Tag Archives: writing

Memories and Milestones

By Pamela Nowak

Memories are precious things. I’ve known that for most of my life but was struck anew at just how priceless they are when helping pack up my mom’s household items as she moved to a much smaller residence last month. We came across box after box of old photos, school projects, handmade cards, and baby items. As we went through them, the past came flooding back, bringing smiles and tears.

Our writing20141014_151926 life, too, is filled with memories and milestones.

Several years ago, just after I was offered my first book contract, a fellow writer offered this advice: make a scrapbook—you will want to remember the emotions you felt during this journey.

It made sense because they were really great emotions!

I began packing things away in a plastic tote, deciding to 20141014_152021chronicle the whole journey. I pulled out my files of rejection letters, my contest entries with score sheets and comments, even old critique group comments. I’d saved them all, pat-rack that I am. Here was my chance to put them to use. I added in print-outs from emails…the offer, the negotiation20141014_152218s, the contract. I added congratulatory notes from friends, announcements I’d made on list-serve groups, cards and letters. I included pages from internet sites: my website, blogs I was invited to participate in, review sites. Added in were photos, reviews, news clippings, announcements of signing events, and other remembrances.20141014_152628

Purchasing scrapbooks, I sought background pages to reflect writing, romance, and dreams. I did the same with stickers and 3-D accents. In the end, I created several scrapbook volumes chronicling my writing journey.

Every now and then, I pull them 20141014_152743out and relive the moments of struggle and reward. Like my mom’s boxes, they are full of smiles and tears—exquisite, treasured pieces of the past. They reflect accomplishment and provide a sense of renewed commitment as I step toward the next phases in my journey.

Consider the idea of creating your own scrapbooks. Even if you don’t have a creative bent in that direction, keep the memories together in one spot. It doesn’t need to be anything fancy—just a collection of milestones to reflect upon and set your course for what’s to come.

Pen and Paper? Are You Kidding Me????

By Mark Stevens

I recently sparked a flutter on Twitter.

I mentioned that I write by hand.

Yes, full novels—start to finish.

By hand.

I mentioned this on Twitter and I could hear virtual jaws dropping from coast to coast.

Okay, in reality, I had five or six comments along these lines: “Are you KIDDING ME??????”

I also found a few like-minded souls.

Soon, we had a club forming. Men and women of the Pen & Paper Brigade will only listen to vinyl, take pictures with film and write books by hand.

It’s the only way to go.

First, a notebook is so damn portable. No hunts for electrical outlets in the coffee shops. Trains, planes, automobiles, canoes, rocket ships. Doesn’t matter. Got a place to sit down in the woods? In the park? A mountain cabin off the grid? You’re set.

Second, that sound. I’m addicted. That faint, dull scrape of ink going on a page. It’s visceral. It’s real.

Third, less time staring at a computer screen. Don’t we all need less? And no worries about outdoor reflections, moving around so the sun is just right. When you write by hand, it’s a non-issue. Have you ever headed to the computer and waited ten minutes while updates are installed? Non-factor.

Fourth, the process slows me down. My storytelling head is slow. Fresh copy goes on the right side and then the left is open and available for inserts and new ideas.

Fifth? Well, this is kind of a stupid reason but I dig seeing the notebooks stack up. I shoot for 500 words a day. That’s it, that’s all. I try to get in five days a week of writing. It never works out exactly. Some weeks fail, others get in a groove. But I recently finished a novel in about 14 months, including uploading the darn thing to a computer. Yes, at some point there is computer involved but then it’s a solid second draft.

Here are my tools.

  1.  College-ruled, 1-subject notebooks with perforated pages, 11 inch by 8 inch. I like 100 sheets per notebook. I’m not super fussy about my notebooks, but you get the idea.
  2.  A uni ball VISION ELITE. (I think the lower-case uni ball is official and I don’t want to be disrespectful so I’m going with it.) I prefer the “bold” tip. I like blue. Black is okay. I’ve tried many other options. Nothing comes close. (Dear uni ball folks: One case may be shipped to my home address in exchange for this endorsement. Email mstevens@ecentral.com for shipping particulars.)

Any downsides? None that I know of, other than trying to decipher that gnarled-up penmanship. Man, that’s some wild stuff.

~~~~~~~~~~~~~~~~~~~~~~~~~

Mark Stevens
Mark Stevens is the monthly programs coordinator for Rocky Mountain Fiction Writers and the author of the Western hunting guide Allison Coil mysteries Antler Dust and Buried by the Roan.
Book three in the series, Trapline, will be published by Midnight Ink in November 2014

TOP TEN LIST: Things Overheard At A Book Release Party

By Kevin Paul Tracy

Caricature of David Letterman

Here is a list of the top ten things overheard at a book release party.

10. “My wife loves your books! Can you sign it to her: Roger Smith?”

9. “Is the author someone famous, or just a writer?”

8. “Yes, the author signed it, we couldn’t stop him. If you can find an unsigned copy, it’s worth an absolute fortune.” (A nod to the movie “Notting Hill”)

7. “I have the best idea for a book…maybe you could write it!”

6. “Wake up, honey, he’s done reading out loud.”

5. “You mean I have to pay for it?”

4. “I’ve written a book, too. It’s a 500 page memoir of my grandfather’s struggles with gout. I happened to bring it with me. Would you mind reading it and telling me what you think of it?”

3. “I always come to these things. You never know what’s going to turn out to be priceless…after the writer is dead.”

2. “I’ve heard of door prizes, but the book’s cover imprinted on a butane lighter? Doesn’t bode well for the book itself.”

And the #1 thing overheard at a book signing party:

1. “Is this the line for the restroom?”


Check out Kevin’s latest releases, the wonderfully entertaining espionage thriller, “Rogue Agenda” and a startling and engrossing gothic thriller “Bloodflow.”

Follow Kevin at:
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Guest Post from A Beer for the Shower: The Ten Commandments of Writerly Collaboration

By A Beer for the Shower

Hi folks. We’re Brandon and Bryan. We co-write a lot of things together. Sometimes it’s web-comics. Sometimes it’s novels. And sometimes it’s a product dissatisfaction email for that Pineapple Slicer-N-Dicer 3000 that only succeeded in coring a left arm down to the elbow nub.

But whatever the writing project may be, we often work on it together. No, it’s not because we’re co-dependent man-children; that’s just a coincidence. It’s because we find that collaboration in writing has helped all aspects of our lives, and as self-proclaimed experts who’ve been doing this for longer than some folks have been married, we’ve got plenty of insights on this topic. And so we proudly present to you: The Ten Commandments of Writerly Collaboration.

I. Thou Shall Not Butter Thy Partner’s Biscuits – Wow, that sounds dirty. Well, don’t do that either. But what we really mean is not to be a suck up. If all you do is nod and say “this is great” when it’s really not, without giving any form of constructive criticism, then you’re not helping yourself or your writing partner. Collaboration is all about honesty. You have to be able to tell your partner the truth – even if it’s not always what they want to hear. After all, bad writing doesn’t just make your partner look bad, it makes you look bad, too.

II. Thou Shall Not Take the Name of Thy Work in Vain - Well, not more than one or two dozen times a day. Any more than that and it’s pretty clear you should have chosen a better topic/genre/storyline to begin with. Don’t start having buyer’s remorse when you’re 80K words into your intergalactic space opera. Pick something you’re going to love until the bitter end and stick with it. Inconsistency is the killer of collaboration. Which leads us to our next Commandment…

III. Thou Shall Remember the Brainstorming Day, and Keep it Holy – Once a week we get together to work on new story ideas. Some people might call those meetings “the creative process,” but we like to think of them as “a mildly legitimate excuse for midday drinking.” Coming up with ideas is the most fun part of the collaborative gig, so don’t cut yourself short and really spend some time using your double brainpower to not just pick out an awesome story to tell, but to continue working on it as a team.

IV. Thou Shall Not Bear False Copyright Against Thy Writing Partner – This one’s pretty easy. Sometimes in a collaborative project things just don’t work out. Some people just aren’t meant to work together. Don’t be a dick. Don’t go on and finish the project without your partner’s explicit consent. Unless you scrub out all of their writing and do it all over again… In which case, you’re still a dick.

V. Thou Shall Not Covet Thy Neighbor’s Prose – As you’ve probably already guessed, consistency is key in forming a collaborative voice. Instead of trying to mimic one another’s already established “voice,” sit down and create the theoretical style of prose you both want a specific project to have before you start writing. And if possible, try to compromise on something that’s common ground between your writing style and your writing partner’s.

VI. Thou Shall Not Restrict Collaboration Just To Writing Novels – One of the big things we always hear is, “Well, why do I need to collaborate? I write novels on my own just fine.” But collaboration is good for more than just passing off half your work to a warm body. It’s a great way to familiarize yourself with someone’s writing style (and vice versa) so that you have the ultimate critique partner. Or maybe it’s just a way to write a few short stories together and get yourself familiar with someone else’s writing process. Collaboration isn’t just about output, it’s also about learning.

VII. Thou Shall Not Kill… The Written Word – Come on, when you’ve got two brains instead of one, there’s no excuse for pumping out some awful fad novel just for the sake of an easy sell. Put some real brainpower into your collaborative idea and make that sucker as clever and well-written as possible. Well, unless that easy, brainless sell makes you both millionaires.

VIII. Thou Shall Honor Thy Father And Thy Mother… And Thy Writing Partner – In other words, if you feel stuck or you get suddenly busy (as things happen), just keep your writing partner in the loop. Don’t blow them off and hope they won’t notice those last 10 text messages they sent are all un-replied to but each have a status of ‘Message Read.’ Just tell them it might take a little more time. Or, one of our favorite tricks is to tell the other person, “I’m a little bit stuck on this part. You mind taking over for now?” It’s a great way to shirk responsibility temporarily but in the most thoughtful way possible (no, really).

IX. Thou Shall Not Murder Thy Writing Partner – No, seriously guys. You will go to prison. And you’re too pretty for prison. Trust us. But in all seriousness, collaboration can be pretty damn stressful. Which is why you’ve got to find the right person: one that you can work well with. It’s a trial-and-error process, unfortunately. There’s no way around that. And both of us have plenty of horror stories from our sideshow selection of failed collaborations past.

X. Thou Shall Get Jiggy Wid It – We just really wanted to say that statement as a Commandment. But kidding aside, the last, and possibly most important Commandment of all just means to have fun. If you’re not having fun, it will show in the writing. And while some see collaboration as a stressful stranglehold over who gets to butcher what, it’s important to see it for what it really is – a thrilling opportunity to explore a new story from two perspectives.

So even if you don’t aspire to be the next Stephen King and Peter Straub or the next J and K Rowling, we think it’s worth it for every writer to collaborate at least once. Not just because it’s a rich experience that allows you to see something you love through the eyes of another, but because if you should fail, you can at least say, “Hey, it was his fault, too.”

Brandon and Bryan are a pair of fraternal, non-related twin brothers who draw and write politically incorrect things on the popular web comic/blog A Beer for the Shower. Their published works include the novella collection The Graveyard Shift, and the novels Dead and Moaning in Las Vegas, The Missing Link, and The Sensationally Absurd Life and Times of Slim Dyson, all of which have great reviews from people that are not their mothers. Brandon’s solo novels include Lovely Death, and Chasing the Sandman. Bryan’s most recent solo novel is Demetri and the Banana Flavored Rocketship. Maybe some day they will grow up and get real jobs, but until then, you can find them over at www.abeerfortheshower.com doodling, writing, and generally not taking anything all that seriously.

Our solo Amazon pages are:
http://www.amazon.com/Brandon-Meyers/e/B009KXWSEO/ref=dp_byline_cont_book_2

and here:
http://www.amazon.com/Bryan-Pedas/e/B00A71IYS2/ref=dp_byline_cont_book_1

How to Grow a Novel

By Barbara Graham

Graham_MurderBySunlightProbably because I’m in the midst of trying to get my garden to produce something other than really healthy weeds, and my next book is in the formative stage, the comparison between gardening and writing a novel seemed ideal.

After all, they both start with high hopes and big plans. Each beginning I think—this will be the garden/book that won’t have “issues” like weeds, blight or repetitive phrases. The characters will be fascinating and the tomatoes won’t have blossom end rot.

Before beginning such a fabulous project, there is some studying involved. I peruse the seed catalogs and gather ideas for the best vegetables for the sunny end of the garden. Can they grow in our short season? For the book, what will the story line be and because I write mysteries, who should I kill this time? The first book in my mystery series, Murder by Serpents: The Mystery Quilt was inspired by a headline in the newspaper. It simply read, “man found dead in car.” No snakes, no other tie to the storyline. I began playing with the scenario. Why would a man be dead in his car? Any number reasons. You pick one of your own and write that book.

So, we plant a seed and soon there is a sprout. The seedlings go into the garden on the recommended date but I like to cover the tender sprouts. I often use plastic milk bottles without lids and the bottoms cut out. They form individual greenhouses. Also too tender for early exposure, ideas and characters being developed now should avoid the early critique situations. Let them get some roots and a good strong stem before hearing from the critics. Something fabulous could wither and die from early exposure to the world.

Pull the weeds and throw on some fertilizer. Add more words, maybe create a world with murderous garden gnomes. This is the waiting game. Slog through the pages adding on. Fix the dialogue. Protect it from outside intruders like deer stomping the tender leaves with their sharp hooves, making a mess, it is your world to save.

The garden is planted, out of human control, except for watering and constant weeding. Heavens, some weeds are taller than the desired plants. Every first draft of the next book, I find myself wondering “who wrote this mess?” Is that a weed or something worth keeping? Sometimes in the early stages, they look the same. There is much work to be done. Peering at the vegetation, you see emerging baby carrot tops. They look like fine parsley but sharing the same spot is some nasty broadleaf weed. The weed must be carefully extricated without killing the carrot. It is the garden equivalent of excising the wrong word in a sentence, a writers’ weed destroying the intended meaning.

Is anything worth keeping? Yes. Throw some more fertilizer in there, use better words. Plants and story are both improving at last. The plot has only a couple of small holes now, easily mended, and your hero is worthy of the name. There are small, dark green tomatoes on a plant. Green peppers on another. The potatoes plants are tall and covered with small purple flowers. There are jewels in the dirt.

One more rewrite. A walk through the garden again. The ripening tomatoes are even more gorgeous than expected. Maybe you should enter them in the county fair. Let the judges see what a real tomato smells like. As for the novel, a few more rewrites, queries and maybe a contract, all yours for the picking.

~~~~~~~~~~~~~~~~~~~~~~~~~

Barbara Graham began making up stories in the third grade instead of learning to multiply and divide. A native Texan, she later lived in Denver, New Orleans and East Tennessee. Inspiration for Silersville (home of her imaginary friends) comes from her Tennessee period. An unrepentant quilting addict, she lives in Wyoming with her long suffering husband and the spoiled dog. Her motto is “Every book needs a dead body and every bed needs a quilt.”

Her most recent book, Murder by Sunlight: The Charity Quilt is book five in her Quilted Mystery series featuring Tennessee Sheriff Tony Abernathy and his quiltmaker wife, Theo. Visit Barbara at her website.

Barbara is giving away one copy of Murder by Sunlight: The Charity Quilt to a lucky U.S. or Canada reader who leaves a comment on this post by midnight Mountain Time Friday, September 12. The winner will be selected using random.org and the name posted here on Saturday.

Write Only the Interesting Parts

By Kevin Paul Tracy

There is a joke which has been apocryphally attributed to various famous sculptors:

Bird Sculpture

HOW TO SCULPT A BIRD: Chisel away all the parts that do not look like a bird.

    As a joke this is worth a chuckle. As a fundamental truth about sculpting it leaves something to be desired. For example, I would submit that a sculpture of a bird, alone, is interesting only insofar as I am curious about the physiognomy, the outward appearance, of a bird. But what if I want to know more: Where does he live? On what does he feed? What are his interests, his passions, his pursuits? A sculpture of a bird alone does not tell me any of this, and is therefore of only passing interest to me.

There are those who will tell you, in regards to writing, to chisel away all those parts of your story that do not directly relate to your plot. Like most such rigid axioms about writing you are going to have to develop an instinct for when to break it before you become fully ready to publish. A novel about its plot and nothing but its plot is a very stiff, mechanical, utilitarian thing and while perhaps entertaining to read, isn’t very enriching or memorable.

If I were to rewrite the joke above to pertain to writing, I would put it:

HOW TO WRITE A NOVEL: Think of a story, then write down only the interesting parts.

Rather less like a joke, still it says what I want to say. Sometimes, some of the most interesting parts of a story do not necessarily relate directly to its plot. For example, in Jurassic Park, one of the most fascinating parts of the story is how Dr. Grant, a man with no experience of and no real interest in children, is forced to not only interact with, but to protect and even to comfort two young children during the course of the story’s events. Some refer to these as subplots, so be it. These are the things that enrich a story and make it memorable.

Go ahead, don’t be shy, say it: “But some of the most interesting things about my plot happen off-stage, out of sight or knowledge of the protagonist. How can I relate these parts of the story without violating the “One-and-Only-One-POV” rule?” The rule that says you must only portray the point of view of a single character in your novel, period. The answer is simple: violate the single-POV rule! But learn how to do it well and to good effect. For example, “head-hopping” is jumping from one character’s POV to another in a single scene. To a large extent this is not a good time to break the rule. One POV per scene still, by and large, holds true, though I have read some rather effective tales in which a scene is told more than once, each time from a different character’s POV. Still, as a rule, only shift from one POV to the next between scenes, or at least between narrative breaks.

Also, even if you shift from one POV to the next between scenes, still try to keep the number of POV’s in a single novel to a close few. We don’t need to know what every character thinks about every situation. Remember, we are writing only the most interesting parts of our story, and we are only shifting POV to provide a means to do so. Anything else is chiseled away.

Next, remember that subplots are like any other plot, they need to go through the same stages: the inciting incident, the complicating factors, the black moment, and the denouement. Even though a subplot is, by definition, less critical than the main plot, if it is left unresolved by the end of your novel it is a loose end, and bad form. So be sure to bring your subplots along on a pace with the main plot and resolve them at some point prior to the resolution of the main plot.

Remember, all of this is in service to writing only the most interesting parts of your story. If at any point you find yourself bored with what you’re writing, it’s a good bet your readers will be bored as well. Chisel it away!


Check out Kevin’s latest releases, the wonderfully entertaining espionage thriller, “Rogue Agenda” and a startling and engrossing gothic thriller “Bloodflow.”

Follow Kevin at:
  Kevin's Amazon Kevin's Blog

Crush the Crutches

By Mark Stevens

Do you have “crutch” words?

Words you inject into your prose without thinking?

I mean, they are such great freaking words that you when you ask a reader to plow through your latest incredible best-selling novel, she comes back and says:

“Well, not bad. But did you know you used the word ethereal 187 times?”

Or (fill in the blank for your go-to word)?

Me?

Guilty as charged. I’ve got a few. They change from one piece of writing to the next.

They are words my inner brain fell in love with, most likely, decades ago.

I pull them out of the dust-covered brain cells that are my word filing system and I drop into the prose without really thinking.

(Question: Why can’t my ability-to-edit brain see the heavy repetition of my crutch words? When I read manuscripts by other writers, their crutch words jump out at me like something from Sharknado. “Did you mean to use the color ‘salmon’ on page four and page 196?”)

Which brings me to Visual Thesaurus. (http://www.visualthesaurus.com/)

Stevens_Visual ThesaurusIf you are looking, occasionally, for that little spark to kick a sentence or a paragraph in the butt—a way to give your writing voice a little inspiration—check it out.

It’s a word lover’s daily jolt of caffeine.

First, take your crutch word and enter it in the search engine. VT will give you a visual rendering of the universe in which your word lives—all its relatives, close and distant.

If you want to tweak your favorite plum word in one direction, you click on that word within the sphere (Do mean “hot” as blistering or “hot” as spicy?) Suddenly, you are charging down another path looking for the right word.

Plus, VT has daily columns about word derivations and interesting takes on word usage. A recent column looked at “anxious” versus “eager.” Knowing the difference is the kind of distinction that might give your prose more accuracy.

If you subscribe ($25 per year), you get a daily ‘word of the day’ in your email and lots of nifty/nerdy info to go with it.

As I write this, today’s word is ‘theurgy.’ (“Magic performed with the help of one—or more.”) Recent words were cheroot, caliphate and hypernym. As Visual Thesaurus says: Dog, for example, is a hypernym for dachshund, Chihuahua, and poodle. Some folks call ‘em generic terms or superordinates.

In fact, Visual Thesaurus will help you avoid hypernyms (and your damn crutches) and be as precise and fresh as possible.

Every day.

~~~~~~~~~~~~~~~~~~~~~~~~~

Mark Stevens
Mark Stevens is the monthly programs coordinator for Rocky Mountain Fiction Writers and the author of the Western hunting guide Allison Coil mysteries Antler Dust and Buried by the Roan.
Book three in the series, Trapline, will be published by Midnight Ink in November 2014

Series or Standalone or The Problems of Estimating When You Don’t Outline

By Carol Berg

Carol Berg PhotoIn my published writing career, I’ve started six projects. Three of them, I intended to be standalone novels. Only one of those three stayed that way. One project I sold as a three book series and it turned out to be four. Clearly I’m not great at estimating.

My problem is that I am an organic story developer. I hate the word pantser, because to me that implies the writer doesn’t know where he or she is going. I always know where I need to start, and I always know where I’m going. My problem is, I don’t always know how many events or scenes or words it’s going to take me to get there. Nope, I don’t outline individual books or a series as a whole. I generate events and scenes as I write, because, for me, story ideas blossom as I get to know my characters and see what kind of challenges and personal interactions will drive them toward the climactic events that I want to happen.

Berg_ThreeCoversOne example: My novel Transformation was intended and sold as a standalone. I brought it to a very satisfactory ending. A true completion of the story is very important to me. Only, just about the time I sent the book off to my editor, I realized something critical about my demonic villains. The story I had told was only a piece of a much larger story arc that dealt with the identity of those demons and how that related to the identity of my hero’s people, their religion, and their single-minded pursuit of a war that took place in the physical landscape of human souls. That realization delighted me, but it also generated two additional novels that became the Books of the Rai-kirah. The single fantasy story became epic.

Three of my five “not-standalone” projects are this same kind of series. In these three series, the individual novels are separated by as little as a single day, or as many as four years. Each volume is a complete story in itself, but also a piece of a larger, continuing (epic!) story arc involving the same core of characters. Sometimes the books will have the same point of view character (like the Rai-kirah books) sometimes different ones (like the novels of the Collegia Magica).

I envisioned my Bridge of D’Arnath series as three books – and proposed and sold them on a three-page synopsis. The story centered around a disgraced noblewoman, a sorcerer/warrior who happened to have a displaced soul in his body, and the search for a kidnapped child – a child who had been brought up to believe he was evil. The third book ended when the boy was sixteen. But once I got there, the ending wasn’t right. Having sons myself, I knew that no kid, especially one who had undergone the traumatic childhood of this one, was “finished” at age sixteen. That’s where book four came from – Daughter of Ancients (NAL/Roc 2005) my first Colorado Book Award finalist. Oops!

Another project I mis-estimated was the novel Flesh and Spirit. I sold it as a standalone. But I also sold it on the basis of a single paragraph . When I was about halfway through writing it, I realized that there was no way this story would fit inside one book. I had to go back to my publisher and say, “You know this book I’m writing? It’s really two.” That is not a happy thing to say to a publisher. Fortunately, they liked it well enough to buy the second book! This became the Lighthouse Duet, a slightly different kind of epic series because it is really one big story split into two volumes. The resolution at the end of the first volume is really more of a turning point. Hey, I’m in good company. Lord of the Rings is really one big story split into three volumes, right?

Berg_DustandLightMy new series, the Sanctuary Duet is a parallel series to the Lighthouse books. I had the idea for Dust and Light (released just this month from NAL/ROC Books!) and wrote it up. Uh-oh, a paragraph! But I also wrote the first six chapters before I sent off the proposal. And this time, I told them it was going to be two books, even though I wasn’t sure the story was big enough. . . Indeed, when I reached the resolution mark of Dust and Light, there was an overarching mystery that had not yet been solved, and so I clobbered poor Lucian de Remini on the head and sailed into Book 2, Ash and Silver (NAL/Roc, August 2015). But I haven’t finished Ash and Silver yet, and there sure are lots of threads to resolve. Stay tuned…

~~~~~~~~~~~~~~~~~~~~~~~~~

Carol Berg never expected to become an award-winning author. She chose to major in math at Rice University and computer science at the University of Colorado so she wouldn’t have to write papers, and ended up in a software engineering career. Now her fourteen epic fantasy novels have won national and international awards, including multiple Colorado Book Awards and the Mythopoeic Fantasy Award for Adult Literature. A starred review from Publishers Weekly uses words like captivating, impressive, and perceptive about her newest novel, Dust and Light. Learn more at http://www.carolberg.com

Oh, That Nasty Practice

As I pondered topics for today’s blog, my mind skipped past several ideas and latched on to a practice that seems to come very naturally to me: procrastination.

Ah, I see some nods of agreement out there. We all know this skill is one many writers have honed well. Deep down, we know there are a host of reasons for letting other tasks run roughshod over our writing.

Writing is difficult. When the Muse is with us, we can spend hours at the keyboard without being aware of the passage of time. But, much more often, we write and rewrite and rewrite again in futile attempts to keep the flow going and get the words just right. The funny thing is, the more we procrastinate, the harder it is. The routine of writing everyday actually makes the words flow easier. Once we get out of the habit, we defeat ourselves.

Many of us have sub-conscious fears. Fear of failure and fear of success seem to haunt a large percentage of writers. We are afraid what we write won’t be good enough, won’t satisfy our readers, won’t be accepted by our publishers. And if it is good enough, how will we maintain that level? We will have new expectations to meet, additional tasks, marketing.

Excuses abound. Family members need attention. The house needs cleaning. Other commitments can’t be ignored. We need to exercise. Groceries haven’t been purchased for a week. Noise is bothersome. The dog needs to be walked. A jigsaw puzzles calls for our focus. Email and social media and computer games clamor for priority. Our favorite TV program beckons. Our day jobs tire us out.

I think I have personally used every one of those excuses.

Now, I’m not saying we can’t prioritize and I refuse to say that “if you truly want to be a writer, you must make writing a priority.” I think those are personal decisions based on our personal situations. There was a time in my life when my family HAD to be my priority and the day job had to be built into the schedule. That didn’t lessen my desire to be a writer–it simply meant that I needed to adjust my goals and my routine to fit my life.

What I am saying is that “if you want to be a writer, you must learn to avoid procrastination like the plague.”

Wow.

I have the time, I have the space, I have a supportive man who takes routine tasks off of my shoulders. So why am I not writing every single day?

My personal excuse is “other commitments.” I find it difficult to say no and tend to over-extend myself in volunteering for committees and boards. It isn’t that I’m looking for other things to do. I care about the organizations I belong to and want to contribute my skills. There’s nothing wrong with that. The problem is that I have taken on so much that I had to shift those tasks into my writing time in order to honor them and now I’m in a negative habit of NOT writing.

I knew saying yes to those tasks would rob me of writing time but I still did so and I recognize it was in direct response to being asked to alter my story visions in order to satisfy mass market publishers who were nibbling at my manuscript as well as an attempt to rush an unfinished manuscript that just wasn’t flowing right. Once I realized that, I adjusted my publication goals and now have a new offer from Five Star Fiction. Two manuscripts await attention.

But I still have those multiple lingering volunteer jobs to finish up. Thankfully, many of them now almost completed—enough so that this morning, I made a commitment.

I will return to a DAILY writing ritual. Because I have upcoming travel that will disrupt routine, I will start this in September. I will use the upcoming RMFW Colorado Gold Conference to re-energize me and jumpstart this practice. I will not volunteer in multiple roles for multiple organizations and those volunteer tasks that I have yet to finish or agree to take on in the future will be regimented to a specified time slot each day—after my writing.

Anyone want to join me?

Ooooh, shiny! The Next Project Syndrome

By Robin D. Owens

There you are, drudging through your current project, convinced it is cat crap and an idea wiggles in. A beautiful, sparkling, WONDERFUL idea. Something so alluring, that will be so much more fun to write than the current story (especially if the current story has been bought and you’ve taken money for it and it is now late).

Oooh. Yes. There’s the hero, you get HIM. Different characteristics than the guy giving you fits right now.

There’s the hint of the plot, SO much more exciting than the murder you’ve gotten bogged down in, or the details you need to research of the cathedral you’re building, or the heroine who needs to be trained in knife fighting…

SO much easier to write on a story that shines with promise rather than dig into the guts of the work you have now, the one that was once shiny but currently is hard to write, a job, work.

Because all ideas become hard to write. Nothing stays shiny. But that initial POP of an idea, the brainstorming of some bits of the people or the plot, wow, that’s FUN.

Before I was published, I could be lured away. I must have six or seven manuscripts started that never made it more than 100 pages or so before something else caught my attention.

Now, with the selling of my stories, my work, I have to be more disciplined. Yes, the ideas come…it’s particularly bad if they come in a series I think I can sell….whispering their sweetness. But, for me, I must resist.

So this is what I do. I live only with cats which means I can wake up in the middle of the night and dictate wonderful (or stupid) ideas, so I keep my itouch handy. The voice memo button is on the toolbar so it stays available whether I was playing spider solitaire or looking at Word of the Day when I turned off my device. I can find the memo app with my thumb in the dark, if necessary. I can burble about the new and shiny idea. Then I can save it for a more appropriate time (i.e. when the present manuscript is finished).

If the story continues to hang around while I’m studying knife fighting or building a cathedral, or figuring out when my hero is going to say “I love you,” I might hit the computer and write down additional notes or prompts for it. The heroine is an adventuress. The hero is a gentle giant. He is an introvert [long notes about the story formerly here CUT].

When the previous manuscript is finished and I have a little time, I can rub my hands and delve into the New! Fun! Improved-Technique-Trust-Me-Baby! Shiny idea. And it stays fun for a while, depending on the publishing schedule, real life, and before I take the first chapter to critique group. :) Maybe even after that. Until I hit a snag, or need to deepen the character or realize that the plot does not work.

Then the mind wanders and . . . You understand? Sure, you know this cycle as well as I do.

Well, that’s what I do when the next sparkling concept hits my brain. I’m not sure what you might do, but this works for me so it might help you.

What is lovely is that it’s good to realize that you aren’t alone in this fascinating endeavor. That there are other people on this journey whose eyes WON’T glaze over when you talk to them about writing.

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