With that said, for certain values of campaign and certain values of players (ie mine), I find gaming an excellent tool for exploring characterizations.

There are many ways authors explore characters. There are many sheets and rubrics for us to fill out. We have dialogues. We make doodles. We go onto the interest and find pictures who look like our characters. One of the best aspects of writing from role playing is the improvisational factor.

When I create a character, I have some idea how that character may interact with other characters, but I don't know for certain how this works until I start the story and put the characters in juxtaposition with each other. A good role playing group does this hard work for you. If my friend Lisa has a character, she puts it down on paper, and I have a type or a concept from her. If I support Lisa with a non player character run by me, her game master, she will interact with my character in surprising ways I didn't expect. We are involved in improvisational theater, and I learn about both characters. Characters are explored in this way through action and dialogue, and the characters come to life in ways that they don't if I am just hammering them out on the page.

Now, in the end, I may not use the name of Lisa's character, or her actions. I may base a character on what I've seen Lisa do in role play that I think is interesting. To me, this is an interesting, fresh way to get more information about characters. It's as inspiring as reading, and appeals to my acting nature.

What does Lisa think about this? Well, that's a good question. Most of the people I know sort of enjoy seeing themselves and their characters in fiction, or seeing material based on their characterizations. However, this is an area in which an author must be careful. If you borrow a character a player has plans for in a publishing capacity, stealing that character can potentially get you into ethical and legal trouble. I would suggest being very upfront about your intent. If you have doubts about whether a player would feel comfortable about you using their characterization, I would change the names, the concepts, or not use the character.

In my case, I've written several short stories and novels based on my friend's characterizations. They are very good actors. Some of them are accomplished at character roles. Others, like the aforementioned Lisa, play a particular type very well. Using a character from a role playing scenario is no different than watching the world and noting actions. You yourself are putting what you see into a unique alchemical mix that makes it your story.

However, as always, remember courtesy if you are inspired by others.

While gaming does characterization very well, setting can be fairly problematic in gaming based fiction. We'll talk about that in our next installment.

Cath

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And while I'm thinking about it--what I'm working on writing now has elements of a former role playing campaign in it. And so does the Klarion project.

Can you do that? Fiction based around role playing games is often considered to be like bad fan fiction--cheesy, trite, full of Mary Sueisms. Can you do that?

Why...yes, you can.

I thought it might be a bit instructional to talk about what I do and why I think it's a good thing. But let's talk about the gaming fiction pitfalls that we want to start out avoiding.

1. Don't make it boring. Goes without saying. Most games have a lot of extraneous crap that deserves to be left on the cutting room floor. Lines are dumb. Plot lines don't work. Dice gives a random element to everything fiction just doesn't need. Try to think of your book as a better adaption of the campaign.

2. Your story shouldn't necessarily reflect your personal fantasy about how the triumphant character who triumphs is super cool and...um..triumphal. Story's gotta have conflict. Character's gotta have texture. Keep your Kung-Fu Panda Po "we should hang out" fantasy to yourself. Write an interesting story first. If you want wish fulfillment, write it, but don't expect to necessarily publish it.

3. Some of your friends are gonna get cut. As a novice, this used to be my big mistake. I thought everyone in the game had to have a cameo. You know, some characters in some sessions or even in some campaigns don't add anything to a story. You should cut them out. And when your friend asks why Barbarian Joe the dragon slayer is gone, shrug and say either, "Dude, write your own story!" or "Maybe another time, buddy." Because you never know.

4. The story is going to change radically. That means, if you're a game master, like me, you might change a character someone is committed to, and they won't like it. Be prepared to change the character if that's the case. I have had two characters who changed from nice guys to semi-rotters. One player was okay with it. The other player will no longer let me use the name, and that's fine.

5. You aren't writing a transcript. Remember, you're telling a story. You're going to kill clever moments, favorite dialogue. The darlings have got to die. You want a lean, mean story.

***

So, next week, let's start out by talking about some of the bennies of using a campaign to springboard a story from. We'll start with character.

Catherine

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I will warn you--for those of you without firm retirement plans, it will sound a bit like whining, so you may not wish to go here (unless you want to see the writerly links and the meta).

Bryon went to a meeting about IPERS, our state public employees' retirement plan, last night.

Substantial changes to IPERS--teachers will now receive 65 percent of the average of their top 5 years of salary, rather than 80 percent of their top 3.

We will survive that. Many teachers who work in lesser paying districts will now be looking at a retirement full of poverty, where being able to go to McDonald's would be a good week. It comes as a bit of a blow for us, even. I am encouraging Bryon to get out as soon as he can in 2018, because I'm almost worried that they'll damage the program even more if he delays retirement. There is nothing to be gained from his waiting.

However, my dreams may be substantially changed. Let me say that I love my job. I love all the nice things my job does for me. I am lucky to not only have a job that I love, but I am lucky that I have any retirement at all in this day and age. There are no guarantees for what life will be like when I'm 65, but I've done everything I can humanly do to try to make what I can work.

I was really looking forward to writing full-time at 55. But I am too conservative, having grown up in poverty, to quit my job and risk a retirement that is less than adequate for our needs. Further, while we can play a little more with life insurance, should anything happen to Bryon while we are in retirement, I'm on my own, unless we want his IPERS income to take another palpable hit. At this point in time, our fiscal planning is sound, and if I want it to stay sound, I'd best keep working for the full 30 year career. It's too bad Bryon's not the writer. He'd have around twelve years to kill. The way I'm looking at it now, I blew my opportunity to get early retirement while I was working on my PhD.

Well, fine. I'll still write the way I write now. Many, many modern writers work full time and crank out plenty of material. Dare I suggest it, but I think this may be becoming the way of things for more and more writers as advances lower. And the Stumps still be able to travel and buy nice things. I intend to go into retirement as wisely as I can.

But no one knows what the future will hold. I have done a budget and figure we can get by with seventy-five percent of what we make now, even with added medical expenses. I figure that the job I have right now is a great fit, but if a similar job opportunity were to come up in Florida, one that contributed to the same academic funds I am storing up right now, well, excellent. I could look into that. Also, one of my books could be profitable. That could make up the difference. Things could change. Or not. What's imperative? Funding for our future.

Pragmatism keeps me on the more conservative, sure path. Boring? You bet. But as safe as I can plan for.

So, then, as I mull all this over, queasy about uncertainty, and a little disappointed about how I hoped things would turn out, the Internet is kind enough to hook me up with a couple of links that actually apply.

From Steve Buchheit, there's a link to Kameron Hurley talking about being a working writer and setting her goals for writing a book a year. Also, Hurley has some excellent things to say about writing what you write, regardless. Which is something I can believe in, because I can do no other thing.

And then, from Richard Baldwin, one of my fellow Codexians, comes this link from Dennis Palumbo about patience. This quote especially rings true:

Moreover, patience builds faith in one's craft, because craft results only from the slow accumulation of skill---that is, from the mistakes, the breakthroughs, the false starts, the two-steps-forward-one-step-back rhythm that is the writing life. The cultivation of patience---not as a "waiting for things to change," but as a state in and of itself---leads to awareness and self-acceptance, necessary components of artistic command.

Too much for a bumper sticker, but isn't that what we should be about, after all? Patience in producing work, regardless of the time you have to do it, and how long it takes.

Something else that Palumbo says was a slap I needed:

Stephen Levine, a well-regarded meditation teacher, once described the cause of suffering as, simply, "wanting things to be otherwise."

And that brings me full circle in regard to worrying about a life that I'll be living anywhere from 8-19 years from now.

Foolish, foolish Catherine. Do the best you can to plan for the future, but live in today, enjoy what you have, and see what happens. It is not who you will become that matters, but who you are now that will make you happy.

Hmm. Chew on that, you crazy type A woman. And shine on.

Catherine

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Nadirah Sends her Love by Ada Milenkovic Brown. It's not the clever Christian/Islam reversal alone. It's also the integrity of the main character in the face of social adversity.

Lures, Hooks, and Tails by Adam Colston. This mermaid on a train story might seem a tad lightweight, especially at the finish, but it really hits my folklore tooth, and the characters do some interesting things. Oddly, I'm reminded of Salinger.

Movement by Nancy Fulda. Everyone's talking about this one. The core of the story is a first-person narrative of a temporally autistic girl and her choice to have an operation to make her normal, or to stay the same, gifted and out of touch. The characterization is true.

The Old Equations by Jake Kerr. Imagine a universe that figures Einstein was wrong sending a man to travel FTL to another planet. Now, imagine that in this universe they discover Einstein was right. The interpersonal fallout between a traveler, his government and his family washes over you in this superlative exchange of communications.

Run, Bakhri Says by Ferrett Steinmetz. Ferrett digs into my skull again with another strong character in a morally sticky place. Read it.

Forever Sixteen by Amy Sundberg. The story starts a little slow, but it finishes sharp and spot on. Imagine you were perpetually sixteen and what life would be like. A holy avatar plays with the idea and discovers what happens after her time for worship is done.

I'd like to encourage you to send any notable stories you've run across my way. We can nominate all the way through March.

Catherine

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***

I recently read a post by a friend about the frustration of juggling writing with a rather full life. That journal is here. I relate, and have always related. Particularly, at this time of year, work is so busy, and my energy is sort of low at the end of the day. Even before the flu.

How do we manage? The average human being can be pulled in so many different directions. I have a very demanding job. You have wonderful children which make your life fuller and more meaningful. Another friend is not only an accomplished writer, but also works on art or dancing or karate or some other pursuit that is just as serious to them as writing is. And of course, I love spending time with the love of my life. And my friends. You know, I even need to give my cats a good romp with the laser pointer. They are important to me.

The problem comes when it all seems to stack up. I've lost two days at work. I haven't written for a week. For every three words I type tonight, I have to correct one because I'm ill. My blog is losing attention. I have so much Russian homework to do. I have to plot a game for this weekend. And the stories to read for the Hugos. Also the stack of books. And Abby Rath is tapping her impatient foot in my head.

Nevertheless, in spite of my anxiety and hand wringing, life goes on. Life is a big continuum, a conveyor belt full of the best sushi. You can't eat all the sushi as it goes by on the conveyor belt. Sometimes you're going to pick ikura. Sometimes you're going to want kappa. (And yes, there really is conveyor belt sushi in Japan. It's awesome. Or sugoi, if you prefer.)

I can't do all things all the time. My life is a sum of the choices I make every day. And why do I make different choices? Because different days are different. Because sometimes I have to work, and sometimes I even have to get well. And on the good days, I can write.

I know, I know. Writers are supposed to be hard core. It's the number one thing we do. Sit down. Write. Send things out. No one is saying use the other things to avoid writing. If you're lying to yourself, if you never write, you may want to look at that. But I'm saying that it *is* okay if you don't write some days, or even sometimes. Because that's going to happen. Especially if you have any of the other aspects of life I'm talking about above. Gonna have to accept that and live with that. If you want to be happy.

If it's not cool for a writer to be happy, well, I respectfully disagree. I don't smoke clove cigarettes either. I'm such a square writer.

I am serious about my writing. Normally, I dedicate my twelve hours a week, and even though I'm a little behind right now, I'll get my hours in eventually. But you know, as I live my life, perhaps the point isn't to be the speediest writer, or to send the most things out. The point is to make my art a natural part of my life, to make progress on my art, to move forward. These things take time. Deadlines are important, you betcha. But there's more than that. I'm always going to be writing, and I'm always going to be moving forward on something. The end is not the important thing. The habit, the process, and the art. That's important.

Once, Donald Maass said, addressing a group of people that I was among in his workshop, that writers are the kind of people who live good lives and writing compliments that life. There's no way I can expect the seeds of creativity to grow on barren ground. The writing that I need to do, I need to plant in the soil of a rich, fertile life full of good experiences and bad experiences. Writing is not the only monolithic thing I should be doing, else I am not successful. Writing should be a constant companion that walks by me and enriches me, a part of a very fulfilling whole.

That doesn't mean I won't sometimes be frustrated by the time I don't have to write. But yes, I am a writer. And I do other things. And that makes me a better writer. It makes you a better writer too.

With apologies for any lack of cohesion due to that queasy kind of vibe.

Catherine

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Yesterday I heard about this kind of flu on the radio. New flu, so if you got the flu shot, well, too bad. Flu's a mutating adapting viral machine.

And so, had trouble sleeping last night, again, just like Monday. Couldn't get brain to slow down after another busy work day. It was my plan today for my motif to be tired but martyred, go to work and stumble around.

Except I ate breakfast this morning, and I was hit by a wave of nausea and tummy soreness. Thinking I was open to the power of suggestion, I struggled on through about half a glass of milk and half a bowl of cereal before it became unbearable.

The good news, of course, is that there are periods were you feel pretty good. Just as long as you don't try to eat/drink anything to speak of.

So, I'll be home today, missing my 4th class with my students and getting behind at work. Yay. I hope that I can get this taken care of in one day, but it is what it is.

Catherine

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***

So, what have I been up to? I've had a few days of being an adult, hardcore. This morning I sacrificed my writing time to go see my fiscal adviser. Yes, money, distasteful. But I am trying to retire early, and I am trying to retire after only 22 years of full time employment, so I had to reorganize my portfolio, and set up a fund for donating extra money to the cause. Depending on how the monthly budget pans out, I may add EVEN MOAR extra money to the cause. It still looks like I'm going to need some income in my retirement, so let's hope it's writerly. However, I would be willing to do a faerie godmom gig at Disney if they want me. More to the point, I could teach adjunct at a community college if I had to.

***

Another hard core adult activity is getting my ribs re-checked. I'm leaving work a little early today to get my ribs scrutinized. As you know, about 3 months ago, the theory was that I cracked some cartilage in my ribs, and I should allow it to heal. I am trying to exercise very lightly, and I still get some pain. Right now, sitting here, I'm still getting some pain. It will probably turn out to be one of those old person things, and I have to live with it, which means I'll have to rethink my exercise, but I want to know that. I also keep getting these Charlie Horses occasionally on my right side at an inopportune moment, and I want to know what that's all about.

***

Being an adult isn't all responsibility and aches and pains. Bryon and I put down some money on our 25th anniversary trip last night. We had to bail on the France trip for a variety of reasons, so we are Disney Cruising to the Bahamas for 4 days, and then we are Disney Worlding for 4 days. Our good friends Aric and Kim will meet us at the park, so we get some quality time alone on the cruise, and a great time with good friends at the park. I'm looking forward to July!

Come to think of it, I'm looking forward to June too, what with Taos and all. And May, what with Wiscon and all. Hey, this adult thing isn't half bad.

***

So, off to the doctors. The next post will probably be a State of the Union thing. And a Hugo recommendation thing. I'm closing in on those stories.

A bientot.

Cath

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***

I've been working hard on fiction, which is minimizing some of my commentary here. And now, the truth about why I write. The real honest, full on, maximum mileage truth.

When it works, it's better than crack.

***

Right now, ARvBSF is working. Oh yes, it's not a be-all-you-can-be draft. It's hardly ready for sending off. This is draft 2, where we pull out all the dead ends, and we make the structure work. Where we see what actually worked. Where we get to relive our favorite pieces of the draft. And when, if the draft is working, we fall into the imaginary landscape.

I can see the houses. I can feel the characters. I can live the risks.

***

I know. It's not fashionable to suggest that writing is other than hard work. That there is something at work greater than yourself. Maybe that's because there's so much baggage attached to the artistic side because hard working writer really wants to be recognized for hard work.

Look, it probably does all come from your self-conscious, which means you can still take credit, but if you can just put the old ego aside for awhile (and God forbid, the super ego), and you can ride the coaster, you get to live in the imaginary landscape.
And if I can share that with you, pull you into the imaginary landscape, make that character real for you, I feel like I've done my job.

My name is Catherine. I write because I like to pretend. I don't want to be in every story I write. But when I cry because Oliver Toddle can't see himself in a relationship with a mortal, or a girl has to decide whether she's going to be a fox or a girl, and I can feel those things, that's why I'm here.

***

This weekend--time to get all haggis-y for Robert Burns' birthday. Be there or be a sassenach!

Catherine

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***

Yesterday we had teacher in-service and today was the first day of classes. I have two pretty full classes this semester: Fundamentals of Grammar and Elements of Writing. Expect much more homework. Eh, you guys won't notice.

***

I'm at a good place writing-wise. I can see the projects lining themselves up in front of me, waiting their turns. Each day, I work a little more on the first one, and a little more, until I have it where it needs to be, and then I put it back in the queue, and I move on to the next thing. The last year I've been winding many pieces of yarn into a big string, and now I can see the individual colors and follow that string through to the end.

I'm in the patience zone. Right now, my writerly brain isn't foucsed on the finish line. It's on the crafting every day, moving forward. And I don't mind. I don't mind that I'm not jackrabbiting ahead, finishing and sending something out.

Writing is now something I do with regular frequency. Like flossing. Or working out. As you move forward, you're writing. Enough days moving forward, and ta-da!, you have a book.

Tonight I'm snug at home, finally inside after a long, cold, busy day. Happy to be here. And the rest of this week, I have substantial writing time every day. That's awfully nice.

Stay warm out there. It's January.

Cath

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