Tuesday, October 17, 2017

Period Dress — A reflection of the times


Have you ever noticed how social attitudes, public decorum, accepted behavior, and fashion seem to go hand in hand? Consider, for example, the early Victorian era. Both men and women of class wore fancy garb. An upper class woman's gowns modestly covered her body more or less from head to toe. High collars were worn in public, and men, too, were garbed from top to bottom. (Interestingly, in the 16th century, a woman's breasts could be partly or even totally exposed, and this was the accepted norm.)


During the first part of the Victorian era, a woman's job was to manage the home for her husband, whose only domestic duty was to make the money to run the household. She must be virtuous, obedient, faithful, and devoid of any intellectual opinion or pursuit. The man, however, could have a mistress (also expected to be faithful) and/or an afternoon or evening dalliance at a man's club.

Near the end of that era, women began to come into their own; not long thereafter, we have the roaring twenties and the day of the flapper. How times had changed! The independent woman could enjoy an exciting night life in a sexy dress without  a man escorting her and without judgment from her peers. In fact, her peers were probably there with her. Speakeasies and roadsters created handy entertainment and mobility, and nobody foresaw the impending crash of '29 that ended it all. The Great Depression with its simple, basic garb and incredibly hard times brought reality back with a vengeance. The glamorous twenties were all but forgotten in the struggles to keep a roof overhead and food in the stomach.

World War II brought yet another change in dress as men headed into battle and women took over the factory jobs that kept the troops and the country running. By the end of the war, nearly 25% of married women worked outside the home, and their independence was reflected in their choice of stylish, professional clothing. Chic fashions marked the mid to late 40s as the great actresses on the silver screen donned well-designed day and evening wear as they stepped out into the world of men.

Along came the fifties and sixties and the counterculture hippie movement back to basics. Then came the rockers, the druggies, and the increasing rebellion against accepted societal norms. Protests against the Vietnam War made headlines. Values were changing. Fashions came and went until today, where we have X-rated gowns designed to barely cover minimal parts of actresses who try to outdo one another in the shock category as they walk the red carpet to some entertainment awards event. Genders have melded together so that one may not be certain whether the person they see is male or female. Social attitudes, public decorum, accepted behavior, and fashion continue to go hand in hand as trends march forward to who knows where.

What does all this have to do with writing? Everything. Whether you write historical fiction, flapper-era mysteries, 1940s romances, modern day thrillers, or something in between, your readers expect to be transported seamlessly to the time and place of your story. Your characters had better be properly attired for the ride because a significant number of those readers will know if you get it wrong.

Editor Linda Lane has returned to her first love—writing—while maintaining her editing work. She also helps new and not-so-new writers improve their skills through posts on Blood Red Pencil and offers private mentoring as well. You can contact her through her writing website, LSLaneBooks.com. Also, you can visit her at DenverEditor.com.

Thursday, October 12, 2017

What Are You Wearing?

Image by Rockandbacon, via Flickr
Look at yourself right now. What are you wearing? Clothes of some sort, right? If the answer is ‘no’ well, that’s a post for a different time.

However, let us assume that there is clothing of some type draped about your form. Work clothes. Stay at home clothes. I’m not feeling well and this is comfortable clothes. Gardening clothes. Cleaning out the garage clothes…you get the picture. Clothes are the outer signs of your role for the day or night. Sleeping? Baking? Making a court appearance? There are clothes for that.

There are clothes which identify your work role. Nurse. Lab technician. Judge. Surgeon. Armed forces personnel. All clothes - not costumes.

A costume isn’t your clothes. It’s something you have to get accustomed to wearing. It’s different. It could be awkward to wear; maybe it’s long or heavy. It might be something you wear on a special occasion. Whatever it might be, it’s unusual for you to be wearing it. You’re aware of it. No one is aware of their clothes. They’re just clothes. Even those who adorn themselves in designer togs from head to foot wear them casually. If they don’t - then it’s a costume.

No one lives in costumes; not even actors. For actors, costumes are work clothes and the trick is to make, whatever form or shape the garment happens to be, be clothes. The costume is the character’s clothes. It’s normal for him/her to be dressed like that. They don’t give it a second thought.

It’s obvious when someone isn’t comfortable in their clothes. This can be a good thing for writers/actors/readers because then the questions start. Why are they uncomfortable? What are they doing that’s new or strange? Etc.

Take a look the next time you’re out and about. Who’s comfortable in their clothes? Who’s not? You may find the inspiration for your next story.



Elspeth Futcher is a bestselling author of murder mystery games and playwright. She has been the top selling author at host-party.com since 2011. Her British games are published by Red Herring Games in the UK. Her latest game is "Which Guide Lied?" Elspeth's 'writing sheep' are a continuing feature in the European writers' magazine Elias and also appear on this blog from time to time. Connect with her on Twitter at @elspethwrites or on Facebook at Elspeth Futcher, Author.

Tuesday, October 10, 2017

The Blank Mind Cure

Image by Mark Turnauckas, via Flickr
What do you do when your mind goes blank? Don’t tell me yours never does, because if you do I won’t believe you. Here is one way I deal with that awful blank page or screen, when suddenly your mind is as empty as the screen.

Be like a boy scout: Be Prepared. If you know this will happen to you (it happens to every writer), one thing that might help is to have a prepared list of things you are interested in. Make this list when your mind is not blank, but teeming with too many subjects that interest you. What is actually on the list doesn’t matter, as long as you have an interest, and preferably a passion, for the subject. Don’t elaborate, just write them down. Then save this list!

Here’s a list I made a couple of years ago. Some of the subjects I’ve already written about, others I no longer have an interest in. But others are still fertile ground waiting for me to plow through them. If one of them interests you, I’m happy to share.

Bee-keeping. Paganism. Candle-making. Hippies of the 1960s. Growing large zucchini and making zucchini boats. Spider webs. Starting a new business. The role of grandmothers. Aromatherapy. Community softball. Bungee cord jumping and those insane enough to try it. Television sitcoms and what they show about us. Siamese cats. The psychological effects of constipation. What you can learn from Alzheimer’s victims. Square dancing for round folks. True love and what it doesn’t conquer. The long shadows of lies. How Google is eliminating wonder. The sex lives of worms.

That’s my list. What’s on yours?

Kim Pearson is an author, ghostwriter, and owner of Primary Sources, a writing service that helps others become authors of professional and compelling books and articles. She has authored 12 books of her own, and ghostwritten more than 45 non-fiction books and memoirs. To learn more about her books or services, visit kimpearson.me.

Thursday, October 5, 2017

Walking the Talk: Bringing a Character to Life through Costume


I once read a free Kindle book that purported to be a novel about a woman who is kidnapped by some vaguely Middle Eastern ruffian and taken back to their homeland. There is she taken under the wing of a strong local woman who eventually helps her to return to her home. I know that there are very good books being self-published, but this one did not fit into that category. The oddly named characters (an Arab name that translated to “zucchini,” for example), the blatant stereotyping, and the clunky use of odd spelling and word order to denote a foreign language were distracting, but the book did not become laughable until the author attempted to portray the protagonist walking around in African/Middle Eastern garb. It was painfully obvious that the writer had no idea not only what the clothing should consist of, but what it would be like to move around and function in it on a daily basis.


Being a Muslim woman who wears Islamic clothing when I go out, the deficiencies in the book were glaringly obvious. Not only did the author not take the time to learn the correct terms for various garments, she obviously had no understanding of how they were worn, how they affected movement, or what it felt like to actually wear them. If she had taken the time to do any of these three things, her portrayal of her female characters would have been stronger.

1: Read accounts of people wearing similar clothing. There are many articles and YouTube videos about non-Muslim women putting on hijab and going out in order to truly understand what it is like.

2: Talk to Muslim women and get their insight and perspective on wearing the hijab.

3: Do some research and then wear the clothing herself, experiencing first-hand what it is like.

This is true of any character we are writing about. For example, I have no idea what it would be like to wear a women’s business suit and high heels around all day. In order to write a believable portrayal of a women who did this, I would have to do more than use my imagination to flesh her out.


When I was active in theatre, I loved the world of costuming. The research was fascinating, but seeing how the costumes actually looked and worked once the actors put them on was always an eye-opener. It went beyond that though- sure, the actors could do incredible work in rehearsals without costumes, but once the clothing was added everything ratcheted up a notch. Noblemen straightened their shoulders even further and the limping gait of the beggar gave life to the character. Clothing does not make the person, but in many ways it does define us, and establishes parameters as to how we interact in our environment, both physical and societal.

Writing a book is, of course, different from acting in a play. However, a whole new layer of truth and depth can be obtained when we authors take the time to not only carefully choose our character’s clothing, but to understand that what she wears will not only tell us about her, but will affect how she is able to function in her role, and how others perceive her.

Khadijah Lacina lives on a small homestead in rural Missouri with her children, horses, goats, chickens, cats, dogs, and an elusive bobcat. She is passionate about speaking up and working for change, and is writing a book about the ten years she spent in Yemen. She is a writer, teacher, translator, herbalist, and fiber artist.

Tuesday, October 3, 2017

Dressing Your Characters

October and Halloween are the season where anyone, young or old, can play dress up. We love selecting our favorite characters, time periods, monsters, or fantasy heroes. From wigs and rags to elaborate makeup, our imaginations can run wild.

In world building, whether you have chosen a specific historical period, a contemporary city,  a futuristic planet, or a fantasy world, part of the fun is researching or inventing costumes.

In the latest edition of my Story Building Blocks series, the Build A World Workbook, I devote an entire section to questions about apparel with lists of resources.

To get started, here are a few basic questions:

1. What were common clothing items: for men, women, children, or the elderly?

2. Do they have uniforms? Why and for what purposes? What do they look like?

3. Do clothing items indicate status, position, or their role in society?

4. Does clothing have religious connotations?

5. What were the popular styles and color palettes? What colors were possible? Did they have plant dyes or chemical dyes?

6. Did they have shoes or other footwear? What materials were they made of?

7. Did they have natural fibers (hemp, flax, cotton) or synthetic materials?

8. How were clothes fastened? Did they have metals to make snaps or zippers?

9. Did they have hats, gloves, capes, jewelry, purses, pouches or other fashion fads?

10. How did they feel about nudity? How much skin was exposed? What about undergarments?

There are so many wonderful resources in libraries and on the internet to explore for historical clothing. When building a Fantasy or Science Fiction world, the only limit is your imagination.

For more information about dressing your characters, pick up a copy of the Build A World Workbook available in print and e-book versions.



Diana Hurwitz is the author of Story Building Blocks: The Four Layers of Conflict, Story Building Blocks II: Crafting Believable Conflict, Story Building Blocks III: The Revision Layers, and the YA adventure series Mythikas Island. Her weekly blog, Game On: Crafting Believable Conflict explores how characters behave and misbehave. Visit DianaHurwitz.com for more information and free writing tools. You can follow her on Facebook and Twitter.


Thursday, September 28, 2017

Inside the Editor's Den: Being a Lifelong Learner


Here's a truth for you:

Writing is a lifelong-learning endeavor.


As writers, we should always strive to strengthen our writing, and we can do that by

  • Well, writing
  • Reading - books in the genre(s) you write in, books outside those genres, books on the craft of writing, etc.
  • Connecting with other writers for advice, for an ear to hear your writing woes, and for critiques of your work
  • Subscribing to sites (like BRP!), newsletters, magazines, etc. that provide invaluable knowledge on many aspects of writing


Here's another nugget of truth for you:

Editing is a lifelong-learning endeavor.


As you have learned through this 8-part series, editors tend to be writers, too, and because of that, they are voracious readers. They also connect with other writers (and editors) and subscribe to sites, organizations, and magazines that help them to better their editing craft.

While we are working, like writers, to strengthen our talents, we also find our learning through the work we do as editors.

How do we know this? Because in this final installment of Inside the Editor's Den, we asked BRP editors the following question:

What has been the biggest thing you've learned during your work as an editor?


And our editors clearly show that the actual practice of editing offers them many learned lessons.



Shonell Bacon
Website | FB | Tw
Shonell Bacon - The biggest thing I've learned is that the learning—as a reader, writer, and editor—NEVER ends, and I am so happy about that.

In every manuscript I have edited, and there have been 100s, I have learned things. Sometimes, I figure out a new way to help clients in how I write my evaluation memos to them. Sometimes, I make a comment to one client that I realize is the exact thing I need to tell another client. Sometimes, especially with non-fiction, I learn something about myself, which at the end of the day, makes me a better person, and thus, hopefully, a better editor.



Maryann Miller
Website | FB | Tw
Maryann Miller - In the years I have been editing, I have learned so much about what makes a better story, and I have been able to apply that to my own work. More and more I have been able to edit as I write, spotting a weak sentence and fixing it if the fix comes to me quickly. The professional editors I have worked with have told me they noticed an improvement over the years, making their job a little easier.



Elle Carter Neal
Website | FB | Tw
Elle Carter Neal - Humility. It can be tempting to feel superior when you’re pouncing on someone else’s mistakes, but we all make them. And it’s all too easy to dismiss someone’s idea because you would have done it differently. I remind myself constantly that it’s not my book.



Linda Lane
Website | Denver Editor | FB
Linda Lane - All writers have a story to tell, be it fiction or nonfiction. Challenging the work challenges the writer and can create an adversarial relationship that negatively affects the quality of the story. Collaboration within a team-based arrangement, on the other hand, often takes an ordinary work to extraordinary heights and has resulted in ongoing friendships with writers I’ve never met face to face. Bottom line: the work is not mine; I’m the hired help who brings the polishing cloth to make it shine.



A Writer’s Takeaway


If your editor doesn't work to grow as an editor, then you probably have the wrong editor for you. Editors learn through the same avenues as writers, and they also learn through the practice of editing.

Everything about writing, to include editing, is about learning and bettering. If you ask a potential editor the first seven questions of this series, and you feel a good rapport with her, that's great. If you then ask a question similar to the one presented in this post, and the editor doesn't seem to be a lifelong learner of her craft, nor does she have lessons learned through her work as an editor, you might question how fresh her knowledge and understanding is of today's writing world.


We at BRP thank you for checking out this series, and if you enjoyed it, please consider sharing the following link to the full series: http://bit.ly/EditorsDenSeries

Tuesday, September 26, 2017

Inside the Editor's Den: Strengths & Weaknesses

*Breaking News*


No one is perfect.

And that includes editors.

So, in part seven of our September series Inside the Editor’s Den, we had to ask BRP editors the following question:



What are your strengths and weaknesses as an editor?









Linda Lane
Website | Denver Editor | FB
Linda Lane - I have a strong sense of story, character development, and dialogue, which makes me a better fiction editor than a nonfiction editor. Because I rely on The Chicago Manual of Style as my guide, I am not well qualified to edit works that have been written using a different style.



Shonell Bacon
Website | FB | Tw
Shonell Bacon - I think my biggest strength is that I truly care about the author. I want to know her purpose for writing the project, what she wants readers to get from the project, her concerns about the project, and then as editor (thinking like a reader), I work to help the author develop a story that delivers everything she needs. I also love grammar and all things spelling and punctuation and words, and that helps as an editor. A weakness of mine is that I don't edit as quickly as I could--or should. I really want the client to have my best, so sometimes, that means a client cannot get a quick turnaround.



Maryann Miller
Website | FB | Tw
Maryann Miller - My strengths are my innate sense of story, as well as my ability to cut the fluff, so to speak. So many writers overwrite by tacking on an unneeded phrase, and I have become quite good at spotting those. I also have a good sense of the rhythm of a story and can tell when that has gone off track. My weakness right now is that it takes me longer than it used to to get through a manuscript.




Elle Carter Neal
Website | FB | Tw
Elle Carter Neal - I have a high catch rate of errors and typos on the first read – which is why I correct them when I see them, despite the possibility that corrected paragraphs may be cut. The more familiar I become with a piece of text, the easier it is for errors to slip past, so I prefer not to offer my services as a final proofreader if I’ve done any editing work on the manuscript. I’m a perfectionist, so I sometimes sit on a chapter for a while until I can put my finger on what it is that triggered my spidy-sense, and I also read and re-read the chapter a number of times before I’m happy to sign off on it. I also require final sight of each chapter after the author has accepted or rejected the edits, because it’s easy for spacing and punctuation to disappear or double up at this point. So, I’m not the quickest editor on the block.



A Writer’s Takeaway


Remember the breaking news at the top of this post: no one is perfect?

It is important for you to realize that when looking for an editor. Because no one is perfect, it is important for you to ask a potential editor what she thinks her strengths and weaknesses are. After doing that, you can decide if her strengths fit your needs. For example, if you need an APA research article edited, you probably wouldn't pick an editor who solely focused on Chicago Manual of Style. If an editor is strong in story development (and all that that entails), but her ability to spot the most unheard of grammar error is weak, you might use her to perform a content edit, but not for copy editing or proofreading.

As always, the initial goal is to know what you need and what concerns you have with your literary baby, and then find an editor whose strengths will help you elevate your writing.

LinkWithin

Related Posts Plugin for WordPress, Blogger...