amazon.com/authors/laurengilley

You can check out my books on Amazon.com, and at Barnes & Noble too.

Thursday, February 12, 2015

The Writer's Toolbox

When you're a writer, there are some standard tools of the trade. A computer, a comfy spot to sit, heaps of notebooks, and large quantities of caffeine. Throw in some variables, but those are all pretty much givens when it comes to writing.

But being a writer is only one part physical. You need other tools, too; the intangible, mental and emotional tools that help you craft the perfect multi-dimensional story. These are artistic tools; I don't believe in step-by-step guides or scientific approaches to fiction writing. There is no set process that guarantees a certain quality of work. Rather, these tools are ways of thinking and processing that will make you a more sensitive, artistic writer, so that you can write organic, realistic stories.

Ready? Let's open up the toolbox:

- Empathy. It's important to be able to put yourself in your character's shoes, because unless you're writing a memoir, you aren't writing about yourself, but a collection of made-up people you hope your audience will see as real and knowable. Since the goal is for each character to be unique, you'll have to identify with each unique personality and viewpoint. The question you ask yourself is not "what would I do in this situation?" But "what would Ava do in this situation?" "How would this character react to that event?" You want each character to be relatable; you want your characters to feel like humans, with their own codes, opinions, and perspectives, rather than ciphers.

- Attention to Detail. No matter your writing style, the goal is to create an immersive reading experience for your readers. You want them to sink down into the world of the story and feel as if it's a real place and time; a world where they can learn the climates and anticipate the seasons (real or metaphorical). This world includes both the setting and the culture. Attention to detail is a mindset. To strengthen your perception of the world around you is to portray it more realistically with words. You can work on this by carrying a notebook around with you. Sit quietly and observe the goings on in a public place. Write down what you see, hear, feel. Eavesdrop on strangers' conversations. Absorb the colors and textures around you, and pretty soon, you'll be much more aware wherever you are, and your writing will reflect it.

- Honesty. I always stress the importance of imperfection. The world is a messy place; pretending it isn't can turn the most normal of writing subjects into fantasy. Acknowledge the dirt, the awkward moments, the flat tires, the bad hair days, the bad habits and regrettable decisions. This makes characters feel human.

Any topic can become the focus of a fascinating, entertaining novel full of loveable characters. It's the artistry and emotion that make the story memorable and special. Happy writing!

Wednesday, February 11, 2015

Lines 2/11

I promised to post this yesterday, but time got away from me last night. My computer is back! Yay! Please enjoy this little snippet from Chapter Two of Angels. Raw text, as usual, so apologies for typos.
 


 
From
Price of Angels
Copyright © 2015 by Lauren Gilley

I want to understand, Holly wrote, because she couldn’t settle down and relax. I didn’t know a man had it in him to refuse. Deny himself? Or else he doesn’t like me. Yes, that has to be it. He doesn’t like me. Then I won’t have another shot with him. No means no. What will I do? He was my best hope…

            The telephone on the end table rang beside her, startling her, sending her leaping from her spot on the couch.

            “Damn,” she murmured, pressing a hand to her stuttering heart. The journal had flown out of her hands and landed with a smack on the boards. She bent to retrieve it, closing it up tight and holding it to her chest, before she answered the old curly-corded landline.

            “Hello?”

            “Holly, dear,” Mrs. Chalmers’ voice filled her ear. “Are you alright? You sound out of breath.”

            “Fine, ma’am.” She took a deep breath and forced herself to smile, knowing the expression would work its way into her voice. “What can I do for you?”

            “Nothing,” the kindly old widow assured. “But someone rang the doorbell in front.”

            Holly hadn’t heard it, above the rumble of her TV. She felt something like panic twirl through her. She couldn’t afford to be so lax. Couldn’t miss a single sound, couldn’t let herself be surprised.

            “There’s a young man down here,” Mrs. Chalmers continued, “who’s here to see you.”

            “Oh,” Holly said, and all the breath left her, the panic heightening, closing around her windpipe with a relentless squeeze. So this was it, then. They’d found her, finally. It had taken longer than she’d expected, but it had to be them. She had no friends; she didn’t go on dates. There were only three possibilities as to who might have come ringing doorbells in the dead of night looking for her…

            “He said to tell you,” Mrs. Chalmers said, “that his name is Michael, and that he wants to ‘pick up where you left off.’ ”

            Holly released a deep breath, shoulders slumping, the terror turning loose in a rush that left her light-headed. “It’s Michael?”

            “That’s what he says, dear. Very stern-looking fellow.” Mrs. Chalmers lowered her voice to a whisper. “Unpleasant, really. But I told him I’d ring you and I told him he could wait in the parlor for you to come down.”

            Her relief was so great, she could have done cartwheels across her loft. Instead, she said, in a too-bright voice, “I’ll be right down to see him, Mrs. Chalmers, thank you so much.” As an afterthought: “I hope the doorbell didn’t wake you.”

            “Oh no.” The old woman made a dismissive sound. “I couldn’t sleep. I was doing my night baking again.”

            Holly thanked her once more, then hung up.

            And went straight to the bathroom mirror.

            She hadn’t showered yet, so her careful makeup was still intact. Her hair she’d tied up, though, and she’d changed into baggy gray sweatpants and a shapeless black long-sleeved shirt. It would have to do. She didn’t want to keep him waiting, especially if he wanted to “pick things up.” She didn’t know a man to care what covered her body. She pulled the elastic from her hair, shook it out so it fell in dark waves down her back, and stepped into her slippers before she disengaged all the locks and let herself out.

            She loved her slippers. About three bucks at Target, they were lined with fluffy fake Sherpa, and looked almost like real leather, if you squinted. They were soft. Comfy. She’d never owned a pair of slippers before, and she hadn’t been able to resist them, an impulse purchase when she was shopping for milk and detergent.

            Light, silent steps down both staircases, and her heart was hammering by the time she swung around the post at the foot on the main floor. The house was mostly quiet and dark around her, save Eric’s record-cutting noise and Mrs. Chalmers’ soft business in her back rooms. The foyer was illuminated by a series of table lamps, set on antique pieces flanking the walls. By their light, she had a view into the parlor, the front-most room of the house, one that had been kept as a public space where residents could meet with guests.

            It was a dainty, feminine room. Long, tufted white sofa against the far wall, bracketed by ornate rosewood tables, lamps with belled, beaded shades. A sequence of old portraits marched along the wall above; Mrs. Chalmers had no idea who any of the subjects were, just dead people, she’d said. In the bay window, two French-style chairs of pale blue velvet framed another rosewood table, another lamp. The floor-length drapes filtered the light from the streetlamps outside.

            This was where Michael was sitting, in one of the chairs in the bay window, one ankle propped on the opposite knee, so his jeans rode up and the spur strap of his heavy black boot was visible. He had his elbows resting on the arms of the chair, hands draped loosely over the ornate curves of wood. His head cocked a fraction at her appearance, eyes narrowing even more as he studied her with unself-conscious intensity. People don’t look at other people like that, she wanted to point out to him. It seems rude. He didn’t seem to care, though, just stared at her a long moment before he finally turned to glance at the chair beside him, and then back at her, a silent request for her to come sit down.

Monday, February 9, 2015

Music Monday - 2/9





I think I’ve shared this song before, but oh well, sharing it again. It’s what my rainy Monday morning needed to get started. Get the creativity flowing. I had a 20k word week this past week, and I’m hoping for a repeat. Wish me luck!

Friday, February 6, 2015

If You Ever Stop Loving Me





"My old man's backhand



used to land



hard on the side of my head;



I just learned to stay out of his way."



When I want to get in the biker writing frame of mind, I listen to these guys every time. Love them. How sad they're never on the radio anymore, because there is such an authenticity to their music that sings right to the heart of hard-working, making the best of it America. And like I said, most of their songs, but especially this one, launch me straight into that world of cracked pavement and dust-on-the-lips and hot sunburned shoulders where my characters live.



I've spent some time this week mapping out the rest of my Dartmoor series, thinking about whose stories need to be told in which order, thinking about where all these guys and gals have come from, and where they're going, how they fit into this sprawling family of outlaws. And I thought about this song because it touches on what I think is the most important theme of this whole series: the love, support, and acceptance of one another. Because it isn't a story about bikers. It's a story about a family...which happens to be made up of bikers.



If you do your research into the 1%er world, you quickly realize that these men have not come from privileged backgrounds. No one who approaches this lifestyle lightly ever makes the cut. And so in writing of that world, and thinking about men who've had it a little rougher than most, it seems essential to me that the women in their lives be the bright spots, the warm home fires, the places to land. Loving their girls makes them stronger, not weaker. The goal is never to keep love out, but to let it in, and allow it to keep some of the darkness at bay, for a little while. At least, that's how it goes in Dogland. Ghost needs Maggie, and Mercy needs Ava, and Michael's on his way to finding that out about Holly...



A quick thank you to my readers. You guys are wonderful. I can't express enough gratitude. Thank you for making this series a true delight to work on.

Thursday, February 5, 2015

Shaking It Off





Coming to you today from my ten-year-old, Office 2003 equipeed, dearly beloved laptop, because I have tech troubles yet again with my main computer. This laptop, for reasons unexplained, only lets me blog if I post a video. So, okay, I can live with that. And I shamelessly love this song. It's appropriate - shaking off the terrible frustration of hitting another technology roadblock, one of many in the last few weeks. Yesterday morning, my computer wouldn't let me log on, and I'm in the process of getting up and running again. I had a moment of utter despair - I have to get this book finished! - but then I regrouped, busted out the laptop, and I've gotten almost 10,000 words written in the past 24 hours. Shaking it off indeed. I chanelled my anger into something productive.



Look forward to to video posts until I'm fully-operational again. Oh well, I needed to concentrate on writing anyway! We'll look at it as a blessing in disguise.

Monday, February 2, 2015

Lines 2/2


From
Price of Angels
Copyright © 2015 by Lauren Gilley
 
He happened to catch a glimpse of his reflection, as he pulled a towel from the cabinet and laid it on the counter. He almost didn’t recognize himself, the way his eyes were bright, almost feverish, gleaming with a strange light inside a face that was clenched tight with an active, vibrating tension. He looked wild, unpredictable, pulsing with energy.

            Ghost was wrong. He didn’t need a break; this wasn’t the look of fatigue, overwork. This was purpose. This was, for the first time in a long time, something more than obedience. This was revenge. Revenge by proxy, but no less driving.

            Passion.

            The archangel was awake.

            As he turned toward the shower, he had a fast, indistinct glimpse of the wings inked into his back.

Music Monday - 2/2



Oftentimes, a song will inspire a moment in a story I'm writing, but is too distracting to listen to while writing. Anything with catchy lyrics becomes more of a hindrance than a help. The words I'm writing become eclipsed in my head by these vocalized words.

So I like to listen to instrumental albums when I'm writing. Here's what's powering me through Angels:

Some of American composer Aaron Copland's songs have become really familiar, thanks to beef commercials, more than anything. I love his pastoral, Western orchestra pieces. This album is a great compilation.

I mentioned this movie a few months ago, and I admit I got a little obsessed. There was so much about it that left an impression. The soundtrack I love. It's got that grungy, throbbing sound you expect from Detroit rock. It's a little spooky, and a lot melancholy, and it's great listening while I work on this book.