Wednesday, March 10, 2010

A Fire Is Woken - Officially DONE!


Flight Lieutenant Peter Standish thinks he is unstoppable: until the day he goes down in flames. His body burned beyond recognition, his world in ashes, Peter Standish is alone; except for Julie Knight, a young woman shadowed by her own dark past. Together, they might find courage to face their futures, but suspicion and mistrust worm between them at every turn. When Julie sails into danger overseas as an SOE agent and Peter flies into the deadliest battles of his life at D-Day, their very survival depends on their ability to trust God and each other. Will they get a second chance at happiness?


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That's the premise for our novel, A Fire Is Woken, which we've finally finished! Not by the deadline, sadly, because I came down with a nasty flu which turned into pneumonia, which is shockingly effective at keeping one from writing. However, Ruth did a fantastic job on her end, and the first day I could drag myself to the computer I wrapped up the few scenes I had left, and now IT IS DONE.


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Whew!

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It's been a little under a year and a half since we started writing A Fire Is Woken, and two years since its conception. Seems like forever and seems like yesterday. We've so much invested in these characters; they've been part of our lives for so long that suddenly things are a bit bleak without them. We'll revisit Peter and Julie briefly in bk 3, and again in the Korea novel, but truth be known, their story is told.

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And we're not quite sure whether to host a party or have a good cry! :) But in celebration, today's blog post will be two exciting excerpts from the novel itself! Enjoy them!

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May had come with a bright burst, Peter thought, as he walked from the dispersal hut to the main offices. Grass crushed beneath his flight boots and scattered wildflowers waved in a breeze.

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Peter let the door slam behind him as he stepped inside, and knocked at the Group Captain's office.

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“You wanted to talk to me, sir?”

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Reeves glanced up. “Yes, sit down.”

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Peter sat on the edge of the chair, leaning forward, elbows on knees. He waited while Reeves wrote, the only noise other than the coarse scratch of the Group Captain's pen the buzz of a bee on the windowpane.

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Moments stretched long, and then Reeves set his pen down and pushed his chair back, pulled out a cigarette and lit it. “You're heard of the invasion, I suppose.”

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Peter looked at him keenly. “There's been talk of a European invasion for years, sir. Practically since the Blitz ended.”

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Reeves nodded, standing up and walking to the window. Cigarette smoke drifted out the crack, a blue ghost on the spring breeze.

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“It's real.”

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Peter raised an eyebrow. “More than rumor, then.”

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Reeves turned, his face serious. “There's not much I can say, and I've probably already said more than I should. But it's drawing near. The RAF will be expected to play a part, of course.

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“I need many things, Standish, and most of them the RAF is giving me. New planes; new pilots...” He ground his cigarette out in the ash tray and sat down, fingers steepled. “There's one thing I need more than anything else, though. I need good leadership.”

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“Sir?”

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“The RAF wants me to send a whole wing. Most of them will be new pilots. I need someone who knows their stuff to lead them.” His blue-grey eyes sliced into Peter. “I want you to lead them. Through fire, through danger, to victory. I know you can do it. You're one of the old school. You've seen combat—perhaps more than any man should.”

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He sighed and leaned back. “I'm offering you a promotion here, Standish, but it's under very strict terms. I need you to understand them.”

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“I can't say as I understand at all, sir.” Peter shoved his feet against the floor.

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“I'm going to ask you to go into combat, combat like you haven't seen since the Battle of Britain. And I'm asking you to go in with young men who know little to nothing of what they're doing. There's good Squadron Leaders; but the boys themselves...”

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“They'll be green.” Peter understood.

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Reeves nodded. “I'm asking you to do perhaps the most dangerous thing you've ever done. You don't have to accept it, of course.”

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Peter sat back for the first time since he'd entered the office. Images flashed, faster than he could stop them. The old days when they were all invincible. The ones who never came home.

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Broken formations.

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Headstones, but no casket.

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And more recent events. Writing the reports of the ones lost in the North Sea. MIAs over Germany. And the accident at the aerodrome—a kid, barely eighteen, dead.

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Peter's breath thickened in his throat, and he stood up, walking to the window like Reeves had just minutes ago. His Spit sat perched in front of the hanger, and a lone mechanic crouched on the wing, wrench in hand, tuning up the delicate machine.

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She's ready to fly.

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Excitement boiled deep down in him.

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And so am I.

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His fingers ran along the wood of the windowsill, his mind racing away from the confines of the office, to a sky so blue that it made artists paints pale in comparison. Clouds; great piles of white hanging effortlessly above the cities and farms. The roar of the Spit's engine and the rattle of the machine guns. Black and white. Good and evil. Spits and Snappers. Fire and glory.

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Conquering. Riding a red wave of victory across vast expanses of the sky.

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To what?

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Peace.

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His hands clenched tight, muscles straining them into rocky fists.

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For Will. For Mum.

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For Dad.

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He turned from the window. Reeves was sitting at the desk, writing again. The silence snapped, and the scritch of Reeves's pen and the chirp of song birds filled Peter's ears.

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“I'll go.”

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Reeves looked up sharply, and the weight of responsibility crashed down onto Peter's shoulders.

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“You're sure?”

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How sure am I? Peter didn't know. Sure enough that I'm not going to back out. I've got to do this.

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How many times had he said he was going to go back? How many times had he boasted of settling Hitler himself?

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And I have.

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He'd flown against the might of Germany in the depths of night with no noise other than the roar of bombers, Spits, and bursting flak in his ears as he peered into the darkness, nerves stretched tight and and all his senses strained for any sign of danger. And he'd defied the German war machine as he flew high above the convoys in the North Sea with grey fog swirling and the sea rough beneath him.

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But this was different.

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This is it.

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This was why he'd come back.

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“I'm sure.” Peter locked eyes with Reeves. “I'm very sure.”


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Julie turned in a slow circle, taking in the low, long hulks of hangars, the smaller, more habitable structure she guessed was a mess hall. Beyond the buildings, the sun bounced off the length of concrete, a grey slash stretching for what looked like miles in the green field.

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Along the concrete and in the grass planes perched, their airscrews still, their noses pointed up at the empty sky.

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“The planes,” she said. “Can you show me the planes?”

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“How many do you want to see?” The tension slid from his face as he took her hand and they crossed the field. Grass stuck in the toes of her shoes, but she ignored it as they came up under the shadow of the nearest plane.

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“It's...huge.” She squinted up at the wings, enormous over her head.

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Peter chuckled. “This is a Spitfire, honey. Smallest fighter in the service. If you want big, you should see some of the bombers. They're over there, behind the hangars.”

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“This is big enough, thank you.” Julie put out a tentative hand. “Can I touch it?”

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“This is my bird. You can do anything you want.”

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She held her breath, oddly nervous as she reached out. The body of the plane was surprisingly warm, and it gave beneath her touch. A shiver went through the entire plane and she stepped back hastily. “It feels alive!”

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The twinkle in Peter's eye was backed by something deeper. “We like to think they are.”

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Confidence grew and she ran her hand along the wing, stood on tiptoe to run a finger down the sharp edge of the airscrew. .

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“How do you get in?”

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“Like this.” Peter put a hand on the wing and vaulted up. Laughing, he hung down and reached for her hand. “Come on.”

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She hesitated a minute, judging the distance. “What about my shoes?”

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Peter glanced down at her heels, then at the canvas cover of the plane. “Ah, they won't hurt it.”

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She rolled her eyes. “No, I meant they'll slip. But never mind—I'll just take them off.” Kicking the shoes aside, she grabbed Peter's wrists and wriggled clumsily up next to him.

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He put an arm around her to steady her, and grinned into her eyes. “Not so bad?”

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She rose cautiously to her feet, gripping with her bare toes. Beneath her, the plane shuddered like a bird about to fly. A wind swept through the grass and over the nose, catching her hair and blowing it behind her. The sense of freedom took her breath away.

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Peter's hand tightened around hers, and she knew he felt the same thing. For the first time, a thread of understanding ran between them.

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“I can see what you like about planes,” she said quietly.

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“Oh, this is only the beginning.” He turned suddenly and held her gaze for an intense moment. “Wait...wait...I've got an idea. How'd you like to take a flight?”

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Her mouth opened. “How?”

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“That trainer.” Excitement ran across his face. “Only one person can fit in a Spit or a Hurri, but the trainers—they're set up for two people. Usually a student pilot, but the front man can fly the plane. I've got to fly one over to another airfield today. There's not a thing says you can't come along.”

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For one moment, she hesitated. Against her will, the nightmares rose in front of her vision. She fought them back. Peter's gaze rested on her, and his yearning tugged at her heart.

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He wanted to share with her. This was his world, and he wanted to share.

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“All right,” she said, “but Peter, I don't know anything about this.”

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A grin split his face. “You don't need to. Come on, I'll get you a coverall and we'll leave.”

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Julie thought her heart was going to crawl right out her mouth. Rough canvas coveralls scraped her bare legs; her bunched-up skirt offering no protection. Straps across her chest and back bit into her flesh. Peter had shown her only two things when he'd settled her in the hard bucket seat; the ripcord on her parachute and the eject lever under her seat.

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His eyes had twinkled. “If it were Monty flying this bird, you'd need 'em. But don't worry, I'm not so fond of nose dives into farm fields.”

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She could only see the back of Peter's head now, as he adjusted a dial on the console in front of him, then made a few quick hand gestures to the ground crew standing outside the plane. They'd looked oddly at her, but apparently Peter's rank did hold weight, for they'd said nothing.

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Peter twisted to look back at her. “I'm going to start her up. Hold your ears if you want—but it won't be so loud once we're up.” He held her gaze for a minute. “Ready?”

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Her mouth was too dry to talk. She nodded.

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He gave her a thumbs' up and turned back, waving. In front of the windscreen, the airscrew swirled to life.

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A moment later the engines exploded into action; Julie gasped and shoved herself against the seat as a deafening roar filled the cockpit and vibrated every inch of the plane. She clenched her hands in her lap as Peter put a hand on the stick between his legs, and the plane started to move. From her seat, she couldn't see the ground, just the sky and the edge of the treeline, which blurred as the plane gathered speed. The roar filled her ears, pressed her chest till she couldn't get a breath.

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And then it was gone. Air slipped between her surprised lips as the roar died away, the sensation of vibration, everything.

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They were...flying.

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Peter twisted around. “We're up.”

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“I know!” She squirmed against the straps, pressed a face against the glass of the canopy. With startling speed the ground fell away beneath them, the huge hangars and buildings of the airfield becoming smaller than the miniatures in Johnny's toy. “The world looks...so strange from above!”

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“Good strange?”

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“Yes! It's...incredible!”

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She caught the tail end of his smile as he turned back from flying. “Hold tight. I'll make a turn, you can see better when the plane's tilted.”

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She suppressed a gasp when, easy as thought, the plane turned on its side. World and sky spun, the rules of horizon and distance mixing. The plane made a lazy loop, then swung to the other side and looped again.

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Julie started smiling and couldn't stop. This is why Peter went back. This is what he lives for.

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Oh Peter, I understand.

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Before closing, I want to give a shout-out of thanks to everyone who helped us finish this novel! Storytellers, as always you guys are THE BEST. For encouragement, feedback, and support—a million thanks.

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And hey, Miss Ruth Rockafield, thank you for writing this novel with me! It's been the best of times.


Friday, February 26, 2010

Questions, Questions - Writing Quiz!


Well, I had a lovely post written on synopses, but I seem to have misplaced the notebook I wrote it in. Ah well. Next week! In the meantime, here's a fun writer's quiz I picked up from Facebook. Take a break, fill it out, and post it on your own blog! Then give me a shout so I can look at your answers. :)


Enjoy!


Do you have a pen/pencil collection? How many of those are chewed?


I stash writing utensils in "safe" places and then forget where I stashed them. I don't chew pens—instead I break the clips off of them. ;)



Do you prefer handwriting or typing?


Typing. It's a time thing. Being a full-time writer with an extremely busy life doesn't leave room for slow handwriting.



How often do you get inspiration?


Dozens of times every day. In soapwater, in meaningless conversation, in the way a shadow moves. The problem is that 99% of the time the inspiration is not related to my WIP.



Do you get inspiration more in the early morning or late at night?


Late at night! It's almost impossible for me to write during the day. I come alive at night and my brain goes wild. All 100,000 words of NaNo were written at night.



Do certain movies/books/music inspire you?


Absolutely. I try to read, watch, and listen in all genres, so sometimes I'll get inspiration for my WWII historical drama from a modern comedy, or vice versa. Often I try to read/watch/listen to something very different from my WIP, just to get a new viewpoint.



How do you incorporate God into your stories?


Sometimes a great deal. Sometimes the characters actively search Him out. Other times it's more subtle; it depends on the story. My faith in God is the essential part of who I am so it always comes into my writing. Though often not how you'd expect!



Do you kill off your villains or make them repent?


Repent? Never! :) Seriously - they usually either die or escape to start new trouble next time.



Are the majority of your characters magical beings, humans, halflings, or something else?


Humans. I've done fantasy, but always with a realistic setting.



What genre of writing are you most comfortable in? If you were to step out of your comfort zone, what would you write?


Historical anything is my passion and my home ground. That said - I've now written fantasy, sci-fi, thriller, mystery, and I'm working on my first satire/parody. I've also written for YA and adult. Jack of all genres?



Do you work better alone or with someone else?


Hard question. Each is very different. Writing alone I have the independence to write exactly what I think. I can address issues deep in my soul. Writing together is incredibly fun and I believe the quality achieved is extremely high; also sometimes the novels go much deeper with two people.



Are your characters mostly Renegades, Peacekeepers or a mish-mash?


Renegades! I have written one Peacekeeper, but the majority are rebels. V. stressing sometimes, since they rebel against their author as well!



Are you a sucker for good grammar?


I'm a sucker for good writing. Some great novels break every grammar rule in the book. Write the best novel you can, and grammar will handle itself.



How is your handwriting?


Sharp. Angular. Small and very upright. Getting more messy!



How evil are your villains?


I try to write villains who are attractive in some ways. A mystery writer at heart, I believe the best and most chilling villains are the ones we can identify with in some way. That said - I've a few psychos planned who are thoroughly evil.



Are you long-winded or succinct?


I'd like to say succinct. Final draft definitely has to be succinct.



Do you have typical writer traits such as ink stains on your fingers or a pencil behind your ear?


Do notebooks in every pocket, bags under the eyes, and a glazed expression count?



Would someone walking past you on the street consider you normal?


Depends on whether they catch me gabbling and gesturing to thin air while envisioning the battle of Shiloh. Overall: probably not. Who wants to be?



Do you write mostly poetry, stories, novels or a mixture?


Mostly novels, though I've a fair collection of short stories. Poetry as well, but I write it just for me, not to be published.



Do your characters vary in accents, appearance and attitude or are they mostly the same?


They couldn't be more different. Er - except for the fact that lamentably many of my heroines are redheads. I seem to pick real redheads out of history. But attitude? My biggest challenge with every story is to make the characters completely new, completely different.



Do real people and/or places inspire your writing?


Without exception! Everything I write stems from real life. However - it's usually my wild, quirked interpretation of it. :)



What is your favorite character? Or do you choose to remain unbiased in case of a revolt?


My characters spend their lives revolting. One more wouldn't change much! And - all my characters are so different it's hard to say. Perhaps Jan from SS-5. My new MC in my parody, Leonie, is very fun too—snarky and sarcastic and a murder-mystery writer!



Do you talk to your characters? Do they talk back?


Constantly. Often aloud. All my characters become permanent residents of my head and offer useful (or not-so-useful) advice on everything I do.



Are you more comfortable with female or male main characters?


I'm comfortable with both, though I understand females more (obviously!).



Do you follow basic plot lines with new twists thrown in or do you depart from the norm all the time?


My favorite thing is to take a cliche and twist it so many times it's not recognizable any more!



Do you feel God has called you to be a writer/poet? Will you grasp the power of the pen?


I've grasped it already. It is the one call I hear most clearly, and I've leapt into a writing life with joy and abandon. I know I will always be a writer at heart.

Saturday, February 20, 2010

BattleNotes - Where We're At!


Sometimes when I deal with the publishing angle of writing I feel a bit like a general on the battlefield. Stay up late planning strategy. Study the opponent until you know them down to how they like their verbs. Watch for the agent on the left flank who hates queries beginning with questions!

Ah well. There IS a reason for this blog's name. :) And as all you long-suffering readers know, every so often I leap off topic and tell you about how I'm faring in the fray. Here are 2010's first “notes from the front.”

On the publishing angle: December 2009 saw the completion of the final edit of Through A Rain Of Fire, the first novel in the WWII trilogy I'm writing with Ruth Rockafield. The edit has emerged more or less unscathed through critiques and 3AM perusals, and we're now sending it out. After much nail-chewing and hair-pulling, we've opted to switch from targeting agents to targeting presses. So far, we have four medium-sized presses where we would love to be accepted. We'll see what they think! Replies should start coming in within two weeks—we're nervous, but we're confident that we have a good story and it's on its way to finding a home.

On my own: I've gotten some excellent critiques on my YA historical, SS-5 (http://frontnotes.blogspot.com/2009/10/historical-note-teenage-spies.html) – many thanks to Kelsey, Kayla, Liberty, and all the folks on Storytellers, ChristianWriters, and FairyTaleNovels for their invaluable input. With their help, I've leaned back, gotten a good objective squint at the novel, and will spend the next few weeks on the necessary changes. Then off it goes to agents' desks (I will be targeting agents with this one). The positive feedback on this novel has been incredible – here's hoping the agents are as excited about it!

In writing news: Ruth and I have nearly completed A Fire Is Woken (bk2 in our trilogy)! Our goal is to finish by the twenty-eighth of February. We've a few thousand words to go, but for two NaNo vets, that shouldn't break a sweat. Once it's finished, we'll set it aside for a few weeks pre-edit, while we launch into writing the final novel, A Dwindling Fire. That'll keep us occupied for a few months.

I'm also working on a satirical murder mystery—but that's a subject for a new post. :)

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I'd just like to give a shoutout of thanks to all the folks on Storytellers, ChristianWriters, FairyTaleNovels, and my two writers' groups, who consistently support, encourage, and help me in my insane writer's life. You all are amazing. Thanks so much.

Monday, February 15, 2010

A Year Of Adventure: Interview on OYAN, part 2

Hello peoples! Here are Kelsey, Ruth, and Kayla back again to complete part 2 of the interview.

Welcome to the blog, ladies!



10. Is OYAN specifically for beginning adventure novelists, or could experienced/published writers also benefit from it?

Kayla: I believe a published author can get just as much from OYAN as beginning novelists. As I said before, this is no ordinary writing course where “the bigger the words, the better the story” technique is used. This goes completely against the writing of today’s fiction.

Kelsey: Judging by some of what gets published nowadays, some published writers could benefit a great deal from it! But most truly good authors will probably already know what OYAN teaches, including when and how to break the rules.

Ruth: I think that everyone could, to a certain degree, benefit from OYAN. It makes you think in terms of what makes a good story, very seriously. He pushes your story to be better than anything you ever dreamed you could write.




11. Is there something unique to OYAN you've not seen in any other writing program?

Ruth: Oh yes. I love Mr. S's approach to writing. He sees it as an adventure, something that has policies and guidelines more than actual rules. Grammar and all that is really emphasized in all the other writing programs I've seen, even the ones that claim to focus on novel writing! But Mr. S teaches you what makes a great story instead of how to make excellent sentences. This is not to say that he won't come down hard on your sentences if you make a poor one and he critiques it during a webinar! But the focus is different!


Kelsey: As far as high school writing programs go, it's the only one I've found that concentrates on story instead of mechanics. I adore tearing apart literature and there's certainly a place for that, but OYAN teaches those same principles by offering practical, creative ways to apply them. (And now I officially sound like an advertisement, and the boring talking-head sort, to boot). Other writing programs have the same content in more complicated language, and emphasise the mechanical details of writing—don't use adverbs and "was", don't overexplain, avoid participle phrases—instead of the story as a whole and the less concrete elements of good fiction. OYAN does both.

Kayla: The main thing is, it’s interesting! How many writing courses out there actually help you, and get you very excited at the same time? Every lesson keeps you on the edge, you can’t wait to go on to the next! Second, Mr. Schwabauer is completely in tune to a beginning writer’s problems. He cares, and he encourages you to keep on going. He emphasizes thinking about your reader, how they will react to your story, and what will make them want to read it over again. He emphasizes meaning, theme, giving your hero something to learn, and he’s a Bible believing Christian.




12. Would OYAN help someone to be published?

Ruth: Hmm. Again I think it has more to do with the person who is writing than the program. But yes, I could see how the program could improve your chance at getting published!

Kelsey: It talks only a little about the publication process, as most students are a long way from being ready for publication. No grand talk of "with our curriculum, you'll write a bestseller!" But it helps in the sense that everything that improves one's writing is "helping them to be published" eventually.




13. How has your writing changed from doing OYAN?

Kelsey: OYAN forced me to plan ahead, and think through things I normally wouldn't. It takes you through a detailed outlining process that covers not only plot but also value changes, conflicting ideals, themes for each chapter, that sort of thing—the subtle ideas that stay under the surface, but make the story richer and deeper.

Ruth: The most drastic thing is probably my attitude more than anything else. It used to be that I'd get to a place and I'd get stuck. Now I get to that place and start to apply the things that I learned in OYAN and in working myself out of my 'stuck' I end up with a great scene that would otherwise never been realized.

Kayla: It has changed drastically. There were so many things I didn’t understand about writing. The main thing were the adverbs. I hadn’t realized it before, but adverbs don’t make your novel impressive, rather they bring it down. Passive voice was also a horrible splotch on my screen. When Mr. Schwabauer gave a list of words you should eliminate from your writing, I just couldn’t believe I could write a story without them. But I can, and I’m very grateful to him!



14. Have your applied OYAN techniques to other novels?

Kayla: Yes! And I plan to use them the rest of my writing career

Kelsey: I use the outlines for all of my stories now, to some extent—my workbook has notes for four or five plots scribbled in its margins, in different colours of ink—and reread relevant snatches of the book every so often. I also see elements of OYAN in every book I read now: symbols of dread, the four defining scenes, reversed and ironic ideals, the three types of stories, the mentor and how often he dies. (Whoever invented this adventure novel formula has it in for Mentors, I tell you.)

Ruth: So far, three. “Strike in the Dark” is a NaNo novel that I worked out through the workbook before November. The plot is great. The plot and the action is not lacking in the least. And it is the first really serious action/thriller I've ever written.

Then I again applied it during “NaNo” while writing a novel completely off the top of my head. “Mirror” takes the form of a treasure hunt, and each step was made up as I came to it. There were parts where I was as surprised as the characters! The OYAN technique was almost subconscious, but when I'd come to a place where I didn't know where to go I'd think about where OYAN would have you go...

And I even used it in my third NaNo novel, which is also a new genre for me—comedy/juvenile/adventure lit. Once again I subconsciously used OYAN. It was amazing.



15. On a score of one to ten, rate the OYAN experience.

Kelsey: 8.7.

Kayla: 10. No doubt about it. It’s hard at first, if you are like me and depend on the lessons to make you a better writer without giving an ounce of help to it yourself. I am very determined to be writer, but you have to do it yourself to become a good one.

Ruth: Ten. Entirely.




16. When you've completed this novel, will you do the program again?

Kelsey: I'm not going to go through and answer every question again, but I will definitely apply what I've learned, and keep the textbook and workbook within grabbing distance.

Ruth: At least once more.

Kayla: Of course! I’m already making plans!




17. Is there anyone you'd not recommend to do the program?

Ruth: No. I mean that. I have brothers that absolutely hate writing and I would say they would benefit more from this program than they would from twelfth grade English! I think that supplementing this curriculum for one year would be one of the greatest things that could be done in our 'school system'.

Kayla: Writers who think a spare dollar is worth more than a well written novel.




18. What is the biggest lesson you've learned from OYAN?

Kelsey: One of my favourite things is Schwabauer's treatment of Christianity and how it relates to story. The chapters about truth in fiction, and how the basic structure of most stories inherently goes against postmodernism, and how even symbols in literature rely to a certain degree on absolutes, are so astute and accurate. I'd never thought about any of it before—but it all makes so much sense.

Kayla: Your reader comes first. Always. But to impact your reader, you must have a good novel to impact him with.

Ruth: I've learned what makes a good story. What is awesome about some books. What makes your hair stand on end. What makes you want to read more. Understanding stories is going to dramatically help me! I think that if I pursue writing as a career OYAN will have affected the outcome of my success more than anything else.

Thanks Mr. S. :)


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Ladies--thank you so much for visiting and sharing all this great information. I hope to get you all back someday soon!

For anyone who's further interested in OYAN, go ahead and check out the official website at http://www.oneyearnovel.com/. Also, Ruth runs a whole blog dedicated to her journey through the program. Check it out at http://pursuingtheheroicquest.blogspot.com/

Monday, February 1, 2010

A Year Of Adventure: Interview on OYAN!


Today will be the first part of a 2-pt interview on a unique writing program called One Year Adventure Novel. These three extremely talented writers happen to be doing the program themselves, and took time out to talk about it!

Welcome, Kelsey, Ruth, and Kayla!


1. What exactly is One Year Adventure Novel (OYAN)?

Ruth: OYAN is a high school English course. It was designed and written by Daniel Schwabauer. It includes a workbook, a textbook, DVD teachings for each lesson, a copy of “Prisoner of Zenda” by Anthony Hope, and a teacher's guide. With the curriculum also comes access to the OYAN forums and webinars which are conducted live by the Schwabauers.

Kayla: It is a writing course by Daniel Schwabauer, designed to help teach students how to write the epic adventure of their dreams and FINISH IT, all in one school year! Mr. Schwabauer designed it to help people outline their novel and write it all, beginning to end.




2. How did you find about about OYAN, and what made you decide to do it?

Kelsey: I first heard about it from Kayla. Shortly after that some other friends decided to go through the curriculum for school. We had a sort of writing group going on for a while, but that has since met its demise—it was all very tragic. Anyway, I decided to do it because the hoards of people who sung its praises succeeded in convincing me. Now I have happily joined their number. (What? Adverbs are allowed in blog posts, aren't they?)

Ruth: I first heard about it from two friends who were doing it. Then a sample DVD of the course was being passed around at the Writer's Group that I attend. I borrowed the sample DVD and watched it. That was pretty much it. I was hooked, and I wanted to do it.

Kayla: We learned about it through a homeschool newsletter spring 2008, I believe. I didn’t hesitate. I wanted to do it very much! I wanted anything that would teach me to write, and this seemed liked just what I wanted!



3. Are there any basic skills/knowledge you need to have before beginning the program?

Ruth: No. The course teaches you how to write. Not dry essays, but stories. Novels. Tales. Mr. S has the most amazing understanding of storytelling and I'm always thrilled by the excitement of understanding stories through the light of OYAN. While I've written novels before, I know that other people enjoy it as well. There have been many non-writers who have gotten lots of good out of it.

Kelsey: Reading, writing, the basics. But like any writing program, the more you put into it, the more you'll get out of it—the more you've read, the more you know of human nature, the better use you can make of the curriculum.


4. In general, are you glad you're doing/have done OYAN?

Kelsey: Absolutely!

Ruth: Oh, amazingly so. I am nowhere near all the way through the course, but I've already gotten scads of good out of it. The things I'm learning in OYAN saved the novels I wrote for NaNo this year! All of a sudden it's like a light bulb has come on and I understand adventure stories.

Kayla: Yes. This course isn’t cliche, and certainly goes against the grain of modern writing. Be prepared to stand out! That’s what the course is all about.



5. What does a day of OYAN involve?

Ruth: I guess that depends entirely upon how much you want to do in a day! For me, I usually do OYAN every other day; usually watching a lesson on the DVD and then working through the lesson in the workbook.

Kelsey: Supposedly it involves watching the video lesson then filling out the worksheet (if you haven't finished your planning) or writing part of your chapter (if you have), but my method is rather—er—flexible.

Kayla: To begin with, you watch the first lesson on the first DVD, taught by Mr. Schwabauer, then read the same lesson in the text book. Then, work in the workbook. Sometimes Mr. Schwabauer adds an excerpt from a book such as Huckleberry Finn for you to read at the end of a lesson in the textbook, and he assigns you a chapter in Prisoner of Zenda.



6. Tell us about your novel! (Title, synopsis, and anything else you want to share!)

Kelsey: My book is called Day of Ashes, and it's set in London in 1941. Bombs fall, things burn, that sort of thing. It can't make up its mind whether to be mystery/suspense or a character-driven historical fiction pseudo-drama piece, but since it's failing at suspense it probably leans toward the latter.

Ruth: Well, I've never been one for writing fantasy adventure, but both my NaNo novel (“Mirror”) and my OYAN novel (“Courage Enough”) have been of that genre. Goes to show that Mr. S has made a big breakthrough here!

Basically my novel is about a young prince that has been hidden away for years by an evil lord. So long that he does not know his identity, until an twist of fate (and a bit of help from an party that I refuse to name) causes him to remember. The novel then follows the fight to overthrow the evil Lord Drankor and the prince's quest to regain his rightful throne despite his fear.



Kayla: It’s called “My Soldier Boys”. When Germany invades France, in WWII, Marie Dumont helps her father and older brother organize resistance. They are quite successful in wrecking havoc upon the Germans. But in one tragic incident, Marie’s father is killed. She blames herself for her father’s death, and refuses to have anything more to do with resistance. But, in the bitter winter of 1944, Marie must find her brother and escape Hitler’s reign of terror before all is finished. Then she meets American soldiers holding secret documents who also need her help. If she agrees to aid them, what would be her fate then?



7. Have you done anything different with your OYAN novel that you wouldn't otherwise have done?

Kelsey: My stories tend to flounder halfway through because I can't get my characters out of the disasters I create, so both the chapter-by-chapter and book-as-a-whole outlines were most helpful. I think I'm slowly leaving the dark side of seat-of-the-pants writing (a shocking development—what is the world coming to?).

Ruth: Many things. I've had to do my character different. Really think out my plot. Add betrayal. Add danger. Add intrigue. Add a potential bad ending. Make it worse...and worse...and worse. Push it to the very edge.




8. What is the best part about OYAN?

Ruth: The way Mr. S works you through the whole process. He holds you to certain standards and makes you think about what makes a really great story. WHAT keeps you reading. WHAT keeps you turning the pages. WHAT makes you really LOVE the story. And then he turns around and asks you to use it. The result is something that I think few of us could produce on our own.

Kelsey: Nina, you are cruel.

Kayla: The best part is being able to apply the lessons to your writing and actually do it right! I’m just beginning to understand OYAN principles, and its just dawning on me that they aren’t that hard. You see them EVERYWHERE! In the things you read, watch in movies, on television, perhaps even in your own life story! They are what make writing wonderful!



9. What is the worst part about OYAN?
Kelsey: It's not nearly as in-depth as I'd like. That's understandable considering the intended audience, but I'd love to see what Daniel Schwabauer could do with a followup for OYAN, or a curriculum for adults. Also, I'm not a fan of the video lessons. This is partly because I don't learn so well that way, but most of the information the DVDs contain is also in the textbook, and it's much quicker and easier to flip through the book if you have a question. Having only the text would make it a heck of a lot cheaper too!

Ruth: Maybe all the rules. You have to put this in and have to put that in. You have to write it from first person (which my main character does not like at all. He keeps on trying to kick me out of his head). If there was to be one thing that I'm not very fond of, that would be it.

Kayla: Thinking up things to happen in your novel. Oh, it’s easy to think of scenes for the Inciting Incident, Embracing Destiny, and all that. But the in between is the hardest.



Ruth, Kayla, and Kelsey: thanks for coming! I look forward to seeing you all next week with the part 2 of the interview. :)

Monday, January 25, 2010

Making It Worse!


Have you ever read a book that was fantastic most of the way through, but the end just felt flat?

Chances are, you have. And chances are, the reason had to do with the climax. The story may be wonderful, but if they solve the climax before it climaxes, it's a letdown. Face it, we like characters to face unconquerable odds, impossible choices. We want to see how they'll take absolute defeat and turn it into incredible victory.

When everything is as bad as it can get, that's when we want the good guys to come blazing their way in and save the day...in the nickiest nick of time.

You never forget those books.

So what's with the bad climaxes? In most cases I read, the characters solve the problems too quickly. You just start getting excited when POOF, it's all over and everybody lives happily ever after. And you sit there and go “Hey! What about...”

MIW is the way to avoid this. It's quite simple. Take your climax and check it out from all angles. Look at the opposition. What's standing between your character and victory? When you know what the main problem is, make it worse. Make it as bad as it could be. Then make it worse again.

Result: a never-to-be-forgotten climax!

My favorite illustration of this is Lord Of The Rings: Return Of The King. Think about the climax. Frodo and Sam are dodging Nazgul and lava on the slopes of Mount Doom. Gandalf, Aragorn & Co are marching to certain death. The Shadow of Sauron is falling everywhere. Everything you care about is dying. And the world is ending. Bad as it can get, right?

Oh, but then Frodo decides to keep the Ring. And instantly it's so much worse than you ever dreamed! There is no way you'll ever forget that climax.

The thing I've just discovered is that MIW doesn't just apply to thriller/action/suspense/mystery. It works just as well for romance, and even straight literary. You can make emotional situations worse, or moral quandaries. Whatever you use it for, it's guaranteed to ratchet up the stakes and make readers care. Just remember, if you have a climax that feels flat, figure out what the opposition is, and make it as bad as it can get. Then make it worse.

You may get hate mail from the Society for Prevention of Cruelty to Characters, but your readers will love you.

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I'd love to hear what you think on this! Have you used MIW? Tell me about it!

Wednesday, January 6, 2010

Two Heads Are Better! - A Look At Co-Writing


For two and a half years now I've co-written with Ruth Rockafield. I'm a co-author and proud of it! Just last week someone asked me once again what it's like to share a story. Many people wonder if it would even be possible for share something as intimate as a piece of writing.

Since this question keeps popping up, I decided to address it in the form of an interview. I took the most commonly asked questions and answered them!

Enjoy!





Why did you decide to co-write? It was rather spontaneous. We started out writing a single short novel about a British nurse and an RAF pilot, which spun into a longer novel, which spun into a trilogy, which is now spawning loosely connected other novels!
Our approach to co-writing is to each take a MC. In the first two books of our Wings of Fire series, Ruth writes the RAF pilot, Peter Standish, and I write a set of sisters, Liz and Julie Knight. The neat part is that the characters take on real depth. Ruth and I are very different people, and the characters as a result are also very different! Feedback tells us the resulting depth of character is unusual and appealing.


Do you approach writing differently? Very much so! Ruth is the dreamer, the idea-spawner. She gets all the brilliant brainstorms. I tend to follow along after her weaving the stray electricity into actual words. I'm the one who structures the story, builds an outline, figures out the details. Ruth breathes the life into it! She also is the one who is never discouraged, and always positive – which is wonderful for me.


Can readers tell which of you wrote which parts? No. Since both of us edit each other's sections, the writing styles blend. For fun, we've had friends try to guess which of us wrote which parts – they never are sure!


Do you ever have conflict over where you want the story to go? Not really. We're grand friends, which spills over into our writing; but we forestall collisions by outlining. For about six months before starting a novel, we talk it over constantly. By the time we're ready to write, we know exactly where we want it to go.


What is the best thing about co-writing? The energy. When writing alone, I'm often tired or discouraged, but that never happens when we write together. If one of us is stuck, we just holler for help! The excitement of working through the story together is the best part. Ruth will come up with a good idea, I'll add something else, which gives her another idea, which gives me another one – and so on! Our absolute favorite scenes have emerged through this rapid-fire ping-pong style of brainstorming.


What is the worst thing about co-writing? I love most of it. But I will say – the responsibility is sometimes overwhelming. Knowing any wrong decisions I make will also affect Ruth is scary. Also, we have occasionally had different goals for publication, which have been rocky to work through when one of us felt very strongly about something. Thankfully, on those occasions, God has stepped in and solved the problems for us!


Both of you write alone as well. How is that different from co-writing? Both of us wrote separately for years before beginning to cowrite, and sometimes we just need to tell a story of our own. Sometimes, the freedom to make all the choices without consulting anyone else is refreshing. Other times, for me, it's not as much fun! But we usually get involved in each other's separate works as well – if only to share advice, feedback, and support. Sometimes I feel that Ruth gives me so much support on my separate projects that she should really be listed as a co-author!


Do you plan to always write together? I hope so! We have quite a few projects planned already. We intend to finish our Wings Of Fire trilogy with A Dwindling Fire, the story of a Luftwaffe pilot who returns to Germany in 1945 as a British agent, and the Frenchwoman searching for her sister in the ruins of Nazi concentration camps.


Then we're outlining two other novels. One, Enemy In Our Midst, takes place during the Civil War, with Ruth writing a Confederate calvary captain, and myself writing an passionate abolitionist Union spy. The other, Shadow Of A Whirlwind, takes place in in New Orleans during the War of 1812. Ruth writes a dashing, mysterious aristocrat-by-day, pirate-by-night, and I write a woman whose past is hunting her down in the shadows of war.

And finally – Ruth has succeeded in talked me into writing a novel about the Korean War. Loosely connected to Wings Of Fire, it will be the story of an RAF pilot who, after an empty life of war and adventure, is searching for a place to belong. Little does he know he's about to become responsible for a very pretty missionary with twenty adopted Korean children – the enemy is closing in and his life will never be the same.

As you can see, we're very busy!


What advice would you give to people trying co-writing for the first time? Make sure you're compatible. If you aren't friends, chances are the experience will be upsetting. The “discussion” period, where you talk about your vision of the story, really helps to know where you both want to go. Also, make sure you both are passionate about the story! Writing about something only one of you is interested in could be miserable.
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Have you tried co-writing? Are you about to? Do you like or dislike co-written novels? I'd love to hear your thoughts!