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Category: Writing

Posts in which we talk about the writing craft and process


All writers have an extra-special fascination with words; they’re our toolbox, the hammers that drive in the nails. My word fascination started when I was about nine years old, and my also word-loving parents brought the game Perquackey into the house. The game is basically an anagram game, with the point being to make words out of letter cubes. Within about a month, I was beating my parents. Since then, no-one has ever beaten me at the game, and it’s also given me a life-long obsession with anagrams. When I’m particularly stressed or worried, I start doing anagrams in my head, and I’ve developed certain rules for my anagramming to make it interesting.

So when my book club read Word Freak: Heartbreak, Triumph, Genius, and Obsession in the World of Competitive Scrabble Players a few years ago, I was in alt. Finally, I was reading about people even MORE obsessive than I was.

And its author, Stefan Fatsis, revealed a new type of word obsession, I was even more excited. He talks about names and words that have each and every vowel once and only once: Julia Roberts, for example (sidenote: My best friend, whom I call the Picky Vegetarian, has one of these names. Do you know how excited I was when I figured that out? She almost became my ex-best friend, I went on and on about it so much). Since then, I’ve added that obsession to my repertoire, and am excited to find words like “sequoia,” “Metalious” (as in Grace, author of Peyton Place), and “auctioned,” “cautioned” and “education,” which have the bonus of being anagrams of each other.

It makes sense, then, that I would have signed up for the daily email of Worthless Word of the Day. The email yesterday had this gem that was right up my alley:

the worthless word for the day is: gravedinous[ad. L. gravedinosus, fr. gravedo, heaviness]obs. rare : drowsy, heavy-headed {in Bailey}

this is one of those words that contains the 5 vowels (aeiou) in alphabetical order without repetition; some that are more(?) common: facetious, abstemious, arterious, arsenious,adventitous, abstentious, bacterious, and tragedious — the shortest word of this type seems to be the obs. term aerious (7 letters), meaning “airy” (if you’d like to include ‘y’,you can add -ly to these; e.g., facetiously) hence, gravedinously, I suppose.

To sign up for WWTD, go here: http://home.mn.rr.com/wwftd/

Oh, words just make me shiver. Some of my favorite words are interstitial, penultimate, roil, internecine and solipsistic. Do you have any favorite words? Or word/language obsessions? What are they? Which authors seem to have an especially developed word obsession?

Thanks for feeding my obsession,

Megan
www.meganframpton.com

Posted in Reading, Writing | Tagged , | 5 Replies

What do you listen to when you write or read? Or do you need dead silence? Do you have recordings you associate with particular books? I like to have music to write too, but I find it distracting when I read, although I was raised in a house where all the major activities took place in one room, and I learned to either block out or blend in the music.

I thought I’d share a few of my favorites with you. I’ve blogged before about how fond I am of opera, and I find the human voice very…inspiring, particularly when it comes in the form of Thomas Hampson, who is tall (6′ 4″) and unbelievably good looking with great blue eyes. And, oh yes, he can sing too, everything from Wagner to lieder to Annie Get Your Gun. (Pause to wipe off drool.)


This next one is a crossover album that actually works–mezzo-soprano Anne Sofie von Otter with Elvis Costello. Now I think Elvis Costello is sort of weird and I don’t much like his singing voice, but this collaboration was his idea and I thank him for it every time I listen to it (which is very frequently. This and an Ella Fitzgerald album were the greatest hits of Dedication). She sounds like an opera singer only in a good sort of way–great breath control, and the occasional amazing high note that comes effortlessly out of nowhere. Just gorgeous.

I don’t think this is the Steeleye Span album I have in mind (note to daughter: please return my Steeleye Span!)–I haven’t seen it in so long I can’t remember which one I own. A bit of pure nostalgia here–SS was one of the folk-rock bands around in the late 60s/early 70s. I didn’t realize how skilled they were until I came across their lyrics and realized what a genius their vocalist Maddy Prior was with the words and phrasing.


And, Rachmaninov to die for. Krystian Zimerman (sorta cute in a tortured artist way) is my favorite pianist and this is my greatest hit of the moment. I’m writing an erotic historical, and alternate between this and the Messiah as inspiration, something I can’t explain.

Tell us about your favorite background (or otherwise) music!


This Sunday, America celebrates Mother’s Day, a day I, as a mother, fully intend to take ruthless advantage of (even going so far as to end a sentence with a prepositional phrase with impunity!).

But this post is not about me. For once. This post is about the person who assumed the maternal role in my life, namely Jeff McLaughlin, my father.

See, my parents split up when I was 12 years old. At the time–for various reasons, some functional, some that have caused years of therapy–I lived with my father, while my mother went and got an apartment across town.

My dad was a newspaper journalist, and a darn good one, too (he’s got a Pulitzer Prize medal that the Boston Globe won in 1972, I think, for covering school busing. He was the metro editor at the time). He worked hard, and had long hours, but he was there when I absolutely needed him.

It’s from him I get my love of words, my dry, sarcastic wit, my intolerance (sorry, Dad) for all sorts of people–suffering fools gladly is NOT a McLaughlin trait–and most especially, my love of books.

It might’ve been from my father’s collection that I first found Pride And Prejudice; my mother, while also a reader, is not so literarily inclined as my father. And P&P is my favorite Austen (Emma is his, a point on which we disagree), probably because its patriarch reminds me so much of my own. To wit (with huge gratitude to Pemberley’s hypertext of P&P):

Mr. Bennet was so odd a mixture of quick parts, sarcastic humour, reserve, and caprice, that the experience of three and twenty years had been insufficient to make his wife understand his character.

Exactly! To quote Gilbert & Sullivan‘s Patience (which my dad and I do frequently), “That describes me to a T. Thank you all very much.”

When Elizabeth goes on a visit, she says, “The only pain was in leaving her father, who would certainly miss her, and who, when it came to the point, so little liked her going that he told her to write to him, and almost promised to answer her letter.” When I went to college, at least we had the telephone. And thank goodness for email!

My dad definitely would’ve pulled the ‘unhappy alternative’ reply Elizabeth got when her mother insisted upon her marrying Mr. Collins (not to suggest my Spouse is anything like Mr. Collins; Dad is just happy I found someone as smart and intolerant as Dear Old Dad):

An unhappy alternative is before you, Elizabeth. From this day you must be a stranger to one of your parents. — Your mother will never see you again if you do not marry Mr. Collins, and I will never see you again if you do.”
Elizabeth could not but smile at such a conclusion of such a beginning; but Mrs. Bennet, who had persuaded herself that her husband regarded the affair as she wished, was excessively disappointed.
“What do you mean, by talking in this way? You promised me to insist upon her marrying him.”
“My dear,” replied her husband, “I have two small favours to request. First, that you will allow me the free use of my understanding on the present occasion; and secondly, of my room. I shall be glad to have the library to myself as soon as may be.”

That’s my dad, down to the wanting to be alone in his library. Dad lives on Cape Cod now, just him and his 30,000+ collection of books. He’s enthusiastically assumed the position of my research partner, and I’ve asked him lately to delve into Regency-era banking (math is not his strong suit, but he hasn’t complained at all), Byron, and whether one would use a hyphen or not in the word ‘chitchat.’ When I was writing A Singular Lady, he read each and every one of my drafts, and did, in fact, catch the title mistake that made it in print (did I listen? No! The prerogative of the child, I guess).

So thanks, Dad, and Happy Mother’s Day!

Love,

Megala
www.meganframpton.com

Posted in Writing | Tagged | 6 Replies

One glance at a book and you hear the voice of another person, perhaps someone dead for 1,000 years. To read is to voyage through time.

–Carl Sagan

This week, the arts and entertainment world has been buzzing with the accusations that Kaavya Viswanathan plagiarized from Megan McCafferty, Sophie Kinsella, and Meg Cabot in her book How Opal Mehta Got Kissed, Got Wild, and Got a Life.

The passages she allegedly copied are striking in their similarity, which begs the question of what the heck was she thinking? But when the story first came out, before I’d noticed the similarities myself, I was pondering what makes an original story. Is it the plot? Well, sometimes; certainly science fiction and fantasy authors create distinctive plots all the time. In romance, however? No. Our plots can be distilled to this: Female and male meet. There is a conflict to what seems like a perfect relationship. Bad things happen, good things happen, until the conflict is resolved and the female and male can be together.

I even had to admit to borrowing from others’ work, too; not in the open, Viswanathan way, but in inspiration (the picture below is of Calliope, the muse of arts and poetry). For example, in the last edit of A Singular Lady (the version that got it sold to Signet), I added an evil uncle whose cane dropped a piece of wood which my heroine kept in her pocket to remind her of what she had to do to save herself and her family. I thought of that after reading Judith Ivory‘s Starlit Surrender, where the heroine sees a red handkerchief she knows belongs to a woman in the hero’s past (plus Judith Ivory gave a talk on the Writer’s Toolbox and explained the whole concept of objects taking on additional meaning, which is when the epiphany struck). I remember somewhere Eloisa James saying she got inspired in her love scenes by reading Loretta Chase‘s Lord Of Scoundrels, which she keeps within easy reach of her computer when she’s writing.

But what keeps most authors’ work from being labeled plagiarism is VOICE. That intangible thing that keeps us reading the same old story time after time. Voice is the way the author says things, which is why the plagiarism accusation cuts so deep; stealing someone’s VOICE is stealing someone’s way of saying things, not like Jamiroquai borrowing Stevie’ Wonder’s phrasings, or Christian Slater doing a Jack Nicholson impersonation, but stealing someone’s core personality.

I’ve been told that, for all my failings at plot and correct titles, I’ve got a good, distinct voice. I value those compliments; plot and title stuff can be corrected, achieving a distinct voice is a lot harder to do. My favorite authors possess their own, distinct voices–authors like Loretta Chase, Eloisa James, Anne Stuart, Mary Balogh, Julie Anne Long, Judith Ivory, Julia Ross, and I could go on and on (and that’s just in romance!).

So–when you read, do you read for plot or for voice? Do you savor the author’s voice? Which authors have the most distinctive voices?

Thanks for being vocal,

Megan
www.meganframpton.com


My latest read, which I’ve about halfway done with, is Diana Gabaldon‘s Lord John And The Private Matter, which takes place in mid-eighteenth-century London. I’ve only read one other Gabaldon–Outlander–and Lord John definitely does some fairly awful things in that book. But Gabaldon makes Lord John more than just a two-dimensional villain, and that, for me, is totally delicious.

See, I like ’em bad; to my mind, there’s nothing more compelling than someone who seems irredeemable being redeemed by love. One of the best examples of that is
Anne Stuart‘s Black Ice; her hero is really, really bad, but you end up believing in him because Stuart writes him so well.

I was watching Pretty In Pink last night (such a guilty pleasure it’s almost come back around the other way and is okay now), thinking how I’ve always liked the James Spader character more than the Andrew McCarthy character. Sure, he’s a snobby a–hole, but he’s hurting. I also have to admit having sympathy for the Joaquin Phoenix emperor in Gladiator.

Maybe I am irredeemable.

The act of redemption is very hard for an author to pull off; we can all cite many cases where the lukewarm villain in one book is the hero of another. Even in the first instance, the reader can tell the villain isn’t that bad. What takes talent is taking someone truly bad and making their redemption believable. In Regencies, Mary Jo Putney has done it, as has Mary Balogh.

Fiona Apple’s song “Criminal” does a great job of getting inside the mindset of the villain maybe to turn hero. The lyrics are below, with few questions for you to answer (if you’d like) following.

Fiona Apple–“Criminal:”

I’ve been a bad bad girl,
I’ve been careless with a delicate man.
And it’s a sad sad world,
When a girl can break a boy
Just because she can.

Don’t you tell me to deny it,
I’ve done wrong and I want to
Suffer for my sins.
I’ve come to you ’cause I need
Guidance to be true
And I just don’t know where I can begin.

What I need is a good defense
’cause I’m feelin’ like a criminal.
And I need to be redeemed
To the one I sinned against
Because he was all I ever knew of love.

Heaven help me for the way I am.
Save me from these evil deeds.
Before I get them done.
I know tomorrow brings the consequence
At hand.
But I keep livin’ this day like
The next will never come.

Oh, help me, but don’t tell me
To deny it.
I’ve got to cleanse myself.
Of all these lies till I’m good
Enough for him.
I’ve got a lot to lose and i’m
Bettin’ high
So I’m beggin’ you before it ends
Just tell me where to begin.
What I need is a good defense
’cause I’m feelin’ like a criminal.
And I need to be redeemed
To the one I sinned against
Because he was all I ever knew of love.

Let me know the way
Before there’s hell to pay.
Give me room to lay the law and let me go.

I’ve got to make a play
To make my lover stay
So, what would an angel say?
’cause the devil wants to know.

What I need is a good defense
’cause I’m feelin’ like a criminal.
And I need to be redeemed
To the one I sinned against
Because he was all I ever knew of love.

What I need is a good defense
’cause I’m feelin’ like a criminal.
And I need to be redeemed
To the one I sinned against
Because he was all I ever knew of love.

So–do you like bad folks turned good? Which books are the best examples of the villain made hero?

Thanks for reading–

Megan

www.meganframpton.com

 

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