If you're a writer (or, really, a filmmaker, painter, sculptor...any sort of artist), you have probably heard this before: "You need to have a thick skin."
I hear it all the time but the first time I really had to live it was when I went to film school. That was the first time I had ever put my work on display for anyone to see and critique. And, guess what? I needed a thick skin for that.
But here's the thing: to be a writer--as in just someone who sits and writes--you don't need a thick skin. In fact, you often probably have a thin skin. By that I mean you're likely observing the world and the people in it very acutely and letting them seep in, like osmosis. In turn, when you write, you're probably putting a lot of that world back out on the page and, even more crucially, you're probably putting a lot of yourself out on the page. In my experience, my best writing comes from tapping into my most vulnerable parts and from using my innate sensitivity to its best advantages.
But to be an author--by this I mean anyone who is in the process of getting their work out there from the query step to anything beyond--oh, boy, do you need a thick skin. From agents, to editors, to readers there is a lot of criticism and rejection to be had. 90% of it is absolutely necessary to create your best work. But even when you know that logically, it can be hard to just build up your armor, especially when you feel like parts of yourself are floating around on that page that's getting torn apart.
So how do you switch from one to the other? Honestly, I suspect that some writers are just better at it than others. For me, it is one of my biggest struggles, though I am continuously working on it. One of the things I've recently been trying out is a visualization technique. When I'm writing (especially a first draft), I let myself believe that I'm allowed to feel anything, to sometimes allow my deepest fears to become my characters' fears, to metaphorically bleed out onto the screen as it were. But when it comes time to hit a "send" button and let someone else into that world, well, then I have to sew myself back up. I need to hear the critiques, to understand them and utilize them, but I also need to separate myself from the work at that point and realize it's not a criticism of me as a person (even if parts of me have become characters).
Of course, when it comes time for revision, the stitches have to come out once again.
It's hard. And frustrating. And often times I feel like I don't succeed at it. Sometimes I wish I could shout out "Impervio!" and have everything just bounce off me. But then again, if I did that, would I be a writer? I suspect not. So I am learning to accept that what makes me a writer is the same thing that makes it hard to be a writer sometimes. It is a conundrum. Though, on the upside, it lets me use the word "conundrum," which is clearly fab.
Anyone else have ways of dealing with the thick skin/thin skin issue?
Showing posts with label writing process. Show all posts
Showing posts with label writing process. Show all posts
Friday, November 15, 2013
Friday, November 8, 2013
#Wordcount Is a Four-Letter (Non)Word
It's NaNoWriMo (National Novel Writing Month) which means that my Twitter feed is filled with inspiring posts about people getting 'er done and one very loaded phrase: word count.
Don't get me wrong. I think NaNoWriMo is an amazing concept and I know that it is very successful for a lot of people. But sometimes I see people writing things like: "I wrote 4,000 words today" and I just think, WOW. I don't think I've written 4,000 words in a single day ever in my entire life.
Inevitably, this has led me to guilt or wondering if I'm doing something wrong as a writer. Sometimes I have to give myself the pep talk that I know every writer has heard multiple times throughout their career: everyone's process is different.
One of my problems is that I am an underwriter by nature. My first drafts are usually abominably short--glorified outlines I call them. It's because I'm usually spending them trying to figure out the bare bones of my plot (and also probably from my years writing screenplays where everything was 120 pages long. 120 pages does not a manuscript make). Then in multiple rounds of revisions, I go through and add things like subplots, characterizations, and setting details. Then, usually, in further rounds of revisions, I try to connect the subplots, minor characters and other details to my main plot. Honestly, I should really start calling myself a reviser instead of a writer.
But being an underwriter means that word count can often be a huge enemy. Especially when writing that crucial first draft when I know that what I'm writing isn't necessarily very good or at all living up to the idea in my head, but that I have to somehow muddle my way through it anyhow. Why? I can't revise without a first draft!
So I've learned not to measure my worth by word count. Instead, it's more important for my process to just sit down and write almost every day. Even if it's for half-an-hour or forty-five minutes (and, to be honest, it usually is). I'm the person gritting my teeth and trying my best to ignore that little counter at the bottom of Word. Until the second draft, that is. Then I'm the person who's saying: er, now I need a subplot that will add 15,000 words.
My point is: if you are an underwriter like me, try not to fret too much. I've still written and finished multiple manuscripts of adequate length and you can too. And if you are writing 4,000 words a day: honestly, I am in awe...you freak. :-)
Don't get me wrong. I think NaNoWriMo is an amazing concept and I know that it is very successful for a lot of people. But sometimes I see people writing things like: "I wrote 4,000 words today" and I just think, WOW. I don't think I've written 4,000 words in a single day ever in my entire life.
Inevitably, this has led me to guilt or wondering if I'm doing something wrong as a writer. Sometimes I have to give myself the pep talk that I know every writer has heard multiple times throughout their career: everyone's process is different.
One of my problems is that I am an underwriter by nature. My first drafts are usually abominably short--glorified outlines I call them. It's because I'm usually spending them trying to figure out the bare bones of my plot (and also probably from my years writing screenplays where everything was 120 pages long. 120 pages does not a manuscript make). Then in multiple rounds of revisions, I go through and add things like subplots, characterizations, and setting details. Then, usually, in further rounds of revisions, I try to connect the subplots, minor characters and other details to my main plot. Honestly, I should really start calling myself a reviser instead of a writer.
But being an underwriter means that word count can often be a huge enemy. Especially when writing that crucial first draft when I know that what I'm writing isn't necessarily very good or at all living up to the idea in my head, but that I have to somehow muddle my way through it anyhow. Why? I can't revise without a first draft!
So I've learned not to measure my worth by word count. Instead, it's more important for my process to just sit down and write almost every day. Even if it's for half-an-hour or forty-five minutes (and, to be honest, it usually is). I'm the person gritting my teeth and trying my best to ignore that little counter at the bottom of Word. Until the second draft, that is. Then I'm the person who's saying: er, now I need a subplot that will add 15,000 words.
My point is: if you are an underwriter like me, try not to fret too much. I've still written and finished multiple manuscripts of adequate length and you can too. And if you are writing 4,000 words a day: honestly, I am in awe...you freak. :-)
Monday, July 2, 2012
Craft Talk: Closing the Door
In Stephen King's fantastic craft book/autobiography On Writing (quite possibly my favorite craft book of all time), the author talks a lot about his writing method. Of course, with anyone who can churn out quality bestsellers like he does, it's fascinating.
But there's one particular phenomenon he talks about that particularly resonated with me. He calls it "closing the door." The basic tenet of it is this: when you're banging out the first draft of a novel, you need to shut the door to other readers. Don't talk about it; don't ask for critiques. Let all your worries, hopes and ambitions for the story find it's way out on the paper.
His theory is that if you open the door and let others in at that very fragile early state, you'll dilute the excitement and drive that you need to finish that draft. And you also won't know your story well enough to be able to put other people's comments into perspective. You're too easily influenced and, ultimately, that probably wouldn't be best for the work.
Now, of course, every writer has their own methods and habits and this one of "closing the door" may not work for everyone. But the reason it really resonated with me is that in my much, much more humble, limited experience, I've also found it to be true.
Writing first drafts are already rather tough for me. There is much I don't enjoy about it. But what gets me through it -- and therefore able to produce a possibly viable manuscript at all -- is the excitement I personally feel over whatever story I'm trying to tell. And if I share that with too many other people, that can leak out. Believe me, my metaphorical balloon needs all the air it can get!
I'm also in some uncharted territories here in another respect. Before I had a book deal, I didn't share my writing with very many people, and I didn't talk much about what I was working on either. Getting published was a huge dream, but it was also just that: a dream. I didn't spend a lot of my time thinking about how scary it can be to have your work out there. (I had other things to do with my time: like writing!)
But I've worked on a few WIPs since the book deal, and, in the back of my head, there is now that slightly bigger possibility that these will also get published, and read, and thought about. Mostly, that's wonderful. But it also leaves me with the reality that there is only a very limited time that the story I'm working on gets to be all mine. At some point, agents and editors get involved; a marketing department gets involved; and, most importantly, readers get involved. Any writer will tell you that once you give your work to a reader, well, it gets to be theirs too. That's the beautiful thing about it, after all.
So I'm learning to cherish closing the door and spending precious alone time with my works-in-progress. Sometimes, that's more difficult than it sounds because I have moments when that initial excitement gets the better of me and I want to shout about my story from the rooftops, share pages with people, and just generally get uber-chatty about it. These are urges I must resist. For one thing, there's no way those first draft pages are anywhere near as good as I think they are in my brief moments of euphoria/insanity (and therefore they should only be shared with a limited number of very trusted people).
Most importantly, I truly believe in King's advice: I need to save that excitement/desire for the page. I need to not only figure out where my story wants to go, but how it's going to learn to walk (or run or fly or travel by fairy ship) at all in order to get there. And, from what I know, that comes from one-on-one time and nothing else.
With that said, I have something I'm working on right now that I'm currently very excited about...hopefully, one day you can come in and I can tell you all about it.
But for now...
But there's one particular phenomenon he talks about that particularly resonated with me. He calls it "closing the door." The basic tenet of it is this: when you're banging out the first draft of a novel, you need to shut the door to other readers. Don't talk about it; don't ask for critiques. Let all your worries, hopes and ambitions for the story find it's way out on the paper.
His theory is that if you open the door and let others in at that very fragile early state, you'll dilute the excitement and drive that you need to finish that draft. And you also won't know your story well enough to be able to put other people's comments into perspective. You're too easily influenced and, ultimately, that probably wouldn't be best for the work.
Now, of course, every writer has their own methods and habits and this one of "closing the door" may not work for everyone. But the reason it really resonated with me is that in my much, much more humble, limited experience, I've also found it to be true.
Writing first drafts are already rather tough for me. There is much I don't enjoy about it. But what gets me through it -- and therefore able to produce a possibly viable manuscript at all -- is the excitement I personally feel over whatever story I'm trying to tell. And if I share that with too many other people, that can leak out. Believe me, my metaphorical balloon needs all the air it can get!
I'm also in some uncharted territories here in another respect. Before I had a book deal, I didn't share my writing with very many people, and I didn't talk much about what I was working on either. Getting published was a huge dream, but it was also just that: a dream. I didn't spend a lot of my time thinking about how scary it can be to have your work out there. (I had other things to do with my time: like writing!)
But I've worked on a few WIPs since the book deal, and, in the back of my head, there is now that slightly bigger possibility that these will also get published, and read, and thought about. Mostly, that's wonderful. But it also leaves me with the reality that there is only a very limited time that the story I'm working on gets to be all mine. At some point, agents and editors get involved; a marketing department gets involved; and, most importantly, readers get involved. Any writer will tell you that once you give your work to a reader, well, it gets to be theirs too. That's the beautiful thing about it, after all.
So I'm learning to cherish closing the door and spending precious alone time with my works-in-progress. Sometimes, that's more difficult than it sounds because I have moments when that initial excitement gets the better of me and I want to shout about my story from the rooftops, share pages with people, and just generally get uber-chatty about it. These are urges I must resist. For one thing, there's no way those first draft pages are anywhere near as good as I think they are in my brief moments of euphoria/insanity (and therefore they should only be shared with a limited number of very trusted people).
Most importantly, I truly believe in King's advice: I need to save that excitement/desire for the page. I need to not only figure out where my story wants to go, but how it's going to learn to walk (or run or fly or travel by fairy ship) at all in order to get there. And, from what I know, that comes from one-on-one time and nothing else.
With that said, I have something I'm working on right now that I'm currently very excited about...hopefully, one day you can come in and I can tell you all about it.
But for now...
Wednesday, February 15, 2012
5 Things I've Reluctantly Learned While Trying to Outline a Mystery
1. Agatha Christie was a GENIUS. I've always, always loved her and her books but I don't think I ever fully appreciated how in command of her craft she was until now.
2. Red herrings are very difficult to properly plant. However, beggars can't be choosers. I will settle for a herring of any color at this point (I'm open-minded).
3. I thought being an outliner at heart would help me in this endeavor. But being a messy outliner at heart...yeah, not so much.
4. Hey, the ending will be totally unpredictable if I don't plant any clues about it! And that's what we want, right?
5. I think I might die by outline. Ooooh...I wonder if I can use that as a plot twist.
2. Red herrings are very difficult to properly plant. However, beggars can't be choosers. I will settle for a herring of any color at this point (I'm open-minded).
3. I thought being an outliner at heart would help me in this endeavor. But being a messy outliner at heart...yeah, not so much.
4. Hey, the ending will be totally unpredictable if I don't plant any clues about it! And that's what we want, right?
5. I think I might die by outline. Ooooh...I wonder if I can use that as a plot twist.
Thursday, January 26, 2012
Wherefore Art Thou, Muse?
I love Stephen King's On Writing -- it's one of those rare craft books that is equally entertaining as it is informative. I actually think it's one of the few I'd recommend to non-writers because it explains some of our quirks/neuroses so well.
One of the things that resonated most with me was when King talked about the concept of the muse. King pictures his muse as a base, cigar-chomping fella who only shows up when he's least expected and won't ever deign to make an appearance when summoned. The rest of the time, when the muse isn't there throwing slivers of hope in the writer's direction, the only thing the writer can do is to have his nose to the grind, slaving away for hours on what is, probably, crap in the hopes that the muse will at some point make an appearance.
This is one of the things I need to remember right now. I started the first draft of a new WIP back in August. For various reasons (some include working on other projects and others include pure laziness/getting sucked into watching seven seasons of Doctor Who), I haven't looked at this WIP since then. When I opened it yesterday, I remembered that I was once excited about it. I even remembered some of the elements that made me excited. What I didn't remember was that the ten pages I had written weren't very good and that I was only three chapters in on my outline.
Yeaaaah...
I don't think my muse is coming anytime soon (though I still have hope that, eventually, she will come). And I'm a little rusty on putting my head down and spending the time to write.
But my goal for the next week is to open up my Scrivener file every day, put my fingers on the keyboard and type -- even if I know what I'm writing isn't good. That small goal, I can handle.
And I hope that while I'm doing that, my muse will decide to visit me again someday. Soon.
For the record, my muse might wear a combination of Regency clothing and Quidditch robes. She definitely has a British accent.
One of the things that resonated most with me was when King talked about the concept of the muse. King pictures his muse as a base, cigar-chomping fella who only shows up when he's least expected and won't ever deign to make an appearance when summoned. The rest of the time, when the muse isn't there throwing slivers of hope in the writer's direction, the only thing the writer can do is to have his nose to the grind, slaving away for hours on what is, probably, crap in the hopes that the muse will at some point make an appearance. This is one of the things I need to remember right now. I started the first draft of a new WIP back in August. For various reasons (some include working on other projects and others include pure laziness/getting sucked into watching seven seasons of Doctor Who), I haven't looked at this WIP since then. When I opened it yesterday, I remembered that I was once excited about it. I even remembered some of the elements that made me excited. What I didn't remember was that the ten pages I had written weren't very good and that I was only three chapters in on my outline.
Yeaaaah...
I don't think my muse is coming anytime soon (though I still have hope that, eventually, she will come). And I'm a little rusty on putting my head down and spending the time to write.
But my goal for the next week is to open up my Scrivener file every day, put my fingers on the keyboard and type -- even if I know what I'm writing isn't good. That small goal, I can handle.
And I hope that while I'm doing that, my muse will decide to visit me again someday. Soon.
For the record, my muse might wear a combination of Regency clothing and Quidditch robes. She definitely has a British accent.
Wednesday, November 16, 2011
5 Ways Being a Screenwriter Helped Me Write a Novel
The rumors are true...I am an outliner.
The truth is I need to see the plot naked and bare and without all the frills of, you know, good writing. Things like fully-formed sentences or descriptions that make sense...they only drag me down when I'm first embarking on a novel.
And for this, I have to thank my screenwriting background and film school, where I learned all about beats, character sheets, three-act structure and more craft commandments at whose ground I now worship.
Check out my Class of 2K12 blog post all about it here.
The truth is I need to see the plot naked and bare and without all the frills of, you know, good writing. Things like fully-formed sentences or descriptions that make sense...they only drag me down when I'm first embarking on a novel.
And for this, I have to thank my screenwriting background and film school, where I learned all about beats, character sheets, three-act structure and more craft commandments at whose ground I now worship.
Check out my Class of 2K12 blog post all about it here.
Wednesday, November 9, 2011
Tuning Out to Tune In
I love blogging, Twitter and social media in general. I love connecting with people online and this past year of being introduced to a wonderful world of other writers--and actually being considered one of their own--has been filled with wonder and delight.
At the same time, my real writing (the one where I'm trying to tell cohesive long-form stories, not write silly tweets about 90s pop songs that are inexplicably stuck in my head) sometimes needs that encouragement and energy of all these wonderful other writers. And, sometimes, needs to unplug, needs outer silence so that I can tune into what the story alone is telling me.
It's a conundrum I've been struggling with lately. I'm currently revising a new story that I feel very passionate about. But I also know it's not there yet; it's not great...but it could be. And for that to happen, it needs all my focus.
Unplugging is very difficult. There isn't a day that goes by where I'm not online; there hasn't been in over a decade now. Lately, there isn't a day where I'm not on Facebook or Twitter or thinking about blog posts. I want to be involved in this community. I want to hear other people's amazing news and read their stories.
But I think, at least for the next few weeks, I'm going to have to limit my social media usage. I need to cut out some of the noise so that, hopefully, I can hear the (right now too quiet) strains of what this story needs from me and where it wants to go. I sincerely hope I can do it justice. And I sincerely hope I can momentarily disconnect without feeling disconnected.
At the same time, my real writing (the one where I'm trying to tell cohesive long-form stories, not write silly tweets about 90s pop songs that are inexplicably stuck in my head) sometimes needs that encouragement and energy of all these wonderful other writers. And, sometimes, needs to unplug, needs outer silence so that I can tune into what the story alone is telling me.
It's a conundrum I've been struggling with lately. I'm currently revising a new story that I feel very passionate about. But I also know it's not there yet; it's not great...but it could be. And for that to happen, it needs all my focus.
Unplugging is very difficult. There isn't a day that goes by where I'm not online; there hasn't been in over a decade now. Lately, there isn't a day where I'm not on Facebook or Twitter or thinking about blog posts. I want to be involved in this community. I want to hear other people's amazing news and read their stories.
But I think, at least for the next few weeks, I'm going to have to limit my social media usage. I need to cut out some of the noise so that, hopefully, I can hear the (right now too quiet) strains of what this story needs from me and where it wants to go. I sincerely hope I can do it justice. And I sincerely hope I can momentarily disconnect without feeling disconnected.
Tuesday, November 1, 2011
NaNoWriMo --> NaNoRevMo?
As you may know, November is National Novel Writing Month, often shortened as NaNoWriMo. It's when a lot of writers pledge to get their novels completed by the time November 30th rolls around. If you follow a lot of writers on Twitter, expect to see word count tweets galore!
I know a lot of writers have had success with this. I even recall Stephanie Perkins writing in her acknowledgments that she finished the first draft of Anna and the French Kiss because of NaNoWriMo.
I've actually never attempted NaNoWriMo before but, as it so happens, the timing worked out that I'm just about to embark on edits on a manuscript I wrote earlier this year.
So I decided: I think instead of NaNoWriMo, I'm going to spend the month of November trying to get all my edits done. NaNoWriMo will TRANSFORM...into NaNoRevMo. (Originally, I was going to go with NaNoEdMo, but I think NaNoRevMo sounds much more Transformer-like, don't you?)
I fully admit that revisions are much easier for me than writing first drafts, so I know I'm not going to to be doing anything near as impressive as an 50K word count in 30 days. But I do have some extensive editing work to do and I think having the month-long goal will help spur me along!
Anyone else partaking in NaNoWriMo this month or, like me, in NaNoRevMo? Has anyone done it in the past and perhaps has some advice or wisdom to share?
I know a lot of writers have had success with this. I even recall Stephanie Perkins writing in her acknowledgments that she finished the first draft of Anna and the French Kiss because of NaNoWriMo.
I've actually never attempted NaNoWriMo before but, as it so happens, the timing worked out that I'm just about to embark on edits on a manuscript I wrote earlier this year.
So I decided: I think instead of NaNoWriMo, I'm going to spend the month of November trying to get all my edits done. NaNoWriMo will TRANSFORM...into NaNoRevMo. (Originally, I was going to go with NaNoEdMo, but I think NaNoRevMo sounds much more Transformer-like, don't you?)
I fully admit that revisions are much easier for me than writing first drafts, so I know I'm not going to to be doing anything near as impressive as an 50K word count in 30 days. But I do have some extensive editing work to do and I think having the month-long goal will help spur me along!
Anyone else partaking in NaNoWriMo this month or, like me, in NaNoRevMo? Has anyone done it in the past and perhaps has some advice or wisdom to share?
Friday, September 30, 2011
Dear Chapter Two
Dear Chapter Two [of the WIP],
So, listen...I'm going to get straight to the point. What is up with you, Chapter Two? There I was, bumbling along through my first draft. I hit you and all seemed fine. Then I hit the middle of you and...that's it. Standstill. Road block. Possibly even dead end?
I don't know if you know this, Chapter Two, but two is a really low number. I think you'd be hard pressed to find a novel that ends on Chapter Two. Much less the middle of Chapter Two. I'm not saying you and I couldn't be post-post-post-modernist pioneers together but, I don't know, let's just go over this rationally, okay?
See, the thing is, there are things that need to happen in Chapters Four, Ten and Twelve. Things that I'm pretty excited about writing. Things that--if you really thought about it--I'm sure you'd be excited to help set up. But there's this whole "all-those-numbers-come-after-two" thing that we need to consider. I don't think an editor or the world at large will really budge on that.
I can guess what you're thinking. Maybe you're tired of being the number two. I mean, everyone loved you on Card Sharks, but was it just an empty, shallow kind of love? Did you feel used? Or maybe you're tired of all the celebrity. Starring in all those songs and the titles of Olsen Twin movies. It's understandable, Two. Anyone would be exhausted.
Let's just do this gently. You help me out this weekend and then I'll leave you alone for a good long while. I'll move on to Chapter Three. I promise not to dwell on making you perfect or, even, good. I will totally settle for simply "finished."
Deal?
Your friend,
Sarv
So, listen...I'm going to get straight to the point. What is up with you, Chapter Two? There I was, bumbling along through my first draft. I hit you and all seemed fine. Then I hit the middle of you and...that's it. Standstill. Road block. Possibly even dead end?
I don't know if you know this, Chapter Two, but two is a really low number. I think you'd be hard pressed to find a novel that ends on Chapter Two. Much less the middle of Chapter Two. I'm not saying you and I couldn't be post-post-post-modernist pioneers together but, I don't know, let's just go over this rationally, okay?
See, the thing is, there are things that need to happen in Chapters Four, Ten and Twelve. Things that I'm pretty excited about writing. Things that--if you really thought about it--I'm sure you'd be excited to help set up. But there's this whole "all-those-numbers-come-after-two" thing that we need to consider. I don't think an editor or the world at large will really budge on that.
I can guess what you're thinking. Maybe you're tired of being the number two. I mean, everyone loved you on Card Sharks, but was it just an empty, shallow kind of love? Did you feel used? Or maybe you're tired of all the celebrity. Starring in all those songs and the titles of Olsen Twin movies. It's understandable, Two. Anyone would be exhausted.
Let's just do this gently. You help me out this weekend and then I'll leave you alone for a good long while. I'll move on to Chapter Three. I promise not to dwell on making you perfect or, even, good. I will totally settle for simply "finished."
Deal?
Your friend,
Sarv
Monday, September 26, 2011
When Your Fifth Grade Teacher Turns Out To Be Kinda Psychic
This weekend, I was at my parents' house and I specifically sought out something I know I've wanted to share on my blog for a while. It was this:
...which is my fifth grade yearbook.
Inside, is an inscription from my fifth grade teacher, one that I've never forgotten since the day it was written:
That says:
P.S. Today, in trivia you didn't ask for but are getting anyway: a very important character in The Mapmaker and the Ghost is named in honor of my elementary school.
...which is my fifth grade yearbook.
Inside, is an inscription from my fifth grade teacher, one that I've never forgotten since the day it was written:
That says:
Dear Sarvenaz,Pretty neat, huh?
I expect to read a novel written by you one day. Keep up the good writing. Lots of best wishes.
Love,
Mrs. Childs
P.S. Today, in trivia you didn't ask for but are getting anyway: a very important character in The Mapmaker and the Ghost is named in honor of my elementary school.
Tuesday, September 20, 2011
Hurricane First Draft
I think all writers have a favorite part of writing and all have a least favorite part.
My favorite part is revising. I like stepping back and being able to look at the big picture, find the threads that I didn't even know were there, fit in new puzzle pieces and slide some old pieces around to make a richer, fuller, more satisfying story.
Which stands to reason that I hate first drafts. With a passion. More specifically, I hate outlining first drafts. Because my least favorite part of writing (but the part that I feel like is the skeletal structure of any good story, especially for children) is plot.
Now, I actually am an outliner and not a "pantser" (someone who writes by the seat of their pants). I find I need to spend time just focusing on plot points, what happens where and my story arc. It's the only way I know of to finish the dreaded first draft. But it's like pulling teeth.
Speaking of pulling teeth, cliched metaphors are often innocent bystanders to the disasters that are my first drafts. So are wordy sentences. And the word "really." This is where I have to stop and give thanks to my beta readers, the EMTs to my catastrophes, the ones who can seem to find the solid, sometimes breathing bodies underneath the mess. Also, the ones who love me anyway even after I make them read that drivel.
Writers out there, are there some usual suspects you always find sneaking around your first drafts, begging to be sniffed out and carted away? And what are your favorite and least favorite parts of writing?
My favorite part is revising. I like stepping back and being able to look at the big picture, find the threads that I didn't even know were there, fit in new puzzle pieces and slide some old pieces around to make a richer, fuller, more satisfying story.
Which stands to reason that I hate first drafts. With a passion. More specifically, I hate outlining first drafts. Because my least favorite part of writing (but the part that I feel like is the skeletal structure of any good story, especially for children) is plot.
Now, I actually am an outliner and not a "pantser" (someone who writes by the seat of their pants). I find I need to spend time just focusing on plot points, what happens where and my story arc. It's the only way I know of to finish the dreaded first draft. But it's like pulling teeth.
Speaking of pulling teeth, cliched metaphors are often innocent bystanders to the disasters that are my first drafts. So are wordy sentences. And the word "really." This is where I have to stop and give thanks to my beta readers, the EMTs to my catastrophes, the ones who can seem to find the solid, sometimes breathing bodies underneath the mess. Also, the ones who love me anyway even after I make them read that drivel.
Writers out there, are there some usual suspects you always find sneaking around your first drafts, begging to be sniffed out and carted away? And what are your favorite and least favorite parts of writing?
Monday, August 22, 2011
The Ones That Got Away
Sometimes, writing is like dating.
An idea hits you. You find it interesting, intriguing maybe. You sit down and you explore it a little. You're liking it more and more. You spend more and more time with it. At moments you feel infatuated, obsessed. At moments you even feel...dare I say it...in love.
In the middle of all these feelings of euphoria, you have some moments of doubt. Sometimes, you examine things closer and question bits and pieces of your newfound love. Sometimes, you even question your entire relationship. What were you thinking? And where your friends throughout all this to talk you out of such a bad idea?
Sometimes, you have to leave for a little while, let something go, only to find that you'll come back to it with a fresh perspective. You'll find a way to make it work. You'll complete it and, in the end, you'll end up with something that will be a part of you forever.
And, sometimes, you realize you have to let things go entirely. No matter what your initial interest, or your little moments of excitement, it's just never going to work out. This was not a story you were ever meant to write. It hurts, letting go of something that consumed your time and energy for so long. But, often, it's for the best.
I have a graveyard of writing projects on my hard drive. Some are completed works, destined to never see the light of day. Others are fragments, pages of a characters' thoughts, a dozen chapters of a story that never really took off. Whenever I happen across them, it tends to bring a wistful smile to my face. It turns out even the broken ones, the irreparable ones, they're all a little part of me, too. They may not be as important or as life-changing as the few that have emerged on the other side, but still. I've learned a little something from each and every one.
Of course, whenever I start a new project, I can't help but wonder: which side of the divide will this fall on? A soulmate or a never-meant-to-be?
Do you have a project graveyard? Are there any that really broke your heart because they didn't work out?
An idea hits you. You find it interesting, intriguing maybe. You sit down and you explore it a little. You're liking it more and more. You spend more and more time with it. At moments you feel infatuated, obsessed. At moments you even feel...dare I say it...in love.
In the middle of all these feelings of euphoria, you have some moments of doubt. Sometimes, you examine things closer and question bits and pieces of your newfound love. Sometimes, you even question your entire relationship. What were you thinking? And where your friends throughout all this to talk you out of such a bad idea?
Sometimes, you have to leave for a little while, let something go, only to find that you'll come back to it with a fresh perspective. You'll find a way to make it work. You'll complete it and, in the end, you'll end up with something that will be a part of you forever.
And, sometimes, you realize you have to let things go entirely. No matter what your initial interest, or your little moments of excitement, it's just never going to work out. This was not a story you were ever meant to write. It hurts, letting go of something that consumed your time and energy for so long. But, often, it's for the best.
I have a graveyard of writing projects on my hard drive. Some are completed works, destined to never see the light of day. Others are fragments, pages of a characters' thoughts, a dozen chapters of a story that never really took off. Whenever I happen across them, it tends to bring a wistful smile to my face. It turns out even the broken ones, the irreparable ones, they're all a little part of me, too. They may not be as important or as life-changing as the few that have emerged on the other side, but still. I've learned a little something from each and every one.
Of course, whenever I start a new project, I can't help but wonder: which side of the divide will this fall on? A soulmate or a never-meant-to-be?
Do you have a project graveyard? Are there any that really broke your heart because they didn't work out?
Wednesday, July 6, 2011
Why I Write Middle Grade
My fellow 2012 debut author Leigh Bardugo wrote this wonderful blog post last week in response to some recent hullabaloo regarding a Slate article. You should read Leigh's post about what compels her to write YA...I'll wait.
That post got me thinking about why I write what I do. I haven't written any YA (Young Adult) books yet and the next couple of manuscripts I have in the works are both Middle Grade. This doesn't mean I'll never write a YA novel...in fact, I very much hope I will and that I'll write an Adult novel someday too. But for now, I'm extremely happy writing MG.
Why, you may ask (because that is the title of this blog post and therefore, must be what is FOREMOST in your thoughts). I shall enumerate!
For one, I first fell in love with books when I started reading Middle Grade. Roald Dahl, Beverly Cleary, Ellen Raskin and Ann M. Martin come clearly to mind whenever I stop and reminisce about my childhood. You know how they say you never get over your first love? I believe that to be true of many things. For me, that includes reading.
I adore writing from the point-of-view of kids, especially kids that are anywhere from 7 to 13 years old. I think it's a magical time, but one that is also rife with conflicts: conflicts that can seem thoroughly epic to someone with limited life experience (and sometimes even thoroughly epic to anybody).
Speaking of magic...ah, magic. I really enjoy writing about fantastical things. The Mapmaker and the Ghost has touches of fantasy but the latest book I'm working on takes place in a whole fantastical world. And let me tell you: it's been SO fun to write. I'm pretty sure I'm going to try writing contemporary MGs at some point too (in fact, the next one I just started thinking about is), but--for me--MG lends itself to fantasy so wonderfully. I think it's because the MG audience still believes in bits of magic. The secret is...I do too. I think there are touches of magic all around us and being able to expand upon that in a story...well, I'm not sure how many other audiences will give you the same leeway to do so.
Humor. I love writing it and I never laughed harder as a child than I did when reading a really funny book. I'm not sure I ever lost that silly/slightly mischievous sense of humor. In other words, the average 8-year-old will probably find me funnier than the average 38-year-old. I have accepted this to be true.
The great Madeleine L'Engle once said, "You have to write the book that wants to be written. And if the book will be too difficult for grown-ups, then you write it for children."
And I love writing for children. I really do.
If you're a writer, what do you think compels you to work in the genre you work in?
That post got me thinking about why I write what I do. I haven't written any YA (Young Adult) books yet and the next couple of manuscripts I have in the works are both Middle Grade. This doesn't mean I'll never write a YA novel...in fact, I very much hope I will and that I'll write an Adult novel someday too. But for now, I'm extremely happy writing MG.
Why, you may ask (because that is the title of this blog post and therefore, must be what is FOREMOST in your thoughts). I shall enumerate!
For one, I first fell in love with books when I started reading Middle Grade. Roald Dahl, Beverly Cleary, Ellen Raskin and Ann M. Martin come clearly to mind whenever I stop and reminisce about my childhood. You know how they say you never get over your first love? I believe that to be true of many things. For me, that includes reading.
I adore writing from the point-of-view of kids, especially kids that are anywhere from 7 to 13 years old. I think it's a magical time, but one that is also rife with conflicts: conflicts that can seem thoroughly epic to someone with limited life experience (and sometimes even thoroughly epic to anybody).
Speaking of magic...ah, magic. I really enjoy writing about fantastical things. The Mapmaker and the Ghost has touches of fantasy but the latest book I'm working on takes place in a whole fantastical world. And let me tell you: it's been SO fun to write. I'm pretty sure I'm going to try writing contemporary MGs at some point too (in fact, the next one I just started thinking about is), but--for me--MG lends itself to fantasy so wonderfully. I think it's because the MG audience still believes in bits of magic. The secret is...I do too. I think there are touches of magic all around us and being able to expand upon that in a story...well, I'm not sure how many other audiences will give you the same leeway to do so.
Humor. I love writing it and I never laughed harder as a child than I did when reading a really funny book. I'm not sure I ever lost that silly/slightly mischievous sense of humor. In other words, the average 8-year-old will probably find me funnier than the average 38-year-old. I have accepted this to be true.
The great Madeleine L'Engle once said, "You have to write the book that wants to be written. And if the book will be too difficult for grown-ups, then you write it for children."
And I love writing for children. I really do.
If you're a writer, what do you think compels you to work in the genre you work in?
Monday, March 21, 2011
Writer's Retreat
retreat n.
1 : a period of group withdrawal for prayer, meditation, study, or instruction under a director
2 : an act or process of withdrawing especially from what is difficult, dangerous, or disagreeable
I wish that this blog post was about the former definition and that I was on my way to a rambling country estate where I could write all day and then banter with other writers while we play croquet. Alas, it is not.
Somewhere in my latest WIP, I took a wrong turn--I suspect it's about 15 pages back--and now I'm stuck. Suddenly, I don't know why my characters are doing what they're doing (at the moment, wandering around a desert aimlessly). They ostensibly have a goal, but in my heart of hearts the goal doesn't entirely make sense. It's because I've somehow lost a grasp of who my characters even are.
Usually, I like to bang out a first draft--no matter how awful it is--and then go back and revise, revise, revise. If I'm stuck, outlining is often the life preserver I turn to. But for some reason, I just don't think that's going to work with this one, because, at the end of the day, how can I outline the plot if I don't know where my characters are going at all.
I've always been a very character-driven writer. And even when I started making my stories more plot-driven (hence the adventurous Middle Grade books), the turn of events always came from the characters themselves. What they want and what they do to achieve that is what drives everything.
So I need a change of plans and a fresh perspective. I asked some of my fellow Apocalypsies what they do when they get stuck and I got some awesome responses. I think my next steps will be to do a more in-depth character sketch for each of my three main characters. And then write some of the scenes that I do see clearly in my mind, even if they'll be out of order. I'm hoping that somewhere along the way, I'll get back on track.
If you're a writer, what are some tricks you use when the story just isn't going your way?
1 : a period of group withdrawal for prayer, meditation, study, or instruction under a director
2 : an act or process of withdrawing especially from what is difficult, dangerous, or disagreeable
I wish that this blog post was about the former definition and that I was on my way to a rambling country estate where I could write all day and then banter with other writers while we play croquet. Alas, it is not.
Somewhere in my latest WIP, I took a wrong turn--I suspect it's about 15 pages back--and now I'm stuck. Suddenly, I don't know why my characters are doing what they're doing (at the moment, wandering around a desert aimlessly). They ostensibly have a goal, but in my heart of hearts the goal doesn't entirely make sense. It's because I've somehow lost a grasp of who my characters even are.
Usually, I like to bang out a first draft--no matter how awful it is--and then go back and revise, revise, revise. If I'm stuck, outlining is often the life preserver I turn to. But for some reason, I just don't think that's going to work with this one, because, at the end of the day, how can I outline the plot if I don't know where my characters are going at all.
I've always been a very character-driven writer. And even when I started making my stories more plot-driven (hence the adventurous Middle Grade books), the turn of events always came from the characters themselves. What they want and what they do to achieve that is what drives everything.
So I need a change of plans and a fresh perspective. I asked some of my fellow Apocalypsies what they do when they get stuck and I got some awesome responses. I think my next steps will be to do a more in-depth character sketch for each of my three main characters. And then write some of the scenes that I do see clearly in my mind, even if they'll be out of order. I'm hoping that somewhere along the way, I'll get back on track.
If you're a writer, what are some tricks you use when the story just isn't going your way?
Wednesday, March 16, 2011
Writing Dirty
I'm about 15,000 words into my latest project. That's 65 pages in Word. In book terms, it's not very long at all.
I cannot express strongly enough how much I hate first drafts. There's often an initial excitement when creating a story (obviously, because why else would you go to the trouble of writing it down?). I can usually see certain characters very clearly. Certain scenes come to me, too--often the beginning and the end. But then there's that dreaded middle part. You know, the part with obstacles and secondary characters and subplots? The part that's supposed to make the story sing, make the plot resonate, make your characters unforgettable?
My first draft of that part is usually terrible. No matter how much I try to make it otherwise. No matter how glittering it feels in my head. Even when I have moments where I feel like the words are pouring out of me like poetry, I'll then make the mistake of going back and reading it days later. It's dirt-water, people. Muddy, disgusting, common dirt-water.
I will make it to 16,000 words and beyond, though. I'll do it by reminding myself that there's nothing quite as elating as finishing a first draft. At least for a day or two.
Before you get to...revising.
I cannot express strongly enough how much I hate first drafts. There's often an initial excitement when creating a story (obviously, because why else would you go to the trouble of writing it down?). I can usually see certain characters very clearly. Certain scenes come to me, too--often the beginning and the end. But then there's that dreaded middle part. You know, the part with obstacles and secondary characters and subplots? The part that's supposed to make the story sing, make the plot resonate, make your characters unforgettable?
My first draft of that part is usually terrible. No matter how much I try to make it otherwise. No matter how glittering it feels in my head. Even when I have moments where I feel like the words are pouring out of me like poetry, I'll then make the mistake of going back and reading it days later. It's dirt-water, people. Muddy, disgusting, common dirt-water.
I will make it to 16,000 words and beyond, though. I'll do it by reminding myself that there's nothing quite as elating as finishing a first draft. At least for a day or two.
Before you get to...revising.
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