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Writing Progress and Thinking About Frame Stories

Image of a tortoiseshell cat named Taco
A tortoise shell spoke from her perch on the arm of a weathered Adirondack chair, a second-story balcony overlooking the way. That's not how it was.
I finished up “Villa Encantada”, a short story with a frame clocking in at 4500 words yesterday. It’s urban fantasy, the same world as the novel I just sent off to beta readers.

The story’s set in a fantasy version of the complex I live in, which has been FRAUGHT with HO meeting woes that I will not get into here. It’s the result of sitting at many meetings thinking about how much more interesting it would be to live in Villa Encantada, a similar condo complex filled with witches, retired gods, defunct oracles, and even a centaur. Hopefully there will be more set in the same setting.

The story’s also dependent on a secondary frame story,, which I’m not sure about. Here’s the beginning:

The cats were telling stories, from their spaces in the Game, scattered around the sun-baked parking lot of the Villa Encantada complex.

A grizzled Siamese had grabbed control of the telling. He licked his haunches and said, Once upon a time there was a woman who could not forgive herself. Every day she tried to kill herself in the smallest of ways, with cigarettes and lack of sleep and careless driving. She punished herself for a crime she couldn’t name, burning cups of coffee uncushioned by food, high-strung nights of crap television, unsatisfying and numbing all at once.

A tortoise shell spoke from her perch on the arm of a weathered Adirondack chair, a second-story balcony overlooking the way. That’s not how it was.

He blinked, a gesture as majestic as an ice shelf, kilometers high, sliding into the sea.

The tortoiseshell remained undaunted. She continued.

This is how it was.

There’s pieces from the frame used in the actual story itself, which I think makes it feel less superfluous, but I’m also always wary about devices like that. When they work, they’re beautiful – when they don’t, they’re awkward and distracting. So what makes one frame “work” where the next one doesn’t?

Making the frame a story in and of itself is something that often works. If you want to see a book that is concocted of nothing but frame stories, look to Catherynne M. Valente’s The Orphan’s Tales: In the Night Garden (The Orphan’s Tales: In the Cities of Coin and Spice and Kindle version). Valente weaves frames in and out of each other so deftly that she constructs a beautiful basketwork ball of them, a construction where, following one line, you slip into another, and another, then somehow find yourself back in the beginning, with nothing but the world changed.

Other considerations for frame tales: they should be (in my opinion and perhaps not yours but who knows, feel free to chime in with a comment) as well-written as the content they contain. They should be connected somehow, so there’s a reason for the frame tale, something it contributes to the overall shape of the story.

For example, in Villa Encantada, the tortoiseshell cat appears in the story as well, and it becomes, through the interjection of the frame, her story, the story of her efforts in the Great Game played by the cats of Villa Encantada. And then I twist that again in the ending, but I won’t spoil that. :p

So, to recap, frame stories should be:

  1. actual stories (or contain the sense of a larger story) in themselves
  2. beautifully written
  3. connect with the internal story and change its meaning

Anything else? What are your favorite frame stories and why? What have you tried with them and what’s worked best (or worst)?

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"(On the writing F&SF workshop) Wanted to crow and say thanks: the first story I wrote after taking your class was my very first sale. Coincidence? nah….thanks so much."

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Tools For Writers: Using Dragon Dictate

Detail from a Hawaiian shirtFor a couple of months now, I’ve been experimenting with using Dragon Dictate for writing, both fiction and nonfiction. In fact, I’m using it to write this post.

It’s not perfect. I do have to go back and check what I have dictated, because errors do creep in, sometimes wonderfully funny ones (as well as the occasional expletive directed at Raven when he’s crawling on me). But, I find it is a faster way to write. It works very well when I know what it is that I want to say. For free writing, I’ll still stick with pen and paper, or sometimes the keyboard. It is, by the way, incredibly handy when you are transcribing stuff that cannot be scanned in.

It’s tons better than the dictation capability on my phone. Dragon Dictate can keep up with me as I ramble along, and doesn’t ever make me pause to let it catch up.

I absolutely HAD to finish up a story yesterday (Hi Lynne, if you’re reading this). Dragon Dictate was immense help with that, for several reasons. One, I can dictate it aloud faster than I can write. Two, I used it to transcribe the notes that I’d made in various places and go over them, expanding as I went.

Generally, once I had spent a little time working with the software, and it got a chance to refine its profile for me, I have been very satisfied with the results, inconsiderate well worth the money, if only for the productivity boost.

It is odd, however, to be dictating what I say and need to put all the punctuation in. I find myself, at times, wanting to stick the punctuation in during regular speech. It makes me speak in grammatically correct sentences, compose the words in my head before I speak them, rather than just grabbing them willy-nilly and flinging them into the sentence.

I do find writing dialogue a bit of a pain in the ass. That’s because of the need to dictate the punctuation as well as the words. But I look forward to becoming more adept with the tool, and being able to edit with voice alone as well.

Before anyone asks if it’s available on a Macintosh, I am actually using it on a Mac. Have you tried any dictation software? What have your experiences been?

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Finetuning Patreon

Photo of a clock shaped like a Neko Cat, altered with the Percolator app.
One of my favorites is the First Pages workshop – come find out where to take your novel!
As some of you know, I started a Patreon campaign about a year ago. It’s worked pretty well, although I still need to put together the first year’s worth in ebook form to send to people.

I’m going to stick with it, particularly given that I get new ideas for short stories all the time (and generate a lot in the course of teaching), but I’m thinking about making some changes.

  1. The most important is making it so paid content isn’t just restricted to patrons. I’m going back and forth about this. Right now it feels like a subscription model, but if I go to public content, it seems less so. But what paid patrons would get along with the public posts are sneak peeks at drafts for outside markets, which would be free but accessible only to people supporting the paid stories. The drafts would be early ones, rather than late, and they also wouldn’t be getting paid for, which seems to be the main criteria editors apply to Patreon stories when ruling them out for acceptance. (This is a whole ‘nother long and interesting discussion, I think.)
  2. I recently switched from two stories a month to one and I’m going back to two.
  3. I need to remove the postcard incentive because I keep forgetting to send them, and figure out something else. Suggestions?

Today’s wordcount: 5476
Current Hearts of Tabat wordcount: 112800
Total word count for the week so far (day 2): 11487
Total word count for this retreat: 42856
Worked on Hearts of Tabat, finished “California Ghosts” and “I am Scrooge”
Time spent on SFWA email, discussion boards, other stuff: an hour

Classes that are coming up soon and still have room! All times are Pacific Time.

  • July 15 (Wednesday), 7-9 PM ““ First Pages Workshop Section 1
  • July 17 (Friday), 2-4 PM ““ Writing Your Way Into Your Novel, Section 2
  • July 19 (Sunday), 9:30-11:30 AM ““ First Pages Workshop Section 2

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