Reviewing Books

I’m not a book snob. I like to read just about every genre and I can enjoy sleazy romances as much as great literature as much as wacky sci-fi. Even with the books I don’t enjoy, I can usually find things good about them and understand why others would want to read them.

These qualities make me, I think, a good book reviewer. I review books for the Historical Novels Society. I’ve enjoyed reading many of the books I’ve been sent; others I didn’t really like myself, but it was easy to see the qualities that others would enjoy and write about those aspects. In fact, a book I didn’t like very much was recently given a starred review by HNR because I was so positive about certain aspects of the book.

I hate writing bad reviews. I think that there is a reader for every book, and my review should clearly explain who would enjoy the book, and (perhaps less clearly) who would not enjoy the book. Also, I hate to hurt a person’s feelings. Every author spent a lot of hard work creating his/her story, and I want to be able to applaud some aspect of the writing.

That said, I’m blogging today because I finished a book this morning that I think is irredeemably bad. And I’m SO ANGRY about it. There is nothing good about this book. The writing is clunky and awkward and repetitive and awful. The characters are flat and unrealistic and unlikeable. It’s supposed to be a romance, but there is practically no romance and when romance does happen it is embarrassing. It’s also a war story, but there is little to no action.

I’ll admit the plot was a good idea–I asked to review the book based on the storyline, so perhaps this is an audience appeal. But I can’t imagine anyone reading beyond that first chapter. I had to, because I had to review it. What I really can’t understand is how this got published.

How?

Again, I’m not a book snob. I like almost everything. But this book was garbage. Utterly bad.

How?

Writing Scene by Scene

Hey, I have a question for you novelists out there. Do you write your books scene-by-scene, in order, or do you jump around? I don’t seem to be able to jump around. I’ll have scenes in my mind that I know I will eventually get to, but I don’t write them until the story has progressed to them. A few times I’ve sat down to write a future scene because I’m stuck where I’m at, but then I find myself trudging through the muck of “the present.” On a few occasions I have written those future scenes, but by the time the story progresses to them, they no longer work.

What do other writers do?

Back to Writing

School ended last week and so I’m back to writing every day. The first two days weren’t very good. I’m still having trouble with this new novel; it doesn’t seem to flow as easily as my others did. When I’m not writing, I don’t seem to think about it much.

Anyway, I think I’ve decided on a pattern that will help me continue to write daily. One day I spit out what I need to get out: describe a specific event, introduce a new character, etc. This can be done as well or as poorly as necessary just to keep the story moving. So far, my first day on a new scene has been miserable. I get out what I need, but the writing is clunky, the characters are flat, and I feel like a total failure. But then I find myself re-thinking the scene. Ah… I could have done this better, oh, this character should wait and appear after this… and so on. The next day is clean up day. I improve the scene and feel good about it: a scene well-written in two days. Then I’m back to a garbage day. Today is a garbage day for me. Knowing that really takes the pressure off. I’ll get out what needs to happen and then I can focus on improvement.

Online Ordering Available

You have two options for buying The Stolen Goldin Violin online:

Jim Laabs Music, a Stevens Point music store, has made The Stolen Goldin Violin available from its website. Laabs offers world-wide shipping and credit card payment. Here’s the link:

Jim Laab’s Music, The Stolen Goldin Violin

The Aber Suzuki Center at UWSP will accept payment by check. Print the order form below and mail it with your check to the address on the form.

Aber Suzuki Center Order form

Stolen Goldin Violin Now In Print!

I picked up 2000 copies of The Stolen Goldin Violin from Worzalla Publishing yesterday afternoon. We should have a way for non-local people to order the book in the next few days, so keep your eyes on this blog. For local customers, come see us at the following locations:

Saturday, May 8, UWSP NFAC Michelson Hall
We will be selling before and after these events:
2:00 Suzuki Solo recital
3:30 Suzuki Solo recital
7:30 Central Wisconsin Chamber Orchestra Concert

Sunday, May 9, UWSP NFAC Michelson Hall
We will be selling before and after these events:
1:00 Suzuki Piano Festival Concert I
2:30 Suzuki Piano Festival Concert II

Thursday, June 17, Portage Co Public Library, downtown Stevens Point
6:30 We will be presenting a short program and then doing a book signing and sale.

Books are also available at the Aber Suzuki Center office in the NFAC on the campus of UWSP.

Writer’s Block

I never believed in writer’s block. I always felt that it was the result of a lack of discipline. A writer should sit down and write and eventually he/she will work through it. I’ve come to think that perhaps writer’s blocks is something a little different.

Let me explain to you my boxes metaphor. I think of my mind as a big open space with a few boxes floating around. The big open space is where I live most of my life. When my head is in the here and now (at work, with my family, doing ordinary chores, etc.) I am in the big open space.

There is a box for my reading life. When I sit and open a book, I move into one of the boxes floating in my big open space. I’m in a different world, a fun place to be. I can go in and out of that box whenever I want.

There is a box for my writing life. If I sit down at my computer, I go into that box and stay there until I leave the computer. I can go into that box in a day-dream sort of way at other times in my day as well. I go there to meet with my characters, sort out what’s happening with them, what they think and feel about the plot, tour their landscapes, etc.

Lately, I find I don’t have access to that box. I’ll step inside, start to think about what is happening with the story, but then I’m suddenly outside the box. I’m not thinking about what’s happening with the story. So, I go back in and like a mirror trick I find myself outside the box again. I can’t seem to focus on the story or the characters or anything. I sit down at the computer and type (I’m disciplined), but everything is flat. I’m only writing what I remember from being in the box–I’m not actually in the box.

How has this happened?

There is another box floating around that has its door open, and I can’t seem to get it closed. It is the box where I keep all the unpleasantness of life: world poverty, wars, communities not willing to pay for public education, divisive government, global warming, etc. That box used to work quite well. It had a strong door that I opened when I wanted to be a good citizen, knowledgeable about what was happening in the world and my community. I would go into that box when I listened to or read the news or when I talked politics with friends; however, I could leave and close the door when the news was too painful, so that it would not interfere with my everyday life–my big open space.

Now the door to that box is open. I can’t shut it. I’m plagued by the ignorance and selfishness of mankind. We are a cancer upon the earth. Unable to shut that box, I’ve tried desperately to get inside my writing box so I can be productive, do something “happy” and maybe when I come back out, the pains-of-the-world box will have a working door again. But my writing box won’t let me in.

Which brings me back to discipline. Should I force myself in front of the computer more often? If I write flat, then I write flat. If I just stare at the screen trying to access the box, will I eventually gain admittance?

Comments? Ideas?

April 29

This is the date I just received for the probable pick up date for our 2000 copies of The Stolen Goldin Violin from Worzalla Publishing. A local music store has agreed to sell our book online, and hopefully we will have that page up and running pretty soon. I’ll keep you informed.

Inspiration

About ten years ago I read Girl with a Pearl Earring, a beautifully crafted, brilliant book by Tracy Chevalier. After reading it, I wanted to be a writer again. I was inspired to sit down and write, to mould a story, invent and develop characters. It took me three years, but I finished Charlotte’s Inheritance. It is not yet published, but I now consider myself a writer.

Last week I started reading A.S. Byatt’s The Children’s Book. It is an incredible novel, with a host of amazing characters, and so much information about the turn of the twentieth century. She writes so skillfully, and I learn so much without feeling like I’m being lectured at. While writing Charlotte’s Inheritance, I read other works by Byatt, and I feel like her “instructional” prose influenced that story. However, I do not feel inspired by The Children’s Book. Instead, I feel disheartened, unworthy, incapable of creating anything worthwhile. Her standard is so high, and my ability so low, why do I bother?

Intellectually, I’ve been wondering why those two responses? The Girl with the Pearl Earring remains one of my favorite books. Byatt’s new novel has not set a standard that Chevalier did not reach. Why does one incredible book inspire and another incredible book deflate?

Is it my own mood? The book I’m currenly writing isn’t progressing well. I am having trouble making myself work on it, and it isn’t growing at the rate it should. When I’m reading Byatt, I’m neglecting Olivia. Is that it? Is it something else?

Pi Day, two days late

My son Tom and I have decided to collaborate on another book. We talked about this during breakfast today. It will be another children’s mystery, but this one we will write in Pilish. The most famous sentence written in Pilish, according to the Writer’s Almanac, was written by English physicist Sir James Jeans:

How I need a drink, alcoholic in nature, after the heavy lectures involving quantum mechanics!

Note that “How” has 3 letters, “I” has 1 letter, “need” has 4 letters (3.14… ) which is Pi. So, the entire sentence uses words with the number of letters in the same sequence as the numbers that make up Pi. Because Pi goes on forever, it would be possible to write an entire novel in Pilish. Wouldn’t that be cool? It’s quite a challenge, but Tom and I are up for it. I’m not sure when we’ll find the time to attack this puzzle, but I’ll keep you updated.

Gosh, if we write a book using Pi, will I have to change the subheading of my blog????