We continue our interviews, this time with Sci-Fi author Geoffreyjen Edwards.
We get into many aspects of creativity, including collaboration and how challenging yourself by going big rather than going home can be a successful creative strategy.
Before becoming a science-fiction writer, Geoffreyjen led a successful career as a full-time scientist. Indeed, he populates his world-building by drawing on experience in fields as diverse as astrophysics, artificial intelligence, geomatics, design, disability studies and the performing arts. Plenum: The First Book of Deo, is his first published novel. Dr. Edwards lives and works in Quebec City, Canada, and has published smaller pieces in both English and French. He also is a fashion designer. Look him up at http://www.geoffreyjenedwards.com.
Our Resources Mentioned:
Kevin talked about Art Breder: a site for making art cooperatively with artificial intelligence.
John suggested everyone bring and use their phone’s recorder to capture notes and ideas in those hot moments they occur. Also, a towel.
Our first interview with someone who isn’t us! We spoke with Lily Hammer (aka Kate), a writer, drummer, photographer, and all around creative. She talked about her approach to creativity, and how her creative efforts and interests have changed over time. She also shared how creativity helped her cope with a dark time in her life. How placing creativity at the forefront helps her be the hopeful and creative person she is today.
The Fear of Missing Out (FOMO) hits many writers at this time of year as NaNoWriMo (National Novel Writing Month) preparations begin. We fear we don’t have any ideas, won’t have the time, or maybe just don’t want to write a novel but something else. What we’re afraid of missing is NaNo’s collective support and energy. All those write-ins, sprints, forum and Discord conversations, they provide a shared energy around writing like nothing else.
But if we don’t have an idea for a novel, or don’t feel we can commit to 50,000 words in a month, we’re going to miss all that writing positivity, and that hurts.
Any words written in November are words you won’t have to write in December.
But you don’t have to write 50,000 words of a novel to participate. You don’t even have to write 50,000 words of anything. Just write. Write when you can. Soak up some of that positive energy for yourself. Any words written in November are words you won’t have to write in December.
Here are things you can do instead of writing a novel. I’ve measured them out to be the equivalent of 50,000 words, but if that’s too big a commitment, set a smaller goal. Remember, the point is to participate in the community and energy.
Write 2 novellas or 4 novelettes. This allows you to switch projects if you wish to get a fresh perspective, or if you get blocked on one. Getting stuck is a reason some people don’t finish their November novel. Each of these suggestions has the advantage of not getting bogged down in a single project. With these projects, you’ll also have more works ready to revise and send out or publish later.
Write 12 short stories. I did this one, and 6 stories ended up as the basis for a novel later, but I spent the month writing a dozen short stories ranging from 1,500 to 7,000 words. If you submit regularly to fiction markets, this can be a good way to boost your submissions in 2022.
Write 30 poems. This may or may not hit 50k words, but has its own reward. I know there’s National Poetry Month and NaPoWriMo in April, but why not use this one too. This is the project I’ll be doing this year and my goal will be to have 30 revised and edited poems by the end of November, so my work level will be the same as if I wrote a novel.
Write 50 Flash pieces. Assuming 1k words per flash.
You get the point. Yes, to officially ‘win’ NaNoWriMo you must write 50k words for a novel, but I think winning at NaNo means participating in the worldwide community of writers and sharing in the creative energy that participation creates.
Short fiction seems more targeted – hand grenades of ideas, if you will. When they work, they hit, they explode, and you never forget them. Long fiction feels more like atmosphere: it’s a lot smokier and less defined. ~Paolo Bacigalupi
This, like most of this series, isn’t prescriptive advice. It’s me exploring the nature of SFF craft. I’ve written over a hundred short stories, which by most professional accounts, isn’t very many. As of this writing, I have two out on submission to professional markets and a mound of others rejected multiple times. But I’ve also self-published several that readers have told me they enjoyed.
Short SFF craft is something I work on a lot. I read it. I love it. I love how such a small narrative can explode to create entire worlds and capture entire relationships. While many writers think only in terms of the novel, there are others who make short fiction the focus of their career. There are some wacky myths associated with short fiction, particularly around speculative and fantastic fiction. I was once told you can’t write epic fantasy short stories. I took that as a challenge, and yes, you absolutely can write epic fantasy short stories.
There was a panel on worldbuilding in short fiction at this year’s Nebula Conference. The panel agreed, you can convey anything in short fiction, you just need to find the right words because each word is more valuable. But in those few words, you can not only setup a mood and tell a tale, but you can convey an entire world.
I’ve read that the art of the short story is particular to the form. But that is not my experience. While the form demands techniques to support brevity, we can also use those techniques in novels. Writing short doesn’t just train for economy, it also teaches how to convey emotions or moods in the most effect manner, not just the shortest.
When an exhaustive play-by-play narrative will bog down the pace of a novel, a scene written as if it were part of a short story, and evokes an experience for the reader, pacing can be maintained while bringing the reader more with fewer words.
Working with some techniques:
Refer to an event in the past to reveal worldbuilding:
The Century of Misery, the wars of his his parents and grandparents generations, could visit his generation with a poorly worded letter between the two kings.
This gives a sense of history, how terrible life was for the character’s parents and grandparents. It tells the reader something about the current situation: at least two countries are at peace and that the peace is fragile.
Use the story title and character names to do some of the work:
Selkie Stories Are for Losers (by Sofia Samatar)
Tells exactly what the story is about (a selkie story) and gives us the character’s voice before we’ve even started reading.
Introduce a character using their full name and where they’re from:
Duchess Alice Bremway of the Alverines pranced through her gardens.
Oscar ‘Jammer’ Ridgeway hiked to the creamery, guiding his father’s oxen.
Both examples use the names to suggest social status, which suggests the world in which they live. Oscar’s nickname hints at an interesting story behind it. Places like a garden or a creamery solidify the social levels of the characters. All in a single sentence.
Find an evocative tag to represent something larger.
The house leaned in the manner of old farmhouses, always sagging; leaning but never falling.
The farmhouse describes not just that house, but the others nearby. The area is rural and old.
Poets try to produce an effect or experience in the reader using the deliberate choice of words, their sounds, and their shape on a page. All writing, long or short, can benefit from creating such effects. If a reader can imagine a deeper history, a wider world, or even reminded of a smell, the story becomes more real.
Here’s an exercise:
Try replacing a paragraph of description with a single sentence to get across the same information.
This is a sizeable chunk of my revision process. I want one image to convey who someone is, or where something is taking place. That single sentence will usually be much more effective than a paragraph of description. The restriction of writing short forces us to find more meaningful words; words that cause a reader to react, to see or feel something. The one thing we writers want to achieve above all others.