a couple of books later I graduated to a portable electric – an SCM in cloud blue – and boy, did I feel like I was in tall cotton. It was like heaven, and the bulging muscles the manual had built up in my fingers gradually faded away. My problem was paper. Paper was (proportionally) more expensive then than now and each draft required paper. Lots of it.


I became adept at adapting and scavenging. I’d use old drafts, slash a Mark-A-Lot through the typed side (which bled through to the other side, creating some interesting problems on occasion) and type the new story on the back. Then one day I got lucky. A business in the building where I worked went out of business and put half a dozen reams of their stationery out for garbage. Needless to say the garbage didn’t get them. For at least three books I felt so elegant typing my rough drafts on 35lb (I think – it was definitely heavy) deckle-edged grey paper. Sad thing was, there had to be a clean final copy typed for submissions. In those antique days there were no Xeroxes, just a very messy and expensive wet process copy machine, so you had to watch your one precious clean copy like a hawk, or go spend the time typing a second one.


Finally computers came in. My first memory typewriter/computer was an Olivetti, at the time the world standard instead of IBM, which wasn’t selling in the US so they were practically giving them away. It had about a two page memory and showed one line of copy at a time. And we writers were delighted. I used that for about two books then IBM PC clones became affordable even to poor writers like me and I adapted. I gave the Olivetti to my mother, but she could never master it. She’d call in tears so often trying to make it behave – it did work as just a regular typewriter just as well and was grade-school simple but she and it never did mesh, so I finally took it away from her and gave it to some charity.


With a small succession of ever-more-useful PCs I upped my output and was very happy. Some of the later ones even had internal memory, but the luxury of saving to a floppy disk was wonderful. The best thing, however, was the cut-and-paste function. Until that cut and paste was actually that, with scissors and cellophane tape and a lot of retyping.
I went through computers fairly quickly, as the older PCs seemingly weren’t made to last. Nowadays though, the computers are made to last, but the MicroSoft programs are ‘upgraded’ with depressing regularity and even more depressingly higher prices. This is what made me so angry with MS that my darling husband gifted me with a Mac Book Pro eight years ago, and it has ticked along happily ever since then except for a couple of swelling battery replacements.Yes, there was a learning curve, but I overcame that through pure fury at MS, and now have acquired two more Macs, one solely for long distance travel and another waiting in the wings to supplement my ageing Pro.


And still MS tries to keep their bottom line by dictating ever newer program ‘upgrades.’


This is the basic point of this rather angry little screed. Why must we continue buying and rebuying to get new features that we do not use, do not need and do not want in order to keep support for the programs we do use, need and want? Why doesn’t MS put out a ‘writers version’ – slimmed down, practical and simple to use – that doesn’t have something unwanted and complicated added on with deadly and costly regularity? Same reason they are becoming reluctant to sell a program in a one-time buy, preferring instead to make customers rent it so they can bloat and complicate it even further with ‘improvements.’


The answer is obvious, and I could describe it perfectly with one or two possibly rude words that no lady should ever use.


And that is why I’m exploring and switching to other ‘office-style’ suites. Someday I am going to find the perfect one, and when I do I’ll share my choice with you in case you should want it.


Of course, I could – and do – just keep using the version I like, but I live in terror of my data simply evaporating some day. (I do keep various versions in various formats – paranoia can save your life…) If necessary, I could go back to the manual typewriter or (though my aged fingers tremble at the thought) plain white typing paper and a pencil.


The thing is, writers should be concentrating on their writing instead of having to constantly juggle with the tools of writing. Is that such an outrageous concept?

Who’s In Charge Here?

by Janis Patterson

Every so often one of my writers’ groups will conduct a workshop on ‘how to create a character.’ I’ve taken a few of them and the methods range from a half-dozen point checklist to a six page questionnaire that goes into such depth as the character’s favorite flavor of Jello, the schools he attended, what kind of pet he had as a child…. You get the idea.

I’ve tried them all, and each time created a deep, multi-faceted character. A completely dead deep, multi-faceted character. They had all the proper points, but they never came to life on the page. Working with them resulted in all the joy and sparkle of Silly Putty. Oh, they moved from Point A to Point B when I directed them, and spoke the words I put in their mouths, but they were reminiscent of nothing so much as Gumby or King Kong – their movements were obviously stop-animation instead of really coming to life.

So I quit taking classes and went back to what I’ve always done – letting the character come to me. Almost every writer has snorted with disbelief when I tell them about the birth of my characters, but – other than my occasional forays into how-to-create-characters classes – it’s always worked for me.

So what do I do? Nothing. My characters simply walk in, tell me their name, and start fitting into the vague storyline that I’ve started with. And yes, they tell me their names. Once I really didn’t like a character’s (the hero!) name and changed it. He didn’t like it, so he shut up and refused to speak to me again until I changed it back to what he wanted some three weeks later. Then the writing simply flowed because of his cooperation.

Who said writers had complete control in their own world?

I know this technique (technique? maybe dictatorship?) wouldn’t work for all writers. Huh, it may not work for any writer besides me, but that’s the point. Even if I’m the only one it works for, it does work for me. I know the character’s-favorite-Jello system works for some people. It doesn’t work for me, but I’m glad it works for them.

What I’m trying to say is that there is no one singular this-way-only technique for writing a book. The only thing that we all should do is write a good book. How we write that book is up to us. There are many good techniques, probably some I’ve never heard of. The important thing is that each writer has to find the one that works for him. Or which ones work for him. There’s no rule saying you can only use one technique. As long as you turn out a good book, it doesn’t matter.

A Tribute to a Fine Writer and Great Friend

By Margaret Lucke

The literary world lost a bright light last week­—the redoubtable Chelsea Quinn Yarbro. To me, she was a muse, mentor, and great friend. To her many readers and fans she was, in some of their own words, “a brilliant writer and an amazing person,” “a consummate professional,” and “a truly extraordinary human being.”

We met in 1978 when I went to my first meeting of the Northern California chapter of Mystery Writers of America. She was the chapter president at the time, and gave me a warm welcome that grew to one of my closest friendships.

She defined what it means to be a prolific writer, having around 100 published books to her credit, along with numerous short stories and essays. Her work spanned just about every possible genre­—science fiction, fantasy, Westerns, romance, crime fiction, and horror. She won a Bram Stoker Lifetime Achievement Award in 2009 and received a World Fantasy Award for life achievement in 2014. 

Quinn was a Lady of Mystery in her own right, as the author of two mystery series, one starring the Native American attorney Charlie Spotted Moon and the other featuring a 1920s journalist Poppy Thornton who investigates crimes with the help of a ghost named Chesterton Holte. But what she is best known for is her groundbreaking novels that follow the vampire Count St. Germain across several continents and centuries. In a departure from the norm, her vampire was the good guy. “The horror in these books,” she said, “comes from what human beings do to each other.”

I shared with Quinn an appreciation of a good red wine, an affection for the cats with whom she shared a home, and two memorable trips to Italy. She shared with me a great deal of wisdom and encouragement when it came to writing.

She gathered some of that wisdom into a workbook called Fine-Tuning Fiction, which evolved out of a popular seminar she offered through the Writers Connection in Cupertino. She organized it five sections, or what she called The Five Ps, each covering an essential aspect of an fiction writer’s craft: People, Plot, Presence, Pacing, Poetics. A quick sampling:

PEOPLE – “All fiction begins with people, no matter how they are packaged, and the premise that people—which covers all species and forms of characters, human or otherwise—are interesting.”

PLOT – “When most people say plot they mean story-line, or the steps the characters take to get from one end of the narrative to the other. A plot is much more basic than that. It is the means by which the argument or conflict between two or more characters is resolved.”

PRESENCE – “The environment of a story is as much a character as the people in it. Presence is what pulls the reader in with your characters and convinces them that their experience is complete.”

PACING – “Pacing has to do with how quickly events occur in a story, and how much reaction time is allowed before another event occurs. Every story will reveal its own internal rhythm if you are willing to take the time to work the story through.”

POETICS – “[Words that seem mean the same thing] contain nuances that make them not quite synonyms, and therefore each has a slightly different meaning. These nuances are the province of poetics, or the esthetics of words. Just as presence and pacing each contribute to the impact of story-telling, so poetics give any piece of fiction its particular voice.”

You might be amused to know that the list of not-really synonyms she uses to introduces the Poetics discussion is: nude, naked, bare, unclothed, undraped, stripped, starkers, in your birthday suit, bare-assed, disrobed, in the altogether, exposed, in the buff, in a state of nature, unattire, unclad. I’m sure that list caught her readers’ attention. All of those terms mean “not wearing any clothes,” but the impression each of them conveys is different, sometimes strongly and sometimes subtly, from the impact made by any of others.

Ciao, Quinn. I’m going to miss you. Tonight I’ll raise a glass of your favorite red in your honor. Have a good time cavorting in the afterlife and telling everyone there great stories.

Are You Listening to What They Are Saying?


by Janis Patterson

Books are a widely varying commodity. Some are so wonderful you could live in that world forever. Some are so bad you don’t even try to finish them. Most fall somewhere in the middle. Right now we’re dealing with a new kind of book, a kind of zombie product written by the abomination of AI and released by the overwhelming hundreds. Luckily – for now, at least – they are recognizable primarily for their lifelessness.


So what is it that binds these widely varying standards together – good, bad and zombie?


There are lots of things, but I believe a lot of it is dialogue. Good books have the characters speaking as if they were real people – not interchangeable cardboard cutouts. Of course, this is occasionally a rule that can be tweaked. In a futuristic sci-fi populated with human-android characters, the speech patterns and word choices would be different than in a light-hearted Regency romance, and each choice should be congruent not only with the time and setting of the book, but with the status/occupation/ethnicity of the individual character.


For an only slightly exaggerated example, everyone is familiar with the slave Prissy’s exclamation during the battle of Atlanta sequence in Gone With The Wind – “I don’t know nothing ‘bout birthing no babies.” As offensive as some modern readers might find it, her heartfelt cry is commensurate with her time, her status and the situation of the scene. Just imagine how jarring it would be if she were to say : “Good gracious, Miss O’Hara, I am completely ignorant of the processes involved in delivering a baby.” That would pull the reader right out of the scene. To a large extent, language equals character.


And the principle doesn’t really change no matter what the genre, though the actual words probably will. In a hard-boiled detective story, a police sergeant is not going to speak the same way as a career petty thief. In a western, a wealthy rancher with political aspirations will sound different from a brow-beaten saddle tramp. In a Regency romance a high in the instep duke will have a completely different vocabulary and range of meaning than a poverty-stricken dock worker. In a contemporary romance sometimes the difference will be less blatant, mainly because of the ubiquity of books and television acting as influencers, but there will be noticeable differences.


Just to make the convoluted even more so, know that all the above can be overridden if the plot demands. Perhaps the duke is working on the docks to find out who is stealing his fortune or something. Perhaps the weary saddle tramp is really a Pinkerton man out to investigate the rancher whom he thinks is really setting himself up as a dictator. Perhaps…. you get the idea. Confustication upon confustication. But you must play fair with the reader – not by telling him from the outset what is going on, but by allowing him to listen to the various people and find out the truth for himself.


Language equals character.


And if you’re writing a hard sci-fi about three-eyed, blue-skinned Orychiks from the Dyinolive galaxy with no humans involved you’re pretty much on your own… just remember that in almost every society the ‘elites’ (for want of a better word) speak differently than the ‘hoi polloi’ (again for want of a better word) primarily as a matter of status. I think this need for distinction, for individuality (even in a herd sense) is hardwired to people’s/being’s innermost self. Even among most animal species there is a distinct pecking order.


Just remember two things – language creates and showcases character, and you must play fair – enough that the reader can follow along with you and understand, even if you do pull a few tricks along the way.