Being creative is hard work. It takes effort, commitment, time, dedication, and tenacity. I've seen artists become successful on a local level, but I also know how many years it took them to get there. Writing and editing are no different from other forms of art.
Writing for me comes naturally. My first drafts are messy, convoluted, and sometimes need a huge overhaul, because I do a little bit of outlining and a bunch of pantsing. I go into writing with vague ideas that end up getting fleshed out halfway through, which means I always have to go back. Rewrites are a big part of my writing process, and they are also more time consuming than writing.
There's something about re-reading the first words I've put down that makes me a bit disheartened. I think in my head, "This isn't good." I second guess myself and my art. It pushes me to the edge of wanting to give up, because the words didn't flow the way I wanted them to.
Rewriting is where I get stuck. It's the part of the process where I have to power through and just "do it." The only person holding me back is the inner editor inside me that dislikes (hate is too strong of a word) my first draft.
Drafts are not supposed to be this shiny, perfect thing that you can push out into the world. Drafts are for shaping and folding, mending into the story you want it to become. This part of the process should be fun (at least on some level). I have this novel in my hands that I created, and now I just have to make it better. I should look at this as enhancement, but I always struggle to get through.
All writers struggle with some part of the process, and despite the struggle, you should never give up.
Being creative takes time and dedication. You have to forgive yourself if it's not perfect, and then you have to work on making it better. I could throw this book aside and say, "Eh, I'll get to that later." But if I stop now, I'll lose momentum. I'll, essentially, give up.
What is your reason for powering through when you are struggling creatively?
Mine is the characters I create. I know they have a story worth sharing, which makes me want to finish what I've started. Even if the story is over, the characters never really leave me.
Showing posts with label on writing. Show all posts
Showing posts with label on writing. Show all posts
Friday, January 12, 2018
Tuesday, March 28, 2017
How I feel when I write a novel ...
Some people ask me: What is it like to be a writer? What does it feel like writing a novel?
Well, there's a lot of heart and soul that goes into writing a book. And sometimes, you lose yourself a little bit in the characters and the story and the drama.
So what does it feel like to write a novel? A little bit of everything. The proof is in the video.
Happy reading and writing!
Well, there's a lot of heart and soul that goes into writing a book. And sometimes, you lose yourself a little bit in the characters and the story and the drama.
So what does it feel like to write a novel? A little bit of everything. The proof is in the video.
Happy reading and writing!
Wednesday, January 27, 2016
Mad Max Fury Road: All Show No Tell
My characters tend to be emotional teens who are stuck inside their heads. When I was in high school, I had a hard time seeing the world outside of myself. I overthought and over-analyzed everything (probably still do). Because of this, when I write contemporary young adult novels, my characters tend to have the same self-reflection and existentialism.
Recently, I've been moving in another direction. While I still plan on making several contemporary, emotional YA books (A Criminal Heart, No Sugar Coating, and The End Diary), I am working on several fantasy and sci-fi titles. While these characters still have some introspection, the books revolve heavily around plot rather than internal turmoil.
So why Mad Max: Fury Road? Warning: Spoilers. Not only is the movie visually stunning, but there is virtually no "telling" at all. There are moments where the characters could explain a lot (through monologues and exposition), but they don't. Information is passed along quickly with characters interrupting each other as a natural ebb and flow of dialogue.
"The soil, we had to get out."
"We had no water."
"The water was filth."
"It was poison..."
This conversation takes a minute, but they (along with the viewers) come to the horrible realization together: there is no green place. Furiosa screams into the desert, heart-wrenched. We know how she's feeling, and it's done visually. No existential internal narration needed.
We never receive an explanation of the war boys, but we collect knowledge of this universe through context and dialogue. "At the end of his half-life" and the tumors growing on the side of Nick Hoult's neck. We know how hard it is to have a non-deformed child because the stillborn baby was "perfect in every way" (a grand announcement), and every single ruler has something physically wrong. This makes extra narration unnecessary.
This is hard to do when most YA books feature a teen at the start of their journey. With In a Blue Moon, my MC Effy stumbles down a rabbit hole into absolute chaos. She needs to ask questions, but only has limited time due to her deadly situation. Information is revealed as new questions arrived to avoid any long-winded info-dumps.
The story I recently started, Ferals (working title), features Wren, a teen who has grown up in this universe. She knows and understands the world, thus she doesn't need to explain it to the reader. I am taking a page from Mad Max and trying to show this universe is instead of explaining how it came to be. In the first 5000 words, there are two paragraphs of exposition. Two. The rest of the world comes through descriptions and dialogue between the seven characters.
By having an MC who is aware of the world, more work is placed on the reader to fill in the blanks. Mad Max: Fury Road unfolds the universe without explanation, while still providing viewers with enough information to draw conclusions. A good writer should be able to do this. I should be able to do this.
While film does rely on the inherent visual aspect, books can and should lean that way as well. Sure, you don't want your MC to sound like a robot prattling off X happened then Y happened. You need some flavor. You need descriptors and emotions. Incorporate all the senses. If you are writing in first person, you can have some internal reflection (heck, you can have this in third person too).
Instead of: I stuck out my hand, and he shook it.
You can have: I stuck out my hand--a stupid move I wanted to take back--but he still shook it.
The second gets you into the character's head. The MC is self-conscious around this guy. It keeps the focus on the visual aspects, but provides insight into the MC's thought process without a long-winded diatribe (though, there can be a place for that as well).
If anyone wants a refresher on "how to create a universe where your MC is aware of how the world works, but the reader does not... and how to clue the reader in without over-saturating your book with exposition," watch Mad Max: Fury Road. Analyze how they show the world and how they accomplish bringing you into the universe. The script might give you some good ideas for writing your next novel. Reflecting on this movie has helped me.
Recently, I've been moving in another direction. While I still plan on making several contemporary, emotional YA books (A Criminal Heart, No Sugar Coating, and The End Diary), I am working on several fantasy and sci-fi titles. While these characters still have some introspection, the books revolve heavily around plot rather than internal turmoil.
So why Mad Max: Fury Road? Warning: Spoilers. Not only is the movie visually stunning, but there is virtually no "telling" at all. There are moments where the characters could explain a lot (through monologues and exposition), but they don't. Information is passed along quickly with characters interrupting each other as a natural ebb and flow of dialogue."The soil, we had to get out.""We had no water."
"The water was filth."
"It was poison..."
This conversation takes a minute, but they (along with the viewers) come to the horrible realization together: there is no green place. Furiosa screams into the desert, heart-wrenched. We know how she's feeling, and it's done visually. No existential internal narration needed.
We never receive an explanation of the war boys, but we collect knowledge of this universe through context and dialogue. "At the end of his half-life" and the tumors growing on the side of Nick Hoult's neck. We know how hard it is to have a non-deformed child because the stillborn baby was "perfect in every way" (a grand announcement), and every single ruler has something physically wrong. This makes extra narration unnecessary.
This is hard to do when most YA books feature a teen at the start of their journey. With In a Blue Moon, my MC Effy stumbles down a rabbit hole into absolute chaos. She needs to ask questions, but only has limited time due to her deadly situation. Information is revealed as new questions arrived to avoid any long-winded info-dumps.
The story I recently started, Ferals (working title), features Wren, a teen who has grown up in this universe. She knows and understands the world, thus she doesn't need to explain it to the reader. I am taking a page from Mad Max and trying to show this universe is instead of explaining how it came to be. In the first 5000 words, there are two paragraphs of exposition. Two. The rest of the world comes through descriptions and dialogue between the seven characters.
By having an MC who is aware of the world, more work is placed on the reader to fill in the blanks. Mad Max: Fury Road unfolds the universe without explanation, while still providing viewers with enough information to draw conclusions. A good writer should be able to do this. I should be able to do this.
While film does rely on the inherent visual aspect, books can and should lean that way as well. Sure, you don't want your MC to sound like a robot prattling off X happened then Y happened. You need some flavor. You need descriptors and emotions. Incorporate all the senses. If you are writing in first person, you can have some internal reflection (heck, you can have this in third person too).
Instead of: I stuck out my hand, and he shook it.
You can have: I stuck out my hand--a stupid move I wanted to take back--but he still shook it.
The second gets you into the character's head. The MC is self-conscious around this guy. It keeps the focus on the visual aspects, but provides insight into the MC's thought process without a long-winded diatribe (though, there can be a place for that as well).
If anyone wants a refresher on "how to create a universe where your MC is aware of how the world works, but the reader does not... and how to clue the reader in without over-saturating your book with exposition," watch Mad Max: Fury Road. Analyze how they show the world and how they accomplish bringing you into the universe. The script might give you some good ideas for writing your next novel. Reflecting on this movie has helped me.
Wednesday, September 2, 2015
Keeping up Heart
When you enter any kind of contest or query any agents, you are putting yourself and your work out there to be reviewed and judged. So first, congratulate yourself on making the first step. You've done something other people are terrified to do. You also, presumably, have completed a novel. Congratulate yourself for that, too.
The Pitch War contest just happened, hosted by the fabulous Brenda Drake. I, like many other people, did not get chosen by a mentor. Entering this contest was fun. It helped me think about how to pitch my story. It made me do some serious editing on the first chapter. It's also making me think about the intro. There's an "almost prologue" feel to the first five or so paragraphs and I'm debating removing it. Waffling really.
Anyway, this contest is not the end for my YA Contemporary novel. THE END DIARY will be published, but probably by myself after more extensive editing and beta reading.
If, however, I wasn't planning on self-publishing, I would query it. Querying is so subjective. You have to find an agent at the right time, in the right mood, and get someone who sees the potential. That's a lot to ask. You also need to get someone who hasn't read (or doesn't represent) a similar book. With so many books that have the same feel (look at the dystopian genre), this can be extremely hard to do.
So anyone who got in, congrats. Anyone who didn't, polish your ms some more and send it out. Find a critique partner who works well with you. Hire a proofreader, concept developer, or line editor and self publish. Your writing journey does not end with one (or 25 rejections). Keep trying.
So long as your work is improving, you are on the right track.
Saturday, August 15, 2015
Building a Backlog
Greetings! I'm back from a "writing my pants off" hiatus, and while I still don't have any books published this year, I have quite a large backlog of work now.This past week, I've been in New Hampshire visiting my family and doing some soul-searching. Often on the road to publishing, challenges can often feel insurmountable. This happens with any creative art, and it's good to get away and recharge. I needed space and time to remember why I love writing.
I've also been thinking a lot about the Ira Glass quote:
I've been working on my own backlog--a way to close the gap between myself and where I think I should be. My first published book was a short story, but it wasn't the first longer piece I had written. I also still haven't published the first two manuscripts that I wrote (don't plan on it, either).Nobody tells this to people who are beginners, I wish someone told me. All of us who do creative work, we get into it because we have good taste. But there is this gap. For the first couple years you make stuff, it’s just not that good. It’s trying to be good, it has potential, but it’s not. But your taste, the thing that got you into the game, is still killer. And your taste is why your work disappoints you. A lot of people never get past this phase, they quit. Most people I know who do interesting, creative work went through years of this. We know our work doesn’t have this special thing that we want it to have. We all go through this. And if you are just starting out or you are still in this phase, you gotta know its normal and the most important thing you can do is do a lot of work. Put yourself on a deadline so that every week you will finish one story. It is only by going through a volume of work that you will close that gap, and your work will be as good as your ambitions. And I took longer to figure out how to do this than anyone I’ve ever met. It’s gonna take awhile. It’s normal to take awhile. You’ve just gotta fight your way through.
But, that doesn't answer the question: why haven't I published this year? None of my books are ready. The gap between what they are and what I want them to be is still wide open. But now that I have fantastic feedback on Conscious from my fabulous alpha reader, I have a direction to take once I get back home. (A complete revamp will enhance the story.)
Having a backlog is strengthening my writing, since I've been writing so much in such a short period. For the record, here's the list of current unpublished manuscripts I have and their status:
- In a Blue Moon - Querying (edited five times with numerous beta readers and a proofreader)
- Greener on the Other Side (the in between novella) - Drafted
- Conscious - Rewriting/Editing (alpha reader feedback acquired!)
- The End Diary - Drafted
- No Sugar Coating - Rewrite needed
- Good Criminal Heart - Rewrite needed
- Rioss - Rewrite needed
- RUHE - Shelved indefinitely
- Where We Collide - Shelved indefinitely
- The Unanswerable - Shelved, may revisit
Why is this list important? RUHE and Where We Collide were my first two books. They were a developmental mess, and I still have no idea how to fix them (they were that bad). Good Criminal Heart is in it's fourth rewrite because it was the first novel I started writing (at seventeen), but not the first one I finished writing. The first pass had a terrible plot, but great characters. I streamlined it, made it more realistic, and rounded out the side characters. The writing, however, is still sub-par and needs a revamp. No Sugar Coating needs a developmental overhaul, but the writing is fluid. Rioss has great characters and descriptions, but lacks cohesion.
These backlogged stories, despite needing a lot of editing, have helped. They've made me see the pitfalls of my writing. Because of these past books, I know The End Diary is developmentally fine, but lacks proper description, and I knew that Conscious needed a second set of eyes to tell me why the pacing was off.
Recognizing your own weaknesses helps you in the long run, though it can make you second guess yourself. Saying "you aren't doing something good enough" creates negative feelings about your work, but it shouldn't. Artists need room to grow.
Whenever I start second guessing, I take time away. Often, I come to an optimistic conclusion. I'm working towards a long-term goal, and I'm improving. As long as I'm doing a little bit every day, I can feel good about my work. I give myself permission to grow.
Picture of the ladybug for no good reason, other than I thought it looked cool when I took it.
Wednesday, December 17, 2014
On getting sick of your writing
As authors, we go through a roller coaster of emotions when it comes to our own writing. We love the concept, but hate this scene we can't get quite right. We adore our main character, but hate that the villain seems to one-sided. We call in and out of love with many aspects of our stories.
I'm at this stage with The Unanswerable where I am sick of it. I wrote it two years ago, rewrote it earlier this year, edited it once a month ago, and now I'm editing it again.
There's a few scenes that I hate because they aren't right yet. There's a few scenes that I adore because they make me cry or bite my nails because they are spot on.
But I'm sick of my own story. Trying to make the blah scenes pop with the vitality they should have is frustrating. Combing over the good scenes to make them the best they can be is tedious. I've read the story too many times to have a fresh perspective. The concept, and the story itself, are starting to feel stale.
So what now? When your inspiration and motivation for a piece are gone, what do you do?
I force myself to edit it one more time, and then I pass it off to an alpha reader--in this case, my husband. He's my concept developer. When I want to make sure the story works, I ask him. He points out weak scenes, tells me what I've done well, and provides me with a fresh look on my writing.
Getting sick of my own work doesn't mean the story is bad. It means I need a new set of eyes; someone else to be nit-picky. I need someone to confirm, "Yes, this is a flaw" or tell me, "No, you're being overly critical."
Developmental feedback can be obtained through alpha readers, friends, or even a developmental editor. If you find your eyes glazing over at your own words, it's time for another person to step in.
Don't worry, The Unanswerable is still on its way to being published, even if I am sick of it. I still think it's a powerful story, I just can't figure out how to punch up the scenes that need work.
The second set of eyes always helps.
--
If you are looking for more advice on editing, consider reading Why We Edit, an article I wrote for the independent author collective, The Scriptors.
I'm at this stage with The Unanswerable where I am sick of it. I wrote it two years ago, rewrote it earlier this year, edited it once a month ago, and now I'm editing it again.
There's a few scenes that I hate because they aren't right yet. There's a few scenes that I adore because they make me cry or bite my nails because they are spot on.
But I'm sick of my own story. Trying to make the blah scenes pop with the vitality they should have is frustrating. Combing over the good scenes to make them the best they can be is tedious. I've read the story too many times to have a fresh perspective. The concept, and the story itself, are starting to feel stale.
So what now? When your inspiration and motivation for a piece are gone, what do you do?
I force myself to edit it one more time, and then I pass it off to an alpha reader--in this case, my husband. He's my concept developer. When I want to make sure the story works, I ask him. He points out weak scenes, tells me what I've done well, and provides me with a fresh look on my writing.
Getting sick of my own work doesn't mean the story is bad. It means I need a new set of eyes; someone else to be nit-picky. I need someone to confirm, "Yes, this is a flaw" or tell me, "No, you're being overly critical."
Developmental feedback can be obtained through alpha readers, friends, or even a developmental editor. If you find your eyes glazing over at your own words, it's time for another person to step in.
Don't worry, The Unanswerable is still on its way to being published, even if I am sick of it. I still think it's a powerful story, I just can't figure out how to punch up the scenes that need work.
The second set of eyes always helps.
--
If you are looking for more advice on editing, consider reading Why We Edit, an article I wrote for the independent author collective, The Scriptors.
Monday, March 3, 2014
On death in books
There are some authors who pull off killing a main or side character flawlessly. Some authors have done it numerous times, with some successes and some failures. Others have tried to get it right, but have ended up missing the mark.
That brings up the question: What makes a "successful" death in writing?
Now, before I discuss the types of deaths, and how some have been successful, know that I am talking from my own standpoint. I am one person, one reader, and one writer. My opinions are my own, and mileage may vary. Also, I encourage you to comment on why a death worked for you. Was it a reason different than below?
The Romantic
When the romantic interest of your main character takes a drastic turn for the worst, it needs to be gut-wrenching. The death should be a tear-jerker. As readers, we need to feel the soul-crushing hopelessness of the main character as the thought settles in--forever, without the love of your life. We need the horror, the disbelief, and the pain of the moment, all wrapped up into one emotional upheaval. Without it, this death might seem pointless.
The Martyr
This is one of the hardest techniques to pull off for both main and side characters. Rarely do main characters die in books, and it's because we, as readers, have such an emotional connection to them that we cannot imagine a life where they no longer exist. If you decide to make a character a sacrifice, you need to make us believe it. It's the hardest challenge, but if you can pull it off, your story will likely stay with the reader forever.
On the emotional side, the reader needs to feel disbelief. That feeling needs to become acceptance because the story was so beautiful it couldn't have happened any other way, or anger for the person responsible for the MC/side character's death. Oftentimes, readers need to blame someone. If you take away the beauty and the ability to blame a character, your readers will turn to the next person on their list--the author. I've seen this happen. If you can't pull off a martyr, your readers may turn against you. Tread carefully - it's a fine line between success and failure.
The Friend or Family
Arguably, the friend/family is the most versatile character when it comes to death. It could be a sudden, unforeseen accident; an elongated illness; a brutal murder; or a suicide. All of these need to contain disbelief, yearning for answers, and even anger. Most stories that have done this successfully eventually carry some hope, like the main character's ability to carry on against all odds. Sometimes, the death of a friend or family member will begin a trial, where the MC will be tested time and time again. Grieving is encouraged, but they need enough resolve to keep going, even if it's just going through the motions.
The Villain
Should all deaths of enemies create instant relief? Not necessarily. If your "evil" character is well-rounded, there should be some redeeming quality to him or her, even if it’s just superficial. The death of your villain should be satisfying, but not overly so. The world is not black and white, and your reader should see both sides to your villain. And remember - death does not always equal justice. Just because X is dead doesn't mean everything is magically okay. To some extent, because X existed in the first place, some things will never be okay.
What it boils down to
There are obviously more categories out there. It boils down to the author needing to make the reader believe it. Forcing a character's death for controversy won't make readers connect with the demise of their beloved character. If you miss the emotional mark, your story might be less successful.
I encourage you, as a reader, writer, or movie lover, to comment on why a certain character's death worked for you. You can be vague or mention specifics, but remember to mark any spoilers, please!
That brings up the question: What makes a "successful" death in writing?
Now, before I discuss the types of deaths, and how some have been successful, know that I am talking from my own standpoint. I am one person, one reader, and one writer. My opinions are my own, and mileage may vary. Also, I encourage you to comment on why a death worked for you. Was it a reason different than below?
The Romantic
When the romantic interest of your main character takes a drastic turn for the worst, it needs to be gut-wrenching. The death should be a tear-jerker. As readers, we need to feel the soul-crushing hopelessness of the main character as the thought settles in--forever, without the love of your life. We need the horror, the disbelief, and the pain of the moment, all wrapped up into one emotional upheaval. Without it, this death might seem pointless.
The Martyr
This is one of the hardest techniques to pull off for both main and side characters. Rarely do main characters die in books, and it's because we, as readers, have such an emotional connection to them that we cannot imagine a life where they no longer exist. If you decide to make a character a sacrifice, you need to make us believe it. It's the hardest challenge, but if you can pull it off, your story will likely stay with the reader forever.
On the emotional side, the reader needs to feel disbelief. That feeling needs to become acceptance because the story was so beautiful it couldn't have happened any other way, or anger for the person responsible for the MC/side character's death. Oftentimes, readers need to blame someone. If you take away the beauty and the ability to blame a character, your readers will turn to the next person on their list--the author. I've seen this happen. If you can't pull off a martyr, your readers may turn against you. Tread carefully - it's a fine line between success and failure.
The Friend or Family
Arguably, the friend/family is the most versatile character when it comes to death. It could be a sudden, unforeseen accident; an elongated illness; a brutal murder; or a suicide. All of these need to contain disbelief, yearning for answers, and even anger. Most stories that have done this successfully eventually carry some hope, like the main character's ability to carry on against all odds. Sometimes, the death of a friend or family member will begin a trial, where the MC will be tested time and time again. Grieving is encouraged, but they need enough resolve to keep going, even if it's just going through the motions.
The Villain
Should all deaths of enemies create instant relief? Not necessarily. If your "evil" character is well-rounded, there should be some redeeming quality to him or her, even if it’s just superficial. The death of your villain should be satisfying, but not overly so. The world is not black and white, and your reader should see both sides to your villain. And remember - death does not always equal justice. Just because X is dead doesn't mean everything is magically okay. To some extent, because X existed in the first place, some things will never be okay.
What it boils down to
There are obviously more categories out there. It boils down to the author needing to make the reader believe it. Forcing a character's death for controversy won't make readers connect with the demise of their beloved character. If you miss the emotional mark, your story might be less successful.
I encourage you, as a reader, writer, or movie lover, to comment on why a certain character's death worked for you. You can be vague or mention specifics, but remember to mark any spoilers, please!
Thursday, February 13, 2014
A Different Approach
If you're a writer, you've probably heard the phrase, "Just write; editing comes later." It's very good advice, but I'm abandoning it for my latest endeavor. Before you gasp, I will say that I do not recommend this for new writers. New writers shouldn't second guess themselves every step of the way. New writers should write and practice writing. Editing can come later.
While I only have two works published, I'm not a new writer. I'm working on my eighth novel. None of my novels have been published, because I get hung up on the editing process. I'm so excited about writing the story, and I write my book in less than two months. Then I hit the wall.
My wall is editing. It's so giant that I can't see a way to climb it, let alone figure out how to get to the other side. So I've decided that my wall needs a door.
I am abandoning the really good advice that got me to seven novels in the first place. After writing a chapter, I'm going to edit it to make it the best chapter it can be. I'm crazy, right?
My new approach to writing:
Editing my own work has always been a headache and hangup for me. I like to reward myself for editing, so I end up playing a tons of video games when I could be writing.
My new reward system will be: "Once you finish editing this chapter, you get to write the next one."
Writing, something I love, will get me through editing, something I struggle with. I should mention, while I struggle with my own editing, I love editing for my clients.
I'll be sure to blog with an update of how this is working for me! So far, I really like this idea in theory... now to test it.
While I only have two works published, I'm not a new writer. I'm working on my eighth novel. None of my novels have been published, because I get hung up on the editing process. I'm so excited about writing the story, and I write my book in less than two months. Then I hit the wall.
My wall is editing. It's so giant that I can't see a way to climb it, let alone figure out how to get to the other side. So I've decided that my wall needs a door.
I am abandoning the really good advice that got me to seven novels in the first place. After writing a chapter, I'm going to edit it to make it the best chapter it can be. I'm crazy, right?
My new approach to writing:
- Outline the whole book. My outlines are super long. They have some choppy dialogue, description as it comes to me, random notes, and whatever pops in my head. I might have a 600 word outline for a 3,000 word chapter. My outlines, in essence, are the first draft of a story. It's easy to add and subtract things in this state because the writing doesn't have finesse yet. It's also allows me to developmentally review my book before I really start writing.
- Write a chapter. I need to slow down while I write and take time to imagine each scene. I'm especially having trouble with this piece, since world building is a massive part of my story. But the next step should also help with this.
- Edit the chapter. This will happen two to four times.
- First pass: Check the description and the character development. Are things unfolding the way they need to be? Is the pacing for this chapter good?
- Second pass: Grammar, sentence structure, tightening paragraphs. Is there a better way to say something? Are the emotions coming out okay?
- Third pass: Another line editing pass.
- Fourth pass: Proofreading / last minute fixes.
- Write the next chapter.
Editing my own work has always been a headache and hangup for me. I like to reward myself for editing, so I end up playing a tons of video games when I could be writing.
My new reward system will be: "Once you finish editing this chapter, you get to write the next one."
Writing, something I love, will get me through editing, something I struggle with. I should mention, while I struggle with my own editing, I love editing for my clients.
I'll be sure to blog with an update of how this is working for me! So far, I really like this idea in theory... now to test it.
Monday, April 15, 2013
Writing Over 20,000 Words in a Day
I wasn't sure I would ever get here. Honestly, when I started writing again, squeezing out six thousand words in a day burned me out.
But this weekend, I set a goal for 10,000 words during a 24-hour competition of word wars. After getting woken up by cats at 4:30 am, I started writing. I managed 1,600 before crawling back into bed (it was 5:00 am, could you blame me?). I woke up again at 7:30 am, a more appropriate time. I wrote. I didn't stop writing until my dearest husband made us breakfast - then I only stopped to eat.
By 4:00 pm, I finished my novelette, a semi-comedic dystopian. It stands at 19,380 words.
Since I hadn't broken 20,000, I switched gears and wrote a few more thousand for No Sugar Coating. My grand total of the day was 21,968 words.
A lot of people commented on my status updates and said I was a machine (okay, maybe I said that I was a machine). I kind of felt like it that day. My fingers kept writing in this weird autopilot. It was my writing and me, nothing else came into play.
It was a little bizarre to finish the entire novelette in one day, almost like I had watched a friend grow up in the span of nine hours.
I wanted to share some tips on how I made this possible.
Any of you have big writing goals planned? How do you approach a full day of writing?
Oh, and be on the lookout for upcoming news of my novelette. I plan on releasing it in July, but there will be plenty of sneak peeks and information before then!
But this weekend, I set a goal for 10,000 words during a 24-hour competition of word wars. After getting woken up by cats at 4:30 am, I started writing. I managed 1,600 before crawling back into bed (it was 5:00 am, could you blame me?). I woke up again at 7:30 am, a more appropriate time. I wrote. I didn't stop writing until my dearest husband made us breakfast - then I only stopped to eat.
By 4:00 pm, I finished my novelette, a semi-comedic dystopian. It stands at 19,380 words.
Since I hadn't broken 20,000, I switched gears and wrote a few more thousand for No Sugar Coating. My grand total of the day was 21,968 words.
A lot of people commented on my status updates and said I was a machine (okay, maybe I said that I was a machine). I kind of felt like it that day. My fingers kept writing in this weird autopilot. It was my writing and me, nothing else came into play.
It was a little bizarre to finish the entire novelette in one day, almost like I had watched a friend grow up in the span of nine hours.
I wanted to share some tips on how I made this possible.
- If you have a significant other, get him/her to support you for the day (like making food). You may owe them a few back rubs. If you don't have a partner in crime, be prepared with meals you can heat, eat, then resume writing.
- Outline, outline, outline. I'm usually write by the seat of my pants. A lot of writers do this, and I used to love doing it. But I've seen the light. Outlines can really save you from making weird little plot bunnies that don't end up going anywhere. They can also help you stay focused. I wrote 2,000 words in my outline. 2k for a 19k piece seems excessive, but my characters stayed on track.
- Read over your outline the night before. In fact, you should be thinking about your story almost constantly in the days leading up to this!
- Give yourself a reasonable goal. Pass it. Then keep writing. I started with 10k. Once I finished that and saw how early it was, I said, "I can do this." Set my next goal for 15k. Finished that, still had time. So 20k it was.
- Don't sweat the small stuff. You will have grammatical errors and probably a lot of typos. This is your rough draft. It does not have to be perfect. Can't think of the right word? Find a quick filler and keep going.
- Reward yourself. If you achieve your first goal, you should allow yourself to do something that you don't normally do or buy a little something for yourself. In my case, I bought more books. (ALL THE BOOKS).
Any of you have big writing goals planned? How do you approach a full day of writing?
Oh, and be on the lookout for upcoming news of my novelette. I plan on releasing it in July, but there will be plenty of sneak peeks and information before then!
Saturday, June 30, 2012
On writing 9,000 words in a day
I know people have done this before, because people have written short length novels over the course of the 3-day novel challenge.
But let me be (probably not) the first to say that it's a lot of work.
Surprisingly, I got done a little over 3,000 words in an hour, so I can see where other people could accomplish a novel in a weekend. But me? I'm burned out.
When I get inside my character's head - really inside their head - and I'm writing from a hugely emotional standpoint (this whole novella has been one emotional trigger after another), I get my own gut wrenched. I just spend the last thousand words sobbing as I brought my character to his emotional conclusions. His resolve and the decisions that he has made for himself brought me to my own tears, as I know how I would feel if I were in the same situation.
And that's the thing: It's every emotion at once.
Now that the 9,094 words are out of the way, I feel exhausted. Not mentally, no, my brain can continue to pump out words for days. But I'm emotionally hollowed out, my character burrowed a hole into my brain and I no longer have the emotional capacity for even myself.
Does anyone else get this emotionally invested in their characters? I find that when I do cry, the words flow more genuinely onto the page, with true emotions and feelings. The negative, well, I already said that. It takes a lot of work.
I don't ever want to hear anyone say that writing is not a real job.
Oh - and now I have a fancy new Camp NaNoWriMo badge to show off in the corner. Yay accomplishing goals!
But let me be (probably not) the first to say that it's a lot of work.
Surprisingly, I got done a little over 3,000 words in an hour, so I can see where other people could accomplish a novel in a weekend. But me? I'm burned out.
When I get inside my character's head - really inside their head - and I'm writing from a hugely emotional standpoint (this whole novella has been one emotional trigger after another), I get my own gut wrenched. I just spend the last thousand words sobbing as I brought my character to his emotional conclusions. His resolve and the decisions that he has made for himself brought me to my own tears, as I know how I would feel if I were in the same situation.
And that's the thing: It's every emotion at once.
Now that the 9,094 words are out of the way, I feel exhausted. Not mentally, no, my brain can continue to pump out words for days. But I'm emotionally hollowed out, my character burrowed a hole into my brain and I no longer have the emotional capacity for even myself.
Does anyone else get this emotionally invested in their characters? I find that when I do cry, the words flow more genuinely onto the page, with true emotions and feelings. The negative, well, I already said that. It takes a lot of work.
I don't ever want to hear anyone say that writing is not a real job.
Oh - and now I have a fancy new Camp NaNoWriMo badge to show off in the corner. Yay accomplishing goals!
Personal Update
I come to all of you readers from the past. I wrote this blog post on Friday, but I didn't want to interrupt the blog tour mania.
This month has brought quite an accomplishment - mostly me going insane. Just a little insane. Regardless, I will spend all Saturday finishing my Camp NaNo novel. As of Friday, I had 10k to go. And possibly, come Sunday, I might be done with a novella.
The Unanswerable started out as a blog short story, but someone asked me "Where's the rest of it?" There was no rest of it, but I thought about this. I thought about the characters, mulled over their circumstances. And soon? I had about ten excerpts from this story posted on my blog.
And I set out to eventually finish it.
I'm glad that July is going to be easier. I'm planning on dedicating the month to editing Ruhe and Rioss and doing a ton of beta reading for other people. I'm excited to finally be done with another project - but this Camp NaNo really took it out of me. Due to my (in)sanity, I am also attempting Camp in August and NaNo in November.
Why?
Because the characters (voices) in my head won't leave me alone! That's why!
Oh, that and if I finish my novella and another novel by October, I will have written four novels and one novella in a year.
And after never having written one? And picking up projects only to put them down again for years? I say it's the greatest accomplishment of my writing life.
This month has brought quite an accomplishment - mostly me going insane. Just a little insane. Regardless, I will spend all Saturday finishing my Camp NaNo novel. As of Friday, I had 10k to go. And possibly, come Sunday, I might be done with a novella.
The Unanswerable started out as a blog short story, but someone asked me "Where's the rest of it?" There was no rest of it, but I thought about this. I thought about the characters, mulled over their circumstances. And soon? I had about ten excerpts from this story posted on my blog.
And I set out to eventually finish it.
I'm glad that July is going to be easier. I'm planning on dedicating the month to editing Ruhe and Rioss and doing a ton of beta reading for other people. I'm excited to finally be done with another project - but this Camp NaNo really took it out of me. Due to my (in)sanity, I am also attempting Camp in August and NaNo in November.
Why?
Because the characters (voices) in my head won't leave me alone! That's why!
Oh, that and if I finish my novella and another novel by October, I will have written four novels and one novella in a year.
And after never having written one? And picking up projects only to put them down again for years? I say it's the greatest accomplishment of my writing life.
Monday, May 21, 2012
Graphic Design: Although fun, not a cure for writer's block
I'm at it again. I can never stick with one project for too long, and doing too many projects at once usually makes me feel overwhelmed. But recently, I've decided to deviate from writing (for just a little hiatus) and tap into some of the other creativity I have. 
For those that don't know: I love graphic design. Not all the time, of course, but I enjoy photo manipulation, working with Photoshop, and generally doing random things.
This weekend, I created the cover for "My Summer Vacation by Terrance Wade," which is still open for suggestions. I also worked on this super nerdy crossover, where FVII meets Van Gogh.Basically? I spent my whole weekend not writing. I haven't been in the mood to write - I've been in a slump of sorts since post-honeymoon. So I'm curious, other writers: What do you do to get out of a slump?
While being creative is good for me, no matter what I end up doing, it isn't helping me finish my stories. RUHE is sitting without being edited for a third time (and after editing one chapter, believe me, it needs it). "My Summer Vacation by Terrance Wade" isn't even finished yet. And I have tons of reading to do for fellow critiquers.
Conclusion: The slump needs to end. ASAP.
Suggestions?
Tuesday, April 24, 2012
U is for Unfinished
I'm curious how many of you have unfinished projects? I have a ton (as you can see from my not-so-up-to-date WIP bar).
If you had two days, where you were completely inspired and had all the time to write, what projects would you work on? Heck, if you had two days to do anything what would you do?
I've been feeling a tad overwhelmed by how many projects I have, but I've decided to keep this post short and sweet. Let me know what you are up to, what projects do you want to complete?
If you had two days, where you were completely inspired and had all the time to write, what projects would you work on? Heck, if you had two days to do anything what would you do?
I've been feeling a tad overwhelmed by how many projects I have, but I've decided to keep this post short and sweet. Let me know what you are up to, what projects do you want to complete?
Saturday, April 21, 2012
S is for Story Telling
Why story telling/writing is important to me:
I love and hate writing. I love writing because it entangles me into a new world. I get to explore the depths of someone else’s reality and escape from my own. I can dream, exist, float, and be anywhere in the whole world. This also applies to why I love reading so much.
I hate writing because it is hard. Sometimes I have grandiose ideas for scenes and descriptions, but somehow, between the synapses of my brain, they get lost on their way to my fingertips. They ball up underneath my veins and threaten to burst all my blood vessels. They tear at my body and clot my blood until I’m boiling alive. I hate writing because it, so far, has lead me to making a whole $10 (via advertisements on this blog – also, if you purchase through my amazon store, I make some commission fees. Wink, nudge).
Writing is very cathartic for me. Words, phrases, stories had such an effect on me growing up. I realized a lot about myself, the world, and life. Honestly, some books led me back to the path of the living. There was a time in my life where I spent days on end staring endlessly into the darkness. It thrust out its fingers and caressed my skin, telling me it was okay to fall into the depths. But when I curled up with a few books, when I opened my eyes to a world full of ideas, it captivated me. Life didn’t have to be this bottomless pit, but it could have light. It could be both. It didn’t matter if people made fun of me, because I could go home, curl up, and pretend to be somewhere else. I want to be able to do that for other people, teens especially – I want to be the person that inspires them..
Why only novels and flash fiction?
The only two successful short stories I have written is a D&D character background story (which really was just silliness to begin with), and I’ve written a small anthology of life lessons – a memoir of shorts. But those are just small, silly pieces. Every time I fall in love with a character, I end up making the story longer, thicker, juicier. Every time my characters fall flat, I end up cutting them off short, which usually leaves people liking the flash fiction. It has always been this way with me, though I can’t really explain why.
Why mostly Young Adult?
I’m attracted to the genre because I needed the most help when I was a YA. And I love writing it. The simplistic flow with endless amounts of action, dialogue, and description that tends to roll off my fingers. Reacting to life as an adult is hard - and I’m still a kid myself (okay, not really, but I still think I’m a kid, and that counts for something).
How often do you lie (aka "tell a story") in real life?
I’d like to think that I never lie, at least outright. I do find myself embellishing tales. My life isn’t extremely entertaining, but when I talk to other people, you might think that I slay dragons for a living (which I wouldn’t – if dragons existed, I would train them, not slay them - but you get the picture). My life is good, but it isn’t a blockbuster film. And sometimes, I feel like I make it sound like a blockbuster - or at least a lifetime movie.
I love and hate writing. I love writing because it entangles me into a new world. I get to explore the depths of someone else’s reality and escape from my own. I can dream, exist, float, and be anywhere in the whole world. This also applies to why I love reading so much.
I hate writing because it is hard. Sometimes I have grandiose ideas for scenes and descriptions, but somehow, between the synapses of my brain, they get lost on their way to my fingertips. They ball up underneath my veins and threaten to burst all my blood vessels. They tear at my body and clot my blood until I’m boiling alive. I hate writing because it, so far, has lead me to making a whole $10 (via advertisements on this blog – also, if you purchase through my amazon store, I make some commission fees. Wink, nudge).
Writing is very cathartic for me. Words, phrases, stories had such an effect on me growing up. I realized a lot about myself, the world, and life. Honestly, some books led me back to the path of the living. There was a time in my life where I spent days on end staring endlessly into the darkness. It thrust out its fingers and caressed my skin, telling me it was okay to fall into the depths. But when I curled up with a few books, when I opened my eyes to a world full of ideas, it captivated me. Life didn’t have to be this bottomless pit, but it could have light. It could be both. It didn’t matter if people made fun of me, because I could go home, curl up, and pretend to be somewhere else. I want to be able to do that for other people, teens especially – I want to be the person that inspires them..
Why only novels and flash fiction?
The only two successful short stories I have written is a D&D character background story (which really was just silliness to begin with), and I’ve written a small anthology of life lessons – a memoir of shorts. But those are just small, silly pieces. Every time I fall in love with a character, I end up making the story longer, thicker, juicier. Every time my characters fall flat, I end up cutting them off short, which usually leaves people liking the flash fiction. It has always been this way with me, though I can’t really explain why.
Why mostly Young Adult?
I’m attracted to the genre because I needed the most help when I was a YA. And I love writing it. The simplistic flow with endless amounts of action, dialogue, and description that tends to roll off my fingers. Reacting to life as an adult is hard - and I’m still a kid myself (okay, not really, but I still think I’m a kid, and that counts for something).
How often do you lie (aka "tell a story") in real life?
I’d like to think that I never lie, at least outright. I do find myself embellishing tales. My life isn’t extremely entertaining, but when I talk to other people, you might think that I slay dragons for a living (which I wouldn’t – if dragons existed, I would train them, not slay them - but you get the picture). My life is good, but it isn’t a blockbuster film. And sometimes, I feel like I make it sound like a blockbuster - or at least a lifetime movie.
Wednesday, March 28, 2012
In Edits
Don't forget to check out my giveaway!
Cara Michaels may want my head on a platter for not updating my #WIP500 lately, but honestly, I can't really do it. No, not can't. I won't.
Why? Because I have three pieces that have not been edited as much as I like. So I'm reworking, rewriting, and keeping track of the new word count (which, yes, I will use, because it is technically still a WIP500), but my word count is... tiny. Minuscule.
This is why I hate editing. I feel like I need to be working on The Unanswerable or Kingdom of Obession, not bumming around in the first chapters of Rioss and piddling over my word choices. I feel like Rioss and Soul Therapy and Ruhe already took so much of my precious time, that I really want to move onto the next shiny new object.
But shame on me. Because I know for a fact that I sometimes call "Marc" "March" because of the numerous typos throughout Rioss. And I know that Jessica goes on way too many internal ramblings without enough action/responses in Soul Therapy. And Ruhe just needs to be longer, the scenes need to have more tension in them. So here's my wrist slap. Stay with it, stick with it, and edit it.
Editing just feels so much like work. But something that makes it easier? I got new vinyl from M83, including Saturdays = Youth and Before the Dawn Heals Us (consequently, these are the first vinyls I have ever owned). Which, for people that don't know me - M83 is my favorite band to zone out to. It makes doing things that I don't like much more pleasant. Each week, I am going to attempt to complete at least three hours to editing.
And last night, I spent an hour curled up on the couch with two cats on each side of me, sipping on wine, listening to M83, and pouring over words. Wasn't a bad set up, but I still forgot to submit my new word count to Cara Michaels (shame on me).
Cara Michaels may want my head on a platter for not updating my #WIP500 lately, but honestly, I can't really do it. No, not can't. I won't.
Why? Because I have three pieces that have not been edited as much as I like. So I'm reworking, rewriting, and keeping track of the new word count (which, yes, I will use, because it is technically still a WIP500), but my word count is... tiny. Minuscule.
This is why I hate editing. I feel like I need to be working on The Unanswerable or Kingdom of Obession, not bumming around in the first chapters of Rioss and piddling over my word choices. I feel like Rioss and Soul Therapy and Ruhe already took so much of my precious time, that I really want to move onto the next shiny new object.
But shame on me. Because I know for a fact that I sometimes call "Marc" "March" because of the numerous typos throughout Rioss. And I know that Jessica goes on way too many internal ramblings without enough action/responses in Soul Therapy. And Ruhe just needs to be longer, the scenes need to have more tension in them. So here's my wrist slap. Stay with it, stick with it, and edit it.
Editing just feels so much like work. But something that makes it easier? I got new vinyl from M83, including Saturdays = Youth and Before the Dawn Heals Us (consequently, these are the first vinyls I have ever owned). Which, for people that don't know me - M83 is my favorite band to zone out to. It makes doing things that I don't like much more pleasant. Each week, I am going to attempt to complete at least three hours to editing.
And last night, I spent an hour curled up on the couch with two cats on each side of me, sipping on wine, listening to M83, and pouring over words. Wasn't a bad set up, but I still forgot to submit my new word count to Cara Michaels (shame on me).
Tuesday, March 20, 2012
On Rejection
I've seem to be getting a lot of rejections lately, which is part of the whole process - so I felt like it was time that I put my own thoughts out there about rejection.
Rejection doesn't necessarily mean that my stories are bad - it doesn't mean that about anyone's writing. Rejection does mean that you should take a harder look at your story.
Is your introduction gripping? Absolutely gripping? Do you pick up the book and suddenly need to turn the page to figure out what happens next? If not - what have other books done to catch your attention?
I'll never forget the opening the The Outsiders, where there was an intense excerpt at the beginning of the book. That excerpt, taken out of context, sucked me completely in. I needed to read about him walking out of the dark light of the movie theatres, because I had to know what happened next - I needed to know what made Ponyboy get to that point in the novel.
Is your grammar correct? Some people will see the typos there/their/they're and immediately get turned off. Here's the thing: It matters. If you don't have great grammar or spelling, no problem - ask one of your friends to help out! Surely there is someone you know that won't mind beta reading your books. Heck, I can beta read if we trade beta reading!
What is your style like? Look at the writing your desired agent represents. Are they completely left-field whereas your style is right-field? They probably won't represent someone that doesn't resonate with them. Try picking up one or two books that the agent has represented and read them. Check out the style and see if it is something that you like. You need an agent to like your work, but you also need to like the agent's work.
Know your audience. While using some larger vocabulary is good, make sure that your readers don't get lost in needing a dictionary by their side. YA literature can still be smart, sophisticated, while being fast-paced and smooth. Take the novel Bunnicula, for example. The language isn't dumbed down, but it certainly only uses enough words to make you learn, not to make you read the dictionary in tandem with the book.
How is your pacing? Finally, once all of that is done, you should step back and look at the pacing of your novel. Do you have parts where it is just explanation? Just dialogue? Just action? Is there any way to mix them into the same scene so that you don't have blocks of explanation? Does your evil-doer go on a two-page long tirade? Yes, a two-page long monologue is probably a little too long, especially if you are writing for YA.
Should you reflect on your writing every time you receive a rejection? It's not a bad idea to read it over and make minor changes. Your writing is only going to get better over time, especially if you can be your own worst critic. And if you get advice and suggestions from people, don't take it personally, but take it to heart. They are only trying to help - no matter how critical they are. Continue to work on it, no matter how many rejections you receive.
I've seen so many people decide to quit writing just because they aren't getting noticed. Do I even need to mention how poor some famous artists were? Do we need to discuss the poverty of painters, writers, and true artists over the years? No, I don't think we do. Just because you aren't getting sold doesn't mean you aren't good. It just means it wasn't good timing or the right style. And if you think you are good enough, grab some beta readers, hire a good cover artist, get an editor, and self-publish.
But never, ever give up.
Rejection doesn't necessarily mean that my stories are bad - it doesn't mean that about anyone's writing. Rejection does mean that you should take a harder look at your story.
Is your introduction gripping? Absolutely gripping? Do you pick up the book and suddenly need to turn the page to figure out what happens next? If not - what have other books done to catch your attention?
I'll never forget the opening the The Outsiders, where there was an intense excerpt at the beginning of the book. That excerpt, taken out of context, sucked me completely in. I needed to read about him walking out of the dark light of the movie theatres, because I had to know what happened next - I needed to know what made Ponyboy get to that point in the novel.
Is your grammar correct? Some people will see the typos there/their/they're and immediately get turned off. Here's the thing: It matters. If you don't have great grammar or spelling, no problem - ask one of your friends to help out! Surely there is someone you know that won't mind beta reading your books. Heck, I can beta read if we trade beta reading!
What is your style like? Look at the writing your desired agent represents. Are they completely left-field whereas your style is right-field? They probably won't represent someone that doesn't resonate with them. Try picking up one or two books that the agent has represented and read them. Check out the style and see if it is something that you like. You need an agent to like your work, but you also need to like the agent's work.
Know your audience. While using some larger vocabulary is good, make sure that your readers don't get lost in needing a dictionary by their side. YA literature can still be smart, sophisticated, while being fast-paced and smooth. Take the novel Bunnicula, for example. The language isn't dumbed down, but it certainly only uses enough words to make you learn, not to make you read the dictionary in tandem with the book.
How is your pacing? Finally, once all of that is done, you should step back and look at the pacing of your novel. Do you have parts where it is just explanation? Just dialogue? Just action? Is there any way to mix them into the same scene so that you don't have blocks of explanation? Does your evil-doer go on a two-page long tirade? Yes, a two-page long monologue is probably a little too long, especially if you are writing for YA.
Should you reflect on your writing every time you receive a rejection? It's not a bad idea to read it over and make minor changes. Your writing is only going to get better over time, especially if you can be your own worst critic. And if you get advice and suggestions from people, don't take it personally, but take it to heart. They are only trying to help - no matter how critical they are. Continue to work on it, no matter how many rejections you receive.
I've seen so many people decide to quit writing just because they aren't getting noticed. Do I even need to mention how poor some famous artists were? Do we need to discuss the poverty of painters, writers, and true artists over the years? No, I don't think we do. Just because you aren't getting sold doesn't mean you aren't good. It just means it wasn't good timing or the right style. And if you think you are good enough, grab some beta readers, hire a good cover artist, get an editor, and self-publish.
But never, ever give up.
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