How To Write A Short Story

A beginning writer recently asked for advice on how to write a short story. My answer to her query was far too long for her post but I thought, well (silver lining) it's just the right length for a blog post!

The Question: Any comments, suggestions, tips or tricks for a beginning writer on how to write a short story?

If I could go back in time to when I first grappled with this question, here's what I would tell myself:

Before you start writing, have a good idea of the following:

Protagonist

- Who is your protagonist? Male? Female? A CEO? A Barista? Is she confident and capable or cringing and awkward?

- What does your protagonist want? What is his goal? Every protagonist should want something, need something, desperately.

- Your protagonist doesn't have to be nice, but she does have to be interesting. Your reader needs to be able to identify with her.

- It sometimes helps if you give your protagonist a quirk (a fear of snakes or an affinity for round numbers, and so on).

- Make your protagonist exceptionally good at something. It can be something relatively trivial like being able to tie the stem of a cheery in a knot with his tongue.

Antagonist

- Who is your antagonist? He will probably be a lot like the protagonist (every villain is the hero of his own story). 

- Make them a person. In the beginning I think it helps to make the antagonist a person rather than a tornado or the creeping evils of old age. I'm a person so it's easier for me to write about people. I just put myself in that characters shoes and change a few things.

- Make them strong. IMHO one of the easiest things to do in the beginning is not to have enough conflict. Interesting conflict requires a strong antagonist. Try-fail cycles are your friend. The hero has to fail a lot. This is easier and more believable if your villain is strong/powerful/wonderfully menacing. (Dan Wells mentions that one of the reasons Inigo Montoya killing Count Tyrone Rugen was one of the best scenes in the movie was that he tried 10 times to do it and failed.)

The Stakes

- Spell out the stakes--what will happen to the protagonist if she fails, what will happen if she wins.

Know The Ending

- Know how the story is going to end. If you know how the story is going to end then you can figure out the stakes.

Short Story Structure

In a short story the structure can be simplified. Sometimes it's just 

- The beginning. This is the setup. It's where you'll introduce the characters, the setting, the heroes goal, the antagonist (generally: whatever it is that is preventing the hero/protagonist reaching their goal.)

- The middle. The hero tries to achieve his goal three times. The first two times the antagonist successfully blocks him/her but on the third try, because of what the hero has learnt, because of who he/she is, the protagonist succeeds. (Or perhaps they fail, that's up to you.)

- The end. Show the aftermath (we see the result of the hero either obtaining or failing to obtain his/her goal).

As I said, this is the advice I would give to myself if I could go back in time. Everyone's different. That's why it's important to write (a lot!) and find out what works for you. If something strikes you as true/helpful/useful in the above, take it, use it. If you disagree with any of it, ignore it. There's no one way of writing (thankfully!).

Photo credit: "IMG_5186" by Savara under Creative Commons Attribution License.

A Writer's Voice: What It Is And How To Develop Yours

A few days ago Elizabeth Craig--a writer I admire not only for her prose but also for her writing on writing--posted an article, Telling a Story in Our Own Voice, about how to develop your voice. That's what I'd like to talk about today.

First of all, what the heck is a writer's voice? What do we mean when we use that term?

What is a writer's voice?

One of the best, and most profane, discussions of a writer's voice comes from Chuck Wendig's blog, Terribleminds (adult language -->): 25 Things Writers Should Know About Finding Their Voice. Interestingly, Chuck Wendig's writing is a wonderful demonstration of voice in action.

No one writes like Chuck Wendig.

Why? He has a unique voice. I know that "unique" doesn't admit of qualification--something is unique or it isn't--but I really want to say that Chuck is amazingly, extravagantly, unique. And that's part of his voice, part of his (if I may put it like this) identity as a writer.

Once someone tried to fake a blurb from Chuck Wendig. It didn't go over. Anyone who read Chuck Wendig could tell he hadn't written it. Why? It didn't have his voice. Similarly, that's how Stephen King was identified with Richard Bachman. They had the same voice and a writer's voice is unique.

This is how Chuck Wendig puts it in his blog post 25 Things:

"A writer’s voice is an incomprehensible and largely indefinable combo-pack of — well, of just about anything. Style, dialogue, tropes, themes, genres, sub-genres, ideas, characters, stereotypes, archetypes, word choice, grammatical violations, and so forth. Anybody who tells you that David Foster Wallace’s voice does not include his obsession with footnotes should be shoved into a cannon and fired into the mouth of a great white shark. Voice is not one thing. It is, in fact, the summation of a writer."

How Does A Writer Find Her Voice?

I know I've been talking a lot about Chuck Wendig, but I want to share one last thing from him since he gives one of the best pieces of advice on how to find one's voice I've read:

“Every author decides to go on a grand adventure one day, and that grand adventure is to find her voice. She leaves the comfort of her own wordsmithy and she traipses through many fictional worlds written by many writers and along the way she pokes through their writings to see if her voice is in there somewhere. She takes what she reads and she mimics their voices, taking little pieces of other authors with her in her mind and on the page.

Is her voice cynical? Optimistic? Short and curt, or long and breezy? She doesn’t know and so she reads and she writes and she lives life in an effort to find out.

This adventure takes as long as it takes, but one day the author tires of it and she comes home, empty-handed, still uncertain what her voice looks like or sounds like.

And there, at home, she discovers her voice is waiting. In fact, it’s been there all along.

Your voice is how you write when you’re not trying to find your voice. Your voice is the way you write, the way you talk. Your voice is who you are, what you believe, what themes you knowingly and unknowingly embrace.

Your voice is you. Search for it and you won’t find it. Stop looking and it’ll find you.”

That's from The Grand Adventure To Find Your Voice.

I think, though, that there are some things you can do, writing exercises, that can help one find their voice and that's what I'd like to talk about in this section.

Here are a few things you can do to help develop your voice:

1. Write

Yes, I know, that one is obvious.

Or is it?

Sometimes I think we feel there's no point in writing until we've found our voice; what would be the point? But writing, in the end, and writing a lot, is the only way to find the bloody thing.

I know, it can seem like a catch 22 but it's really not. There are many ways to practice writing, many ways to fill up your one million words.

- Blog
- Write short stories (I love short stories because they give you the thrill, the feel, the high, of finishing a story, of holding it in your sweaty sleep-deprived hands and knowing you did that.)
- Blog
- Write reviews
- Write letters to the editor
- Blog
- Write a book or a novella
- Write guest blogs

You get the idea.

2. Mimic other writers

Sounds crazy, I know. How could mimicking the voice of other writers help you find your own?

But one thing musicians do, when they're learning, is play the songs of other musicians over and over until they get a feel for the song. Or so I'm told.

Here's an exercise:

Day One

a. Pick a book. It should be written by someone whose writing you admire, and it should be one you've already read.

b. From the book you've chosen, select a scene. It should be a scene you thought was especially well written, a scene that made your heart twinge and you to think: I want to write like that. If it's a long scene, just select two or three pages from it.

c. Write out those two or three pages. If you normally write your first draft longhand, then write this out longhand, if you normally type your first draft, then type the pages.

Note: This is only for your edification so don't worry about copying out the pages. You can cross them out or delete them when you're finished. The important thing is the act of writing them out. As I wrote in another article (3 Steps To Better Prose), copying out the words gives you a feel for the writer's timing, their rhythm.

d. Write a few paragraphs that mimic the style of the writing you've just copied. For example, if the scene you wrote out was a love scene then write a love scene. If the scene took place on a boat crossing the Atlantic Ocean then yours should too. The idea is to write the scene again, mimicking the authors style.

Day Two

e. The next day, select another scene from the book you chose and repeat steps (b), (c) and (d), above.

Day Three

f. The next day, select another scene from the book you chose and repeat steps (b), (c) and (d), above. (No, this isn't a stutter.)

Day Four

g. Pick a new book and repeat the process from (a), above.

Repeat the above for about three months and you will have not only gone a step further in finding your own voice but you will have improved your prose in the process!

3. Use an exemplar

Elizabeth Spann Craig writes:

"One tip that I found:  once you’ve written a passage of your book in the voice you’re shooting for, print that portion out and keep it near you.  When you feel you’re sounding stilted again, reread the passage that you wrote. It can help to reorient you. (Telling a Story in Our Own Voice)"

4. Study your past work

In her article, Telling a Story in Our Own Voice, Elizabeth Craig gave links to other (truly wonderful) articles on finding your voice, one of which is Janice Hardy's post Can You Hear Me Now? Developing Your Voice.

Janice Hardy writes:

"If you're uncertain about your own voice, try studying your work, past and present. Look for common elements, pieces that feel like you, things you like about how you put together words. Study your word choice, how you arrange paragraphs, how you control pacing and flow. Find the parts that are you, and then develop those aspects."

By the way, both Janice Hardy (@janice_hardy) and Elizabeth Craig (@elizabethscraig) have wonderful twitter feeds. They regularly tweet links to helpful writing resources.

I'd like to leave you with two pieces of advice from Janice Hardy (this is still from her article, Can You Hear Me Now?):

Don't edit your voice out
We do terrible things to sentences to make them "correct." Writing isn't about grammatically correct sentences or having every period in exactly the same place. Sentence fragments, not using whom vs who properly, bad grammar -- all of these things bring our work to life. While you can't ignore the rules all the time, breaking them to achieve an effect is acceptable.

Don't edit out the terms you naturally use
Regions have a voice all their own. If I say someone has a Southern accent, you know what I mean. They're from New Jersey? You hear it. If you have ways of saying things and those ways fit with your characters, use them.  

That's all for now, good writing!

Photo credit: "..." by seyed mostafa zamani under Creative Commons Attribution 2.0.

Writing Advice From Joyce Carol Oats & Stephen King

I love reading writing advice from authors I admire, authors like Joyce Carol Oates, professionals who have been writing for years and who kindly share their hard won wisdom with the rest of us.

For those of you who are a bit foggy on who Joyce Carol Oates is, here is a brief bio courtesy of Wikipedia:

Joyce Carol Oates (born June 16, 1938) is an American author. Oates published her first book in 1963 and has since published over forty novels, as well as a number of plays and novellas, and many volumes of short stories, poetry, and nonfiction. She has won many awards for her writing, including the National Book Award, for her novel them (1969), two O. Henry Awards, and the National Humanities Medal. Her novels Black Water (1992), What I Lived For (1994), and Blonde (2000) were nominated for the Pulitzer Prize.

The following quotations are from: 10 Tips on Writing from Joyce Carol Oates. Ms. Oates recently tweeted the following writing advice.

"The first sentence can be written only after the last sentence has been written. FIRST DRAFTS ARE HELL. FINAL DRAFTS, PARADISE."

What do you think? Personally I love writing first drafts--well, most of the time--what I loathe with a fiery passion is revising. But I do revise. For me, that's the work part.

"When in doubt how to end a chapter, bring in a man with a gun. (This is Raymond Chandler’s advice, not mine. I would not try this.)"

"Be your own editor/critic. Sympathetic but merciless!"

I would add: But never on the first draft! I think of my first drafts as zero drafts where anything goes.

I can't resist sneaking in a quote from another of my literary heroes, Stephen King:

"Good writing is often about letting go of fear and affectation. Affectation itself, beginning with the need to define some sorts of writing as ‘good’ and other sorts as ‘bad,’ is fearful behavior. (On Writing)"

The above quotation was taken from The Adverb Is Not Your Friend: Stephen King on Simplicity of Style. A great article. If you are a new writer and haven't read Stephen King's On Writing you're missing out.

These quotations come from Brain Pickings, a gruesome name but a terrific blog. 

Good writing!

Photo credit: "Dream" by seyed mostafa zamani under Creative Commons Attribution 2.0.

Stephen King On What Makes An Opening Line Great

"An opening line should invite the reader to begin the story. It should say: Listen. Come in here. You want to know about this," Stephen King.

Stephen King recently gave an interview in which he spoke about what qualities an opening line should have. It's a wonderful, and wonderfully informative, article, one I encourage you all to read: Why Stephen King Spends 'Months and Even Years' Writing Opening Sentences.

Here are a few tips:

1. Open in the middle of action

King says:

We've all heard the advice writing teachers give: Open a book in the middle of a dramatic or compelling situation, because right away you engage the reader's interest. This is what we call a "hook," and it's true, to a point.

2. Give the reader information about the characters and the story

King writes:

This sentence from James M. Cain's The Postman Always Rings Twice certainly plunges you into a specific time and place, just as something is happening:

"They threw me off the hay truck about noon."

Suddenly, you're right inside the story -- the speaker takes a lift on a hay truck and gets found out. But Cain pulls off so much more than a loaded setting -- and the best writers do. This sentence tells you more than you think it tells you. Nobody's riding on the hay truck because they bought a ticket. He's a basically a drifter, someone on the outskirts, someone who's going to steal and filch to get by. So you know a lot about him from the beginning, more than maybe registers in your conscious mind, and you start to get curious.

3. A good first sentence introduces the reader to the writer's style

King writes:

In "They threw me off the hay truck about noon," we can see right away that we're not going to indulge in a lot of foofaraw. There's not going to be much floridity in the language, no persiflage. The narrative vehicle is simple, lean (not to mention that the book you're holding is just 128 pages long). What a beautiful thing -- fast, clean, and deadly, like a bullet. We're intrigued by the promise that we're just going to zoom.

4. A great first sentence introduces the reader to the writer's voice

King writes:

With really good books, a powerful sense of voice is established in the first line. My favorite example is from Douglas Fairbairn's novel, Shoot, which begins with a confrontation in the woods. There are two groups of hunters from different parts of town. One gets shot accidentally, and over time tensions escalate. Later in the book, they meet again in the woods to wage war -- they re-enact Vietnam, essentially. And the story begins this way:

"This is what happened."

For me, this has always been the quintessential opening line. It's flat and clean as an affidavit. It establishes just what kind of speaker we're dealing with: someone willing to say, I will tell you the truth. I'll tell you the facts. I'll cut through the bullshit and show you exactly what happened. It suggests that there's an important story here, too, in a way that says to the reader: and you want to know.

A line like "This is what happened," doesn't actually say anything--there's zero action or context -- but it doesn't matter. It's a voice, and an invitation, that's very difficult for me to refuse. It's like finding a good friend who has valuable information to share. Here's somebody, it says, who can provide entertainment, an escape, and maybe even a way of looking at the world that will open your eyes. In fiction, that's irresistible. It's why we read.

5. A good first line will give the writer a way to break into the story

King writes:

I don't have a lot of books where that opening line is poetry or beautiful. Sometimes it's perfectly workman-like. You try to find something that's going to offer that crucial way in, any way in, whatever it is as long as it works. This approach is closer to what worked for in my new book, Doctor Sleep. All I remember is wanting to leapfrog from the timeframe of The Shining into the present by talking about presidents, without using their names. The peanut farmer president, the actor president, the president who played the saxophone, and so on. The sentence is:

On the second day of December, in a year when a Georgia peanut farmer was doing business in the White House, one of Colorado's great resort hotels burned to the ground.

It's supposed to do three things. It sets you in time. It sets you in place. And it recalls the ending of the book -- though I don't know it will do much good for people who only saw the movie, because the hotel doesn't burn in the movie. This isn't grand or elegant -- it's a door-opener, it's a table-setter. I was able to take the motif -- chronicle a series of important events quickly by linking them to presidential administrations -- to set the stage and begin the story. There's nothing "big" here. It's just one of those gracenotes you try to put in there so that the narrative has a feeling of balance, and it helped me find my way in.

Although I've quoted extensively from  Joe Fassler's interview with Stephen King I have left out far more than I included. As in his book, On Writing, King gives practical, easy to understand, advice on the art and craft of writing. A must read.

Photo credit: "around and around" by Robert Couse-Baker under Creative Commons Attribution 2.0.

A Perfect Plot In 6 Easy Steps

Of course there's no such thing as the perfect plot, but there are certain things that every book with that I-couldn't-put-it-down-if-I-tried quality have in common. In his latest blog post, Dave Farland tells us about them: Dave Farland's Daily Kick in the Pants: Plots.

Plots that work

Here's what every book that is stuffed to the rafters with narrative drive (/dramatic tension) has:

1. Interesting characters

You've heard this before: All your main characters should want something and your protagonist should want something desperately.
For instance, in Indiana Jones and Raiders of the Lost Ark, the Story Goal was right in the title: Indie needed to find and return with the lost Ark.

2. Conflict

There must be something keeping the characters from achieving what they want.

Dave Farland writes:

"For example, here’s a story: I just went out and got the mail and hour ago.

"Does that sound like a story to you? Not really. There was no challenge for me. Now, if I had to get the mail, but in order to do it I had to dodge bullets, stick my hand in a mailbox full of rattlesnakes, and fight off an IRS agent in order to get back in my door, then perhaps I’d have a story.

"Or maybe not. Sometimes the try/fail cycles can be boring because they feel contrived. The author goes “over the top” as he or she struggles to entertain."

These conflicts are going to both be internal (for example, battling one's own fears) and external (battling Nazis who want the ark for themselves).

3. Setting

Setting has to do with both characterization and conflict. Think of how important the setting was to the opening sequence in Raiders. What is the thing most people remember from it? That's right, the big boulder rolling toward Indie as he tries to run away.

The setting is what it is because Indie is an archeologist and relic hunter. It lets us know this is an exciting and dangerous job and that our hero is used to betrayal.

4. Try/fail cycles

Dave Farland writes:

"The characters must struggle to overcome some obstacle on three or more occasions, and the tale must resolve in such a way so that the reader knows what happens."

5. Interesting try/fail cycles

Dave Farland writes:

"Now, you can’t just have try/fail cycles. Your goal is to have interesting try/fail cycles. Fascinating attempts. Thrilling ones. In other words, if you have a villain, the villain must try to thwart your hero in ways that deliver suspense, that keep us engaged. Similarly, your protagonist needs to deal with his problems in ways that are entertaining."

6. High stakes

Make sure your protagonist has something to lose, even if it's only his hopes and dreams.

For instance, at the beginning of the story the protagonist embarks on his adventure because he wants something. This could be the Story Goal, but often it isn't.

In the middle of the story our hero is still pursuing a goal--perhaps not the same one--but the stakes have increased. If he doesn't achieve his goal it will be bad, not just for himself, but also for his fellow adventurers.

By the end of the book the stakes have escalated to include the folks back home. Our hero's life, and the lives of all those he cares about, will be devastated if our champion fails.

Dave Farland writes:

"Let’s talk about the stakes for a moment. The major problem often broadens, so that it affects more and more people as the story goes on. For example, in a murder mystery, the victims begin to pile up over the course of a novel. But the problem can also deepen, having more deleterious consequences in the hero’s life. The detective in our story might find that he cannot sleep, cannot eat. He becomes obsessed with finding his killer, and it ruins his marriage and family life.

"In fact, most of the time, a good conflict will both broaden and deepen."

In closing I'd like to leave you with these words of encouragement:

"So at the end of a tale, I have to go back and examine the basic plot, and ask myself, how well did the author do. Guess what? It doesn’t have to be the best plot ever written. Many a fine movie or book might score only a five and still become a big hit."

That's the key, isn't it? Interesting characters (/characters with tangible goals) engaged in repeated, escalating, conflicts in a setting that helps fire the readers imagination.

Happy writing!

Photo credit: "Mixed Bags" by JD Hancock under Creative Commons Attribution 2.0.

11 Tips On How To Become A Better Writer

For the past few months I've been enjoying Chuck Wendig's posts about writing, and they just keep getting better!

11 Ways To Become A Better Writer

1. Write.

Have you written today? If not, stop reading this and go write something. Seriously. Go.

Chuck Wendig writes:

"Stop talking about writing. Stop reading about writing. Stop dreaming about writing. Stop doing things that don’t qualify as writing. The thing that defines a writer is that the writer writes."

2. Do what works for you.

Writers talk a lot about what works for them, and that's great, but it's important to remember that just because something works (or doesn't work) for someone else doesn't mean it will (/won't) work for you.

The only way you'll know what works for you is to write. CW writes:

I don’t have answers. Neil Gaiman doesn’t have answers. Jane Austen didn’t have them. Nobody has answers. We have ideas. Suggestions. Possibilities. The only writer who has answers about your writing is you. Advice is just advice. ... You are your own Muse.

That said, Neil Gaiman gave one of the best pieces of writing advice I've read, one that has helped me enormously. The following is from Neil Gaiman's Pep Talk for NaNoWriMo participants.

The last novel I wrote (it was ANANSI BOYS, in case you were wondering) when I got three-quarters of the way through I called my agent. I told her how stupid I felt writing something no-one would ever want to read, how thin the characters were, how pointless the plot. I strongly suggested that I was ready to abandon this book and write something else instead, or perhaps I could abandon the book and take up a new life as a landscape gardener, bank-robber, short-order cook or marine biologist. And instead of sympathising or agreeing with me, or blasting me forward with a wave of enthusiasm—or even arguing with me—she simply said, suspiciously cheerfully, “Oh, you’re at that part of the book, are you?”

I was shocked. “You mean I’ve done this before?”

“You don’t remember?”

“Not really.”

“Oh yes,” she said. “You do this every time you write a novel. But so do all my other clients.”

I didn’t even get to feel unique in my despair.

So I put down the phone and drove down to the coffee house in which I was writing the book, filled my pen and carried on writing.

One word after another.

That's the key. Write one word after the other.

I know, it sounds absurd, like telling a person they need to breathe to stay alive, but the next time you're stuck, try to remember that even brilliant writers like Neil Gaiman get stuck too. All you need to do is write one word after another. Don't think about the whole novel, or about what you've written, just think about the next word. Write that word, then write another one, and so on.

3. Good grammar matters.

4. Your first stories will likely suck.

I know my first stories sucked. Nothing happened in them. I'd never heard of character arcs.

In my early stories I got hung up all the time, I'd wander off onto a storytelling ledge and wonder why I couldn't write the second half. Gah! I really wish there'd been more information in those days about how to create dramatic tension/narrative drive, or even moderately interesting characters.

Jim Butcher's advice on Tags and Traits was a revelation to me.

Also, though, it takes time. And practice. And I don't think the practice ever really stops. We continue to learn, to grow.

5. Ignore the naysayers

There's always, always, going to be someone--probably a lot of someones--who put you down, who tell you that you can't do it, who say that either you're not talented or that people aren't reading the kind of stories you're writing, or that no one is buying books anymore, or ... the list is endless. 

Ignore them.

6. Learn to say "yes" more than you say "no"

This one is all Chuck Wendig. I have friends like this, people who not only say "Yes" but "Hell yes!" to just about anything they're asked, whether it is to do an interview, or to judge a contest, or comment on a novel.

And I think it's great advise.

But it's advice I haven't been able to take. I've had to say "no" a lot, no to reading and commenting on novels, no to doing reviews, no to being on panels. Why? Because I'm zealously guarding my writing time.

Don't misunderstand. I'm not anti-social. I would love to read every novel sent to me and give it a review, but I can't do that and maintain my writing schedule. And what do writers do? They write.

Writing comes first. Writing always comes first.

7. Don't make excuses.

Chuck Wendig writes: If you’re not writing, that’s your fault. It’s not anybody else’s.

It's a hard truth.

I want to stress, though, that of course life events will affect one's writing. Tragic events happen. My father died last year and that had a profound effect on me both as a person and a writer. I didn't write for at least two months after his death.

On the other hand, if a few weeks go by and you're always giving reasons for why you couldn't write, perhaps think about where writing is in terms of your priorities. There's nothing wrong with not writing. In fact, if writing is something you constantly want to avoid and is creating all sorts of stress, perhaps you need to put that dream aside for now and go on to other things.

8. Figure out what you love about stories.

Chuck Wendig writes:

Realize what you love about stories, and bring that love to bear on the page. Let the audience in on that love. Your love should be viral, like cat videos or the norovirus.

Amen.

I think points 7 and 8 are related. If someone loves writing they'll come up with excuses to avoid doing other things to scavenge more time to write.

9. Quit chasing your voice.

Chuck Wendig writes:

You will never find your voice. It isn’t a car and you aren’t a dog chasing it. It’s not a pearl in an oyster or an elk in the forest. Your voice is who you are. The way you think. The way you speak when you’re not thinking about how you speak. You are your voice. If anything it’s like a lost key. It’ll turn up just when you stop hunting for it.

Great advice! I think this--finding your voice--is one thing writing blog posts can help with.

10. Make the reader feel, make them think.

Chuck Wendig writes:

The best two things your story can do is to stir my emotions and to challenge my assumptions. Make me feel something (rage! lust! love! grief!). Make me think something (what is the nature of evil? what is the enemy of empathy? ...).

11.  The Secret

CW writes:

The secret to writing is so simple it tickles: Write as much as you can. As fast as you can. Finish ... Hit your deadlines. Try very hard not to suck. That’s it.  That’s my secret.

 That's it. That's every successful author's recipe for success: hard work and good luck.

Chuck Wendig's article deserves to be read from start to finish (contains adult language -->): 50 Rantypants Snidbits Of Random Writing & Storytelling Advice.

Do you have a tidbit of storytelling and writing wisdom? If so, please share! 

Photo credit: "Lisboa #2" by Thomas Leuthard under Creative Commons Attribution 2.0.

Chuck Wendig On Fairy Dross And Pegasus Dreams

Chuck Wendig has written another post about writing, the kind that makes me want to spring up from my computer chair, punch the air a few times and, in a voice crackly with disuse, declare, "I love being a writer."

Of course, results may differ.

Chuck's post came as a response to J. Robert Lennon who had objected to the oft given piece of advice to put ones butt in a chair and write.

Though Chuck Wendig admits that this "isn't a particularly stunning piece of writing advice in the sense that it fails to teach you how to write" he thinks it's true. He writes:

What I’m saying is, the creative process is alarmingly internal. A great deal of it goes on up in our — *taps forehead* — brain-gourds, stirring around in a great bubbly froth. It’s imaginary. It’s intellectual. It’s ephemeral, if we let it be. It’s fairy dross and pegasus dreams, man. The only way to take what is imaginary and make it a reality is to put your ass in the chair and write.

I found that inspiring.

I've been writing every day--well, at least 6 days a week--and putting my work out there and it can be brutal. Often when I'm writing it's like I have a voice (sometimes it feels more like a chorus) that tells me the best thing I could do for the world would be to put down the pen. Now!

But I ignore that voice and each time it gets easier to ignore.

Except when it doesn't.

But I still write.

So that's my long winded way of saying that Chuck's post was like a warm smelly hug from the strange uncle after a particularly terrible day at school. Very welcome and comforting yet slightly disturbing.

(BTW, I mean that in the best possible way. In case you haven't guessed, although I've never had the pleasure of meeting him, I admire Chuck Wendig as a writer.)

Anyhow, the following quotation is longer than I usually feel comfortable posting but it's so great I have to share it with you, or you can just go to Chuck's post and read the whole thing. (And you should!)

Ready? (Oh, and the following has swearing in it, so be warned.) This is the bit I'm going to print off and put on my wall, above my writing desk:

It’s work. It’s not always pleasant work. Sometimes it invokes a deep, almost psychic pain — an anxiety that blooms into an acid-spitting flower corrosive to confidence and craft. And yet, the words are the words. They only matter when they manifest. And you’re the magician that summons them into existence — their manifestation is on you and you alone. Nobody said it would be easy. Nobody’s saying you have to write thousands of words per day. You write what you can write. But that verb is still in place: write. Whether you write ten words or ten-thousand, they still involve you taking off your pants, setting your coffee onto its coaster, petting your spirit animal, then sitting your ass into the chair and squeezing words from your fingertips until you collapse, unable to do any more. It doesn’t matter if it’s good. Not now.

It only matters that it’s done.

Put your ass in the chair.

No, that doesn’t tell you how to write.

But it does tell you where it begins and where it ends: with you. You are a character with agency. You are a god in this world. Creativity is a worthless state of being without the verb that triggers it: to create. Creativity is the match. You still need to strike it and light the fire.

You can’t just always bully your way through a story, true. A great deal of writing remains in the head. And it comes with patience. And craft. And with your burgeoning intuition. Just the same, the end result of writing is the written word.

And the words only get written when you fucking write them. 

Want to read some of Chuck Wendig's work? Here's a link to some of his short fiction and here's a link to the first chapter of his upcoming book Unclean Spirits (May 7, 2013). By the way, the book can be pre-ordered over at Amazon for $6.66. Nothing ominous about that. Nope. ;)

Other articles you might like:

- How To Write A Critique: The Sandwich Method
- What Slush Pile Readers Look For In A Story
- How To Create A Villain Your Readers Will Love To Hate

Photo link: "Good Morning Bengaluru [Explored]" by NJ.. under Creative Commons Attribution 2.0.

Walter Benjamin's Advice To Writers

Brain Pickings is one of my favorite blogs.

Not all the articles are about writing--though many are--but all the posts are valuable, often surprising, and always interesting.

Take, for instance, Maria Popova's lovely piece, Advice on Writing.

First, one's eye falls on a miscellany of advice. The quotation that caught my eye was from Stephen King, "Write with the door closed, rewrite with the door open."

In other words, write the first draft for yourself, write the second with the knowledge it will be read by strangers, some of your friends and, possibly, your mother.

Maria also tells us that in 1928 essayist Walter Benjamin gave writers the following advice:

(The following are loose paraphrases. Very loose.)

2. Don't read what you've just written.

If you reread what you've written it is inevitable you'll hate it and want to rewrite it, to fiddle with it, pushing words around on paper, changing them. The only result will be that all impulsiveness, all life, will bleed out, leaving it with the uniqueness and interest of a cardboard box. 

Be bold. Be different.

Have a reason for every change, not just a vague feeling.

3. Seek out the right writing environment for you.

Sound matters. Some of us need complete silence, others prefer a babble of noise like what we get writing in our favorite coffee shop.

Others must have music. The rhythm of it can help us inhabit a scene--driving music for tense action, calmer, moodier songs for sequels, scenes where our characters pause and reflect on what they are doing and why they are doing it.

And many of us aren't any one way but prefer to flit between musical identities, between writing environments, preferring complete quiet one day while the next we curl up in a coffee shop and let the soft babbling murmur of our fellow patrons wash over us like an ocean swell.

4. The magic of habit.

If you write

a) in the same place using
b) the same materials (laptop or pen and paper, whatever you're used to)
c) at the same time

it will be that much easier to do it again and that much harder not to do it.

By doing the same things over and over you'll form a habit. Writing habits are wonderful things!

5. Write your ideas down.

If you have an idea for a story, a scene, a character, write it down.

If you hear a word you'd like to use, write it down.

If you see a dessert in the window one of your characters would love (or hate), take a picture. (Pinterest can be a great way of keeping track of research photos.) (see: Using Pinterest To Help Build Your Fictional Worlds)

If you hear a song one of your characters would love (or hate) record a snippet of it so you can find out, later, which song it is and put it with your other research. (see: How To Create And Maintain The Habit Of Writing)

7. Before you sit down to write decide how long you'll write for. 

Write to the end of the appointed time. If no idea comes to you, work on describing the items you have at hand: your keyboard, your mouse. Your cat.

Or do a writing exercise.

Don't stop writing before the appointed time.

Walter Benjamin's advice appeared in an essay entitled "Post No Bills" and was part of the book One-Way Street. The essays in this book have since been re-published in Reflections: Essays, Aphorisms, Autobiographical Writings. 

#  #  #

What advice would you give to new writers?

Other articles you might like:

- How To Create A Villain Your Readers Will Love To Hate
- Joe Konrath Is Having A 99 Cent Sale
- Dean Wesley Smith Writes A Novel In 10 Days

Photo link: "White landscape" by lrargerich under Creative Commons Attribution 2.0.

8 Ways To Channel The Power Of Your Unconscious Into Your Writing

This morning I read a terrific article by Tim Ferriss about an interview he did with Fred Waitzkin, author of Searching for Bobby Fisher, a book about his son's journey to win the national chess championship.

8 Ways To Channel The Power Of Your Unconscious To Help You Write

Specifically, Tim Ferriss was interested in the tricks and processes Fred Waitzkin has used to help him write fiction. Ferris writes:

[I disagree with labeling Fred Waitzkin's son, Josh, a prodigy] because Josh has a process for mastery, and he’s applied it to many fields, not just chess. As it turns out, he’s not the only one in his family with this skill. His father, Fred Waitzkin, has processes and tricks he uses for writing both non-fiction ... and fiction…

Although there is no cut-and-dried method for summoning the muse, here are various processes the elder Waitzkin has found useful. They all involve ways to access your unconscious.

1. Write down your dreams.

Working on The Dream Merchant with numerous characters and dramatic scenes to bring to life I had to learn how to access my unconscious. This is an important part of my creative process. Let’s start simply. We all dream but some of us cannot recall our dreams in the morning. You can train yourself to remember your dreams. Put a pad on the shelf beside your bed and begin writing the second you open your eyes. Even before you open your eyes reach for the pad. Don’t turn on the light. Start scribbling in the dark. You will remember your dreams if you do this. The way I think of it, and I’m not a psychologist, you’ve created a bridge between your conscious and unconscious.

2. At the end of your writing day leave a small portion of your writing unfinished.

As a novelist I want to travel on this bridge, regularly–in fact, every day I want to cross over. Here is a deep trick that I learned from an interview with Ernest Hemingway: At the end of each writing day I leave unwritten a small portion of what I still had in my mind to compose that day.

[Tim note: Hemingway would routinely leave a sentence half finished, as discussed in A Moveable Feast.]

Then riding home on my bike from my office, at some level my mind is working on the unwritten paragraphs that I might have written but didn’t. I’m working on these paragraphs while I’m chatting with my wife or watching the ball game—but I am making connections that I never imagined. 

3. Always carry something with you to write in.

This can be either a pad of paper or an app on your cell phone. 

Sometimes my thinking is just a vague sense of impressions but other times an idea comes rushing to the surface. I always carry a small pad in my pocket to write it down. I’ve learned that if I don’t write it down, the insight is likely to disappear like many unwritten dreams. Then when I begin writing again the following day, I’ve discovered that the unwritten scene already contains hints and urges about where the narrative might next go–very often there are elements here that I hadn’t consciously thought about before.

4. Treat your unconscious as a collaborator, give it assignments.

When I was writing The Dream Merchant this dalliance with the unconscious felt very natural and I was able to give this hidden part of myself assignments. I would say to myself what does Jim worry about at night in bed? Or how does he tell his wife that he is going to leave her for another woman? Then I would be riding on my bike or watching the game, and the answer would rise to me–this would happen surprisingly often. Although each time it was a little thrilling, this bolt from the blue connection with a shadowy hard working world that we don’t know so much about.

5. Don't give up.

One last point about my unusual dialogue with myself: It takes practice like running or swimming fast miles. When I haven’t written for a month or two I cannot access this part of being and I have to begin training in my fashion. But it gives me confidence to know that I have been there before and will probably be able to get back again.

6. Get energized.

For me, inspiration is primarily energy.

.  .  .  .

I look for energy all over the place. Often just riding my bike along the river for three miles from my house to the office heightens my mood. Then I make a cup of green tea and look at my work from the previous evening. I always read back several pages before I try to write anything new. Moving back through interesting material seems to give me momentum to push ahead…

But what if there is no energy? I read the paper. I switch on sports talk radio. I look at my watch. I pace. I am eyeing the lunch hour. It’s getting closer to lunch. One hour before I meet my friend Jeff for turkey burgers. Forty-five minutes. Now I’m getting nervous. Thirty-five minutes before I have to leave my office! Suddenly I feel an urgency. I CAN’T leave for lunch without writing one good paragraph. I’m sweating, feeling the time pressure… and the words pour out. Sometimes a writer can do more in a fervent half hour than in a dreary eight-hour day. I’ve often played this game with myself.

There are many energy tricks. Sometimes in the afternoon when I’m groggy I wander over to Starbuck’s for a coffee. But it’s not just caffeine. I know all the women who work there. They know me. We chat. I love these talks–okay, innocent flirtations. Sometimes I even get a free latte. When I get back to my office I usually feel fired up.

7. Get friends to help you break through if you're deadlocked.

I have a couple of friends that I rely upon. They are very perceptive about the human heart. I’ll talk quite specifically about what isn’t working in a section of my book. I listen closely to what they think. I’ve done this many times. My wife Bonnie has helped me many times like this.

Here is the curious thing. Often her advice or the idea of a friend isn’t what I end up doing. But listening to the ideas engenders a new idea. The whole point is that you have to get moving. Movement begets movement. You need to get unstuck.

8. Make your characters "true".

When you are trying to create a character he or she must be “true.” Fiction is not making up stuff out of whole cloth. It is always linked to a writer’s experience. Fiction is a wonderful tango between the writer’s experience and his imagination.

To read Tim Ferriss's excellent article, click here: The Alchemy of Writing--More Tips from a Pro.

Other articles you might like:

- 4 Ways To Enchant Others
- The New Yorker Rejects Its Own Story: What Slush Pile Rejections Really Mean
- Writing And The Fear Of Judgement

Photo credit: "The lonely walk" by VinothChandar under Creative Commons Attribution 2.0.

Ray Bradbury On How To Keep And Feed A Muse

"If science fiction is escapist, it's escape into reality," Isaac Asimov

 "... writing is survival. Any art, any good work, of course, is that," Ray Bradbury.

Ray Bradbury's, Zen In The Art Of Writing, is soul food.

I love Ray Bradbury's writing. Something Wicked This Way Comes had a profound influence on me as a young writer--but for some reason, even though it was recommended again and again, I neglected to read Ray Bradbury's book on writing.

That, I realize now, was a mistake.

How To Keep And Feed A Muse

The chapter I'm reading at the moment is How to Keep and Feed a Muse. Mr. Bradbury gives some remarkably detailed advice.

What To Feed Your Muse

1. A lifetime of experiences.

We must feed ourselves on life.

It is my contention that in order to Keep a Muse, you must first offer food. How you can feed something that isn't yet there is a little hard to explain. But we live surrounded by paradoxes. One more shouldn't hurt us.

The fact is simple enough. Through a lifetime, by ingesting food and water, we build cells, we grow, we become larger and more substantial. ...

Similarly, in a lifetime, we stuff ourselves with sounds, sights, smells, tastes, and textures of people, animals, landscapes, events, large and small. We stuff ourselves with these impressions and  experiences and our reaction to them. Into our subconscious go not only factual data but reactive data, our movement toward or away from the sensed events.

These are the stuffs, the foods, on which The Muse grows.

2. Read poetry every day.

What kind of poetry? "Any poetry that makes your hair stand up along your arms. Don't force yourself too hard. Take it easy."

3. Books of essays.

You can never tell when you might want to know the finer points of being a pedestrian, keeping bees, carving headstones, or rolling hoops. Here is where you play the dilettante, and where it pays to do so. You are, in effect, dropping stones down a well. Every time you hear an echo from your Subconscious, you know yourself a little better. A small echo may start an idea. A big echo may result in a story.

.  .  .  .

Why all this insistence on the senses? Because in order to convince your reader that he is there, you must assault each of his senses, in turn, with color, sound, taste, and texture. If your reader feels the sun on his flesh, the wind fluttering his shirt sleeves, half your fight is won. The most improbable tales can be made believable, if your reader, through his senses, feels certain that he stands at the middle of events. He cannot refuse, then, to participate. The logic of events always gives way to the logic of the senses.

4. Read short stories and novels.

Read those authors who write the way you hope to write, those who think the way you would like to think. But also read those who do not think as you think or write as you want to write, and so be stimulated in directions you might not take for many years. Here again, don't let the snobbery of others prevent you from reading Kipling, say, while no one else is reading him.

How To Keep Your Muse

Ray Bradbury advises that not only should we write every day, but that we should write 1,000 words a day for 10 or 20 years!

Great advise. Truly excellent. Myself, though, I hope it doesn't take 20 years! Of course, if it does, it does. Writing is the kind of thing that, if one can be discouraged from it, one probably should be.

And while feeding, How to Keep Your Muse is our final problem.

The Muse must have shape. You will write a thousand words a day for ten or twenty years in order to try to give it shape, to learn enough about grammar and story construction so that these become part of the Subconscious, without restraining or distorting the Muse.

By living well, by observing as you live, by reading well and observing as you read, you have fed Your Most Original Self. By training yourself in writing, by repetitious exercise, imitation, good example, you have made a clean, well-lighted place to keep the Muse. You have given her, him, it, or whatever, room to turn around in. And through training, you have relaxed yourself enough not to stare discourteously when inspiration comes into the room.

You have learned to go immediately to the typewriter and preserve the inspiration for all time by putting it on paper.

Miscellaneous

Do not, for money, turn away from all the stuff you have collected in a lifetime.

Do not, for the vanity of intellectual publications, turn away from what you are—the material within you which makes you individual, and therefore indispensable to others.

.  .  .  .

Who are your friends? Do they believe in you? Or do they stunt your growth with ridicule and disbelief? If the latter, you haven't friends. Go find some.

#   #   #

I haven't contributed a lot of commentary, above, because ... well, what could I add? One thing Mr. Bradbury said--I didn't include the quotation--was that he wrote 3,000,000 words before his first story was accepted at the age of 20.

Three million words!

Add to that, Mr. Bradbury wrote every day, every single day. He must have had a well fed, and very content, muse.

What is your favorite book on writing? What is the best writing advice you've received?

Other articles you might like:

- Fleshing Out Your Protagonist: Creating An Awesome Character
- Dean Koontz And 5 Things Every Genre Story Needs
- How Plotting Can Build A Better Story

Photo credit: "Dust" by Robb North under Creative Commons Attribution 2.0.

Jim Butcher's Advice For New Writers: Write Every Day

In a recent interview with Sword & Laser, Jim Butcher described his Dresden Files series as "Buffy the Vampire Slayer starring Philip Marlow".

How perfect is that?!

As my title promises, Jim Butcher also gave great advice to new writers, but I'll save that for the end. Everything needs a hook, right?

Jim Butcher & Live Action Role-Play (LARP)

Want to meet Jim Butcher? Grab your cape and blasting-rod--a sentence I thought I'd never write!--and head out to Independence Missouri.

When he's not writing Butcher is an avid Live Action Role-Player, or LARPer, playing under the name of Longshot.

He invites fans in the vicinity of Independence Missouri to come out and kill some theoretical monsters, be beaten into theoretical unconsciousness and even be 'theoretically killed'.

The Idea That Started The Codex Alera Series 

Apparently the old saying, "Be careful what you wish for," applies to bets as well.

In 2004 Butcher was challenged by a member of the Del Ray online writers workship to write a good story based on a lame idea.

Jim took the bet and the challenger gave him the lame idea of a lost Roman legion and Pokemon.

The story Butcher wrote became the first book in the Codex Alera series.

I'd be interested how Jim pitched that series to his editor!

Jim Butcher's Advice For New Writers

You've been more than patient, so without further delay here's Jim Butcher's advice for new writers:

Question: Can you give advice to any new writers in our audience?

Jim Butcher's response:

Write every day.

Even if you only write a little bit, even if you only write a sentence or a word, write. Because, even if you've just written a word, you're one word closer to the end of the book than you were at the beginning of the day, and that's progress.

Writing is about momentum, so get that momentum, set your time aside every day and stay honest.

Awesome advice!

Jim Butcher shares great information in the interview--memories, anecdotes--that I haven't mentioned. The Sword & Laser (episode 16) video is well worth watching.

Thanks to K.B. Burnfield for sending out a link to this interview.

Other articles you might like:

- Making Time To Write
- Simon & Schuster Partners With Author House To Create Archway Publishing
- Editing: Make Sure Your Story's Bones Are Strong

Photo credit: "Super Troopers!" by JD Hancock under Creative Commons Attribution 2.0.

How To Get Your Readers To Identify With Your Main Character

Some of the best characters aren't likable. For instance Sherlock Holmes, especially as brilliantly depicted by Benedict Cumberbatch. But that's okay. The trick is to get your readers to IDENTIFY with your protagonist. Making him or her likable is only one way to do that.

I hope to convince you of this before I'm through but, first, let's take a step back and ask what the goal of writing/storytelling is.

The Goal Of Every Story: Elicit Emotion In Your Readers

By the way, I'm taking this material from a course Michael Hauge taught with Chistopher Vogler (author of The Writer's Journey) called The Hero's 2 Journeys. Michael believes that the goal of every story is to elicit emotion from our readers. If we've done that then we've written a great story.

So, how do we elicit emotion from our readers? Simple! (Well, that's what Michael says.) Stories only have three main ingredients:

1. A great CHARACTER
2. A passionate DESIRE/A GOAL
3. CONFLICT/ Something that's keeping our character from fulling their desire/obtaining their goal.

So, every story is about:

An emotionally involving CHARACTER who strives to reach a GOAL (/fulfill a desire) against seemingly insurmountable OBSTACLES.

What we're going to talk about now has to do with the first of these three pillars: creating an emotionally involving character.

5 Ways To Create A Character Your Readers Will Identify With

Here's what we want to have happen: We want our readers to empathize with our main character. We want our readers to identify with our protagonist's situation, his feelings and his motives.

Michael Hauge puts it this way:

You want the reader to become a participant in the story through their emotions. (My paraphrase)

Here's how you do that:

1. Make your character sympathetic

In general, people in love are sympathetic. When I see two people walking down the sidewalk with silly grins on their faces holding hands while sneaking furtive love-sick peeks at each other, I can't help but smile.

This doesn't mean either character is likeable taken individually, but the fact that they have someone, that they are in love, helps (most readers) identify with them.

Or you could make your character the victim of an undeserved misfortune. That would also evoke sympathy in most readers.

Also, if a powerful antagonist deprived your character of something they loved--perhaps their spouse or child--this would be a good way to make your character sympathetic and introduce the Big Bad of your story.

Example: Andy (played by Tim Robbins) in The Shawshank Redemption

2. Make your character funny

We like to hang out with people who make us laugh. Why is this? I don't know. Maybe it's because they can say funny things we don't have the courage to.

Example: Beverly Hills Cop

3. Make your character likable

Make your character a kind, good hearted, person. Show that they are liked by the other characters in your story.

This is probably the most common way writers attempt to get their readers to identify with their main character(s) and it works!

Example: Tom Hanks in practically every movie he's been in.

4. Put your character in jeopardy

We identify with people we worry about. Put your character in danger of losing something of vital importance to them.

Example: Pulp Fiction. Butch Coolidge (played by Bruce Willis) and his father's watch.

5. Make your character powerful

Make your character very good at what they do. For instance, make them a superhero or an Indiana Jones type character

Example: Peter Brand (played by Jonah Hill) in Moneyball.

Getting Your Readers To Identify With Your Character: The Secret

Here's the secret to creating a character your readers can identify with:

Employ AT LEAST TWO of the above five elements when you introduce your main character.

For instance in The Firm, when Mitch McDeere (played by Tom Cruise) is first introduced, we learn that he is getting top marks in university despite working as a waiter (sympathetic). We also find out that he and his wife are passionately in love (sympathetic & likable).

#  #  # 

What do you think? Do readers truly need to identify with the main character of a story in order to become emotionally involved?

I'd like to thank John Ward for his post on how to make characters likable.

Other articles you might like:

- More Writing Advice From Jim Butcher
- Amazon Reviews Are Disappearing
- How To Write 10,000 Words A Day

Photo credit: "Victorian Robo Detective and Dr WATTson" by V&A Steamworks under Creative Commons Attribution 2.0.

More Writing Advice From Jim Butcher

Serack from over at Jim Butcher's Forums emailed me with a couple of great links I'd omitted from my Jim Butcher On Writing compendium post. Thanks Serack!

Jim Butcher's Interview With The Clarion Science Fiction and Fantasy Writers' Workshop

I bring this up because one of the links Sarack shared with me was to an interview conducted by the fine folks over at Clarion Science Fiction and Fantasy Writers' Workshop and is one of the best interviews on the fine art of writing I've read.

This being NaNoWriMo, and this being a blog about (at least in part) how to write well--or at least how to write better--I wanted to post two of Jim Butcher's answers:

The Pen Is Mightier Than The Sword

Do you have a particular method for creating characters? Or do they just spring into your head fully formed and take over from there?

It varies based on the character. Dresden himself was created really, really artificially. When I was putting the character together, I was doing so based on a worksheet in a class I was taking at University of Oklahoma called “Writing the Genre Fiction Novel.” I had been disagreeing with my teacher for a long time about how good books were put together. I’d taken her courses for several years, and finally one semester I just said, “I’m just gonna be your good little writer-zombie, and you’re going to see what terrible things happen.” That was the semester I wrote the first book of the Dresden Files.

Dresden himself was put together from Sherlock Holmes and Gandalf and others; I listed the sort of things that could be expected from Merlin, Gandalf, various wizard figures in various books. I did the same thing with the hard-boiled private-eye recurring characters and tried to draw the traits that I saw most frequently in those characters.

One of the most interesting things I realized along the way: the private eye and the wizard almost always serve the exact same purpose in the story. They’re not so much there to lay into the action scenes left and right; what really makes them vital to the story’s progress is what they can learn, and the kind of places they wind up going, whether they’re going into a metaphorical underworld like the undertown of Chicago’s mob scene, or whether they’re going into the literal underworld like Moria. The wizard/private eye characters go into these dark places to find out what they need to know. Gandalf wasn’t devastating to the Dark Lord because he showed up and beat up his minions. What made him dangerous was that he was riding around to talk to people and researching in all the libraries and finding out that the trinket that his buddy had was the One Ring.

With Harry Dresden being put together from the likes of Sherlock Holmes and Gandalf, how could we not love him? I'm guessing I'm not the only person who wants to take that course, Writing the Genre Fiction Novel!

I had an "ah-ha!" moment when I read Jim Butcher's answer. The hero, even kick-ass heroes like Gandalf and Harry Dresden, take the chances they do, explore the various 'underbellies of society', NOT primarily to get into fights and show everyone how tough they are, they go into these dark, dangerous, places because they need information. They need to find out "what they need to know". That's how, ultimately, the hero gets the upper hand.

Cause And Reaction, Reaction And Response

You wrote four unpublished novels before the first Dresden book, and they’ve remained unpublished. Where do you think those early works went astray?

“Where didn’t they go astray?” is the better question. [...]

[. . . .]

One of the very basic building blocks of writing a good story, an action scene, or a paragraph is you have to show cause and reaction, reaction and response. That’s a kind of a process that doesn’t just exist on a sentence to sentence level and a paragraph to paragraph level, but happens within the greater structure of the story. One of the things that permeates writing completely.

When a character does something in one book and it has an effect that comes out later, that’s one of the things that creates a greater sense of verisimilitude in your fantasy world. Plus, it’s great to not see characters acting in a vacuum. When they make a choice, it has an effect that comes back to haunt hem later on, and that’s one of those things that lends a greater sense of purpose to your storytelling. The reader goes, “Oh my gosh, this is an actual world,” and now they have to wonder about every choice a character makes and how that will also come into play. [Emphasis mine]

"Cause and reaction, reaction and response." I talked about that in detail in the post:  Making A Scene: Using Conflicts And Setbacks To Create Narrative Drive.

Sequels

One thing I haven't blogged about yet (but should) is sequels. I think the topic deserves a post of it's own, but, briefly, Jim Butcher teaches it's the SEQUEL that that helps endear your characters to your readers. Jim writes:

[Y]ou've got to win them [your readers] over to your character's point of view. You've got to establish some kind of basic emotional connection, an empathy for your character. It needn't be deep seated agreement with everything the character says and does--but they DO need to be able to UNDERSTAND what your character is thinking and feeling, and to understand WHY they are doing whatever (probably outrageous) thing you've got them doing.

Great article! You can read the rest of Jim's advice here: Sequels.

Best of luck with NaNo! :-)

Other articles you might like:
- NaNoWriMo: A Survival Guide
- How To Write 10,000 Words A Day
- Amazon Reviews Are Disappearing

Photo credit: "Arches National Park, Moab Utah" by ianmalcm under Creative Commons Attribution 2.0.

NaNoWriMo: How To Reach Your Daily Wordcount

Copyright Mikleman, Some rights reserved. Licensed under the Creative Commons.

If you're participating in the collective insanity known as NaNoWriMo (I say that affectionately as one swept up in the madness) here are some tips for reaching your daily wordcount--typically around 2,000 words--each and every day.

Tip #1) Don't Edit

A friend of mine is writing an article on how to get your inner editor to shut the heck up--although she isn't as polite! I eagerly look forward to reading her tips, but getting your inner editor to zip-it while you write your first draft is essential.

Yes. Sure. Coax her out of hibernation when you begin your second draft but, until then, she can't help you. She is about limiting, changing, critiquing your creative output, and that's importgant, but it kills the momentum of a first draft and that's what you're writing during NaNo.

What's that you ask? How do you turn off your inner editor? Good question. I'm really looking forward to reading my friend's article! But what I do is just write and pointedly ignore any construction I think is clunky or could clearly be improved upon.

I remind myself I'm writing a first draft and that I write my first drafts for myself alone--NOT the world--and that I'll clean it up on my 2nd and 3rd pass through.

I think a person needs to write enough that they get to the point where they can trust that will happen (see: How to write every day: Jerry Seinfeld and the chain method).

Tip #2) Multitask

At the Surrey International Writers' Conference Diana Gabaldon, during her keynote speech, shared that she generally got stuck two-thirds of the way down a page. It didn't matter what she was writing--an email, grant proposal, speach, she would always get stuck two-thirds of the way down.

Her solution?

Go on to something else. Stuck on the third page of your novel? No problem! Write something else. Answer an email. Do a blog post. When you're done go back to your novel and try again.

I'm not saying this will work for everyone--I might get caught up in replying to emails and completely forget I was supposed to be writing! But it's certainly a great way to ensure you stay productive. :)

Tip #3) Butt In Chair

Writing is difficult. Many times it's the last thing you want to do.

Jim C. Hines created a great cartoon. The caption reads: The Muse Most Of Us Really Need. The muse is standing behind a writer, holding a gun on him, saying, "Write the %&#@& story!!!". Sometimes a picture really does speak a thousand words. What is the key to writing 2,000 words a day? Put your butt in your chair and write!

Best of luck on your NaNo adventures, and remember to hydrate!

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- Jim Butcher On Writing
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Photo credit: Mikleman

The Key To Success: 3000 Words A Day

There are writers and then there are writers. In a recent post Kris Rusch reveals that she wrote 1,000,000 words last year. One million! That means she wrote nearly 3,000 words a day, each and every day.

My mind boggles! I think I might be able to do 3,000 words a day, but I'm not sure what else I'd have time for--but perhaps that's the point. One has to prioritize and non-writing related pursuits fall by the wayside. Specifically, fretting over and tweaking ones sales strategies.
 
Kris Rusch admonishes writers to concentrate on their writing as opposed to their sales since writers make money from the creation and sale of new work.  She writes:

Stop trying to tweak your numbers on one platform in one or maybe two countries on a daily basis, and write more books. Publish more books. Use all of the opportunities available to you.

Stop watching the sales numbers and start watching your personal production numbers.

I wrote one million words last year, despite a pretty serious illness, some major personal setbacks, and problems of others that my husband and friends are still dealing with.

The million words are under my control. The number of sales, once a book is released, is not under my control. Not when you look at the worldwide market, at all of the distribution channels. I can get the work out there, then I have to trust it to sell.

Write more. Fret less. Stop watching your sales numbers. Beat my million words this year.

Wow! One million words. I can't get over it. I doubt many writers have been able to match her output. But that ties in with her other advice:

Your writing career isn’t about this month or next month or last month or even five years from now. If you do this right, your career should last for your entire working life. We’re all different. I’m 52, and I hope to have as many more working years as Jack Williamson had. He was still writing up to his death at the age of 98. That means I get another 46 years of a writing career. On top of the thirty I’ve already had.

I’m planning for that.

Why do I have the image of Kris Rusch in a Superman outfit? I marvel that she has any time left to read!

Kris' post (The Business Rusch: Watching The Numbers) has both inspired me and made me feel like a complete slacker! Okay, gotta stop chatting with you folks and write. :-)

Other articles you might like:
- Tips For First Time Writers
- Query Tracker: Keep Track Of Your Stories
- Penelope Trunk Discusses Time Management

Photo credit: WordRidden