Anne Rice at Well

My buddy, Chris Well has posted a Conversation with Anne Rice on His Learning Curve Blog, which includes an excerpt link. Christian Fiction has spoken about her new novel all year, here's more to whet your appetite. Faith*in*Fiction's messageboard has also been buzzing about the book and Rice's decision to write this story in first person. Unlike non-Christian writers, most Christian writers have concerns about stepping over their boundaries with what is sacred and what can be imagined. Based on Rice's answer, she doesn't fall into that category.  

 

Knopf Publisher asks, "Jesus Christ narrates this book. Explain your decision to make him the narrator."

Rice: Jesus is the first-person narrator of this book because the use of first-person narrators is the way I know how to write a book with the greatest power and chance of artistic success. The intimate voice of the narrator in earlier novels worked powerfully for me.

 

Do you agree with Rice's reason? Should Christian concern themselves with what's sacred instead of art for art's sake? Is this debate philospophical or should it also be spiritual?

 

Dee

 

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Halo's Eve Tip #13:Attention to Detail

Author, Terry Burns gave some choice writing advice today on Gina Holmes, Novel Journey Blog.

Gina: What's the worst piece of writing advice you've heard?

Terry: People who tell us we don’t need to pay attention to rules and conventions but should write it the way we want. To me ‘rules’ means grammar and formatting, the basics, and must be followed to the letter. ‘Conventions’ are different genre to genre, but basically are what a number of editors like to see done in work they publish. We can choose to break some convention, but should do it only if we know why we are doing it, and with a full knowledge of why it is an accepted convention. We also have to keep in mind that when we choose to do so, we are probably limiting our market by ruling some editors out who believe strongly in the convention. The less our publishing credits, the less likely they are to accept work that doesn't fit within established rules and conventions.

Last year in my writing workshop we were taught to follow convention, but break them sparingly and for a reason just as Burns said. I often drop nouns from sentences for rhythm purposes.  My example: An excerpt from one of my WIP's, Safe in Her Arms...

Pop. Triple Pops. The distant gunfire popped through the island's calm.

Laurel jerked forward out of her sleep. She looked around. Pulled her sheets closer to her chest. Trembled.(against convention example) I'd forgotten about all this craziness. She said to herself.

War. Constant. War. Haiti's verity reminded. Something had to be done here. She thought. Haiti deserved some sort of peace. But how would she accomplish this? God only knew.

I hope those two sentences aren't the reason an editor rejects me, because I like the way they sound aloud. But if an editor tells me to change the sentence, then I would. Are there any instances when you go against grammar in your stories? Let's talk about it at the discussion board.

 Dee

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Dee's Christmas Story

Dee Stewart has revised her Christmas Story that was published in last year's Rejoice! Atlanta Newspaper. Here is a snippet of it. You can click on its title to read the story in its entirety.

 

The Shepherds:

A Christmas Love Story

by Davidae Stewart

 

...It’s Christmas Eve and Martinique hasn’t heard from Rico. She would like to attend church tonight and pray for his safety, but the Judge and his wife have left Martinique with their newborn daughter, Lourdis, to attend a Christmas Party at the Governor’s Mansion. All the other domestics have gone home to be with their family. Rico is all the family Martinique has.

She and Rico came to America three and four years ago, respectively to find the American Dream. And to their surprise, they found each other, while working--more like hiding out--in the same affluent, Alpharetta neighborhood. Martinique, a caramel coated Betty Boop with dark flowing hair that fell well over her shoulders, fell even harder for Ricardo, a cinnamon-kissed, Columbian six-footer with a strong build and a stronger gaze, who worshipped the honeysuckle smell of her hair and the little bit of Spanish Martinique knew.

To be continued...

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