Tag Archives: craft

When to get Stubborn . . . And when to get Smart

LightbulbJust this month, NYT Bestselling Author, and well-known author mentor David Farland wrote an excellent post titled “A Question of Balance”.  He opens by saying, “How do you develop as a writer? It requires a balance of study and practice.”

That’s exactly what I’ve been thinking about this month as I prepared this post, and I highly recommend you read his blog.  If you’re not signed up to receive his Daily Kicks, you should consider it.  His wisdom and advice is one of several factors I point to in helping me break through obstacles in my writing.

When I first started writing almost eight years ago, I took the stubborn approach that all I had to do was write, and write and write, and eventually I’d get there.

And so I tried.

Working pretty much in a vacuum of my own little world, I plowed ahead and wrote my half million throw-away words.  Sure I improved many skills related to the actual craft of writing words on a page that make sense and, not knowing any better, figured I was at the top of my game.

The only problem was, no agent wanted my 300,000 word ginormous epic novel, and I couldn’t figure out why.

That was my first big obstacle, and I could not overcome it by just writing more – which I continued to do anyway.  Just like David Farland said in his blog, I needed a better balance – some training to go along with the writing – to learn to work smarter instead of just harder.

That’s when I reached one of those milestone events in my writing career:  I took David Farland’s Professional Writer’s Workshop.  I found out about it by listening to Brandon Sanderson’s weekly podcast Writing Excuses, which I also highly recommend.

It was only with the knowledge I gained at that writing workshop that I recognized the flaws in my first book (weaknesses in the plot, waaaay too long, etc).

That’s when I faced the second challenge:  What to do next?

StubbornHere, stubbornness kicked in again and provided the answer.  Time to get to work.  I threw away all that initial work, that entire novel, mined some pieces that were salvageable, and totally re-designed the novel from the ground up.  That new novel, now titled The Sentinel’s Call, is in the hands of my agent, who will hopefully find a home for it.

In the meantime, I’ve since written 3 other novels.  In each project, I’ve faced additional hurdles.  Sometimes the answer was to get stubborn, plant butt in chair, and write like mad – like last November when I had to re-write 80% of my YA novel.  In six weeks, I pounded out over 75,000 new words, and edited another 50,000.

Other times I had to get smarter, like when I signed up for the Superstars Writing Seminar– again, highly recommended.  It’s the best place to Relaxlearn the nuts and bolts of being a professional author – the business side of writing.  Or, when I studied other writing books – like Story Engineering by Larry Brooks, which I found extremely helpful.

Over the past eight years, I’ve found the best way to overcome the regular obstacles we face as we strive to become professional writers is a balance of stubbornness – just sit down and write; and an ever-increasing foundation of knowledge gained by studying, attending seminars and workshops and by networking with other writers.

I just wish I’d started the focused learning aspect sooner.

Depending on what stage we are at with our projects, or where we stand in our writing career, we’ll need a different answer to break through whatever obstacle we’re facing.  What is your biggest challenge right now?  Do you know yet if you need more stubbornness, or more learning to overcome it?

The Monster Looms

monsterA guest post by Mary Villalba

The monster looms. The “to-do” list is long and the day short. Armed with coffee and good intentions I begin to tick off tasks. The pile before me like the Sorcerer’s brooms inexplicably grows. By noon, I have managed to lob off more than just those items listed, but I have also laid down another twenty to fill the space between noon and eleven pm, when I will fall exhausted, but satisfied, into bed looking back on the day with pride in my productive behavior!

The problem? The have-to list crowds out the want-to list. I want to do a final edit on my first novel and fine tune the synopsis. I want to sell millions of copies of my book. I want to post “author” legitimately on my FaceBook profile. Why can’t I?

Another writer and lecturer whom I greatly admire, Barbara Sher, came up with the term “resistance”, which pretty much sums it up. What is it that creates resistance to doing the things you want to do? As an overachieving, type-A personality I have gone through my own life determinedly setting goals up on fence posts and shooting them off. At twelve I determined that I would live in the most exclusive neighborhood in Denver; at twenty-nine I moved in to the house I built there. When it became clear to me that there was a great need for services for the hearing impaired in third world countries a doctor and I created the World Hearing Network, which is today the most successful outreach program for the hearing impaired in the world. I decided the Rocky Mountain District of Kiwanis should have a female governor at the helm, and became the first female elected to the position in eighty-five years. The ridiculously long list of accomplishments goes on and on. It should be easy for me to apply the same ambition to my writing, but it isn’t. So, as much as I hate to be introspective, it must be time for me to look at why I am holding myself back.

Yes, I am the reason I have not overcome the monster inertia. We, I, reach plateaus where the level of risk and reward become just about even. I don’t anticipate a greater reward for my writing than there is risk in exposing my inner-self and my writing to others; so I stop. I suppose that if there was a champion cheering me on with a contract for a million books I might be more motivated to take a chance on myself. Risk versus reward. Ah ha! In the rest of my life I create my own rewards, but when it comes to writing I can’t envision a real world reward coming my way.

Crawling back into my head and rummaging around I see the box labeled “get a job”. When I open it up it contains letters from parents who grew up pre-depression era. They want me to set concrete goals and they want me to be realistic about what I can and cannot do. The letters indicate they don’t think I can live in the neighborhood I picked, they don’t think I can build my dream empire, but, wait………I did! They were not my champions, I was my own champion.

In my mind, I set that box on fire and sweep the ashes out of my head.

Hmmmm; now what? See the problem, solve the problem, move on! Eureka! I can approach writing the same way I have approached every other goal in my life. So, today, right now, at the top of my to-do list I have written “finish synopsis.” It will get done today, because I will give myself a reward for getting the task done and because the risk of negative feedback burned up in the mental box I’d been carrying around for the last sixty-five years!

Take a look in your own attic and see what you can clean out! Then get to work!! You have a lot to accomplish and I, for one, will be your champion! I believe in you and know you can do it!! And, BTW, I’m posting “author” on my FaceBook profile right now!

Guest Writer Bio:Mary Villalba
“It’s about time” is a good description for taking up novel writing at her age!  Mary started writing stories and poetry when she was about six years old, and over fifty years of her professional life as a real estate broker and owner of her own strategic marketing company she has used language as a communication tool, even holding press credentials, but writing a novel was beyond her wildest dreams.  It was a group of inspired writers half her age who threw her off the cliff and into the waters of authorship.  She is very grateful they didn’t stop to ask her if she knew how to swim!

Breaking Into The Next Level Of Craft

MountainWe all know the journey to becoming a professional writer is a long one.  It takes a while to “Break In”, and no two writers ever seem to take the exact same path to get there.  New writers are told to keep working, be persistent, and they’ll get there.

It’s like dropping off an inexperienced climber at the base of a challenging mountain and telling them to just start climbing, and eventually they’ll make it to the top.

But there are trails on a mountain, easier paths marked by those who have gone on before.  True, but someone who knows next to nothing about mountain climbing can still easily get lost.  Same for writers.  There is lots of help available, but sometimes we don’t know enough to know what’s missing when we get stuck.

Climbing a mountain is done in stages, and one thing that comes as a shock to some new writers is that becoming a professional writer is similar.  We don’t Break In just once.  There are levels to craft, plateaus we reach on our journey.  Sometimes we get stuck there, unable to Break In to the next level and resume the climb up toward the ultimate goal.

Throughout the month of September, we are going to explore some of these writing plateaus where we’ve been stuck, and ways we’ve found to pass the barrier and Break In to the next level of craft.

Sometimes we need a mentor, a writing group, or an unusually honest loved one to tell us we can do better.  When I decided to pick up writing several years ago, I pounded out 70 pages in one weekend and thought, “I’m on my way!” My wife read those initial chapters and said, “I don’t like your protagonist.”

She was right.  He didn’t work.  First obstacle.

Thankfully the answer to that one was straight-forward.  Swallow pride, throw away thousands of words of crap for the first (of many) time, and start again.

Sometimes we need a seminar or a conference or a book on writing to illuminate the shadows and show us a couple steps forward down the path.  We might need to arrange our schedule better to find more time to write.

And sometimes we just need to write another hundred thousand words of crap before we get it.

In the end, we all hit multiple plateaus, or ruts that block our forward progress.  But we don’t have to stay there.

This month the shared wisdom and experience of the entire group will help map out some possible routes to reach the next plateau.

Exploring Story Concepts Prior to Writing

Slot canyonThis month we’ve discussed great games that inspire, games that highlight effective storytelling, or that identify pitfalls in the creative process.  We’ve also discussed some of the dangers of trying to port game scenarios directly into book form (review that excellent post here).

I’m going to visit that topic from a slightly different angle and discuss the effectiveness of finding avenues for creative input.  It’s hard to build a great story, and harder still if we try to do it in a vacuum.  Utilizing creative input sources can prove effective in developing foundational concepts for your story.  The goal is not to try writing a book directly from a game scenario, particularly if it pulls in any material that may be copyrighted elsewhere.  However, it is possible to utilize a RPG or other creative input source to explore some of the general concepts you might be kicking around as the foundation of a story.

For example, if you want to flesh out a new magic system, inviting your gaming friends to utilize that magic system in a game scenario can really help.  They’ll try to break the rules, and they’ll try to use it in ways you never expected.  The experience will force you to think deeper and broader than you might have on your own, and lay down rules and boundaries you had not realized you needed.  This is particularly useful if you don’t have someone who makes a good sounding board to brainstorm ideas and plumb the depths of your new concept.

You can also explore other aspects of the world building in a game.  What are the nations and races that exist in this world?  Do they get along?  What motivates them?  What do people eat?  What kind of money do they use?

diceIn my family we play a customized RPG that utilizes only one 20-sided die for all decisions.  It removes a lot of the technical hassle of similar games and relies more on the storytelling skill of the person leading the game.  It’s also an excellent creative workout routine.  I rarely plan out the details of a game beforehand, so am forced to come up with each element in a just-in-time delivery sort of way.  I’ve found it helps break down creative barriers and triggers some exceptionally creative moments.

I’ve used this process as a way to explore multiple story concepts.  Many of them prove mediocre or uninspiring, so we drop those and try something different.  A few have resulted in ideas with lots of potential.  Those I set aside for later exploration, or launch secondary game scenarios to consider further.

Once I’ve got what I need, I throw away the specifics of the game, including the characters, and start building my story from scratch – drawing upon the foundational concepts we explored through the game.

Storyteller
The Boyhood of Raleigh by Sir John Everett Millais, oil on canvas, 1870

But RPG gaming is not the only creative input I use, and it’s not even my most productive.  Even better is good old storytelling.  In our family we tell a lot of stories, and I’ve used that verbal story time to develop magic systems and explore plot concepts with my kids.  It’s proven highly effective.  Kids (2 of mine are teen-agers now) provide instant feedback, and they are brutal critics.  If an idea isn’t working, I know about it instantly.  On the other hand, if a story generates lots of enthusiasm from them, I might be on to something.

The danger there, just as with using RPG games, is to recognize that the novel you write will not be the same as the game (or verbal story).  A couple years ago, I spent a lot of time developing a story line with my kids.  They actually came up with the original magic system idea, which I then fleshed out and used to launch into a series of stories where we explored many other aspects of the world building.  The resulting story proved so engaging that I decided to write a book based on all the material we produced.

At first I tried to follow the story line we’d developed, since we were all so enthusiastic about it.  However I quickly ran afoul of the hazards lurking down that road.  After those hard-learned lessons, I threw away that unproductive plotline and made a hard break – the story would not be a novelization of our hours of storytelling.  Instead, I would craft a novel from the ground up, building upon some of the foundational elements we explored in that storytelling, but the plot and characters were entirely new.  The resulting novel is a YA fantasy titled Set In Stone, which is now in the hands of my agent.  Hopefully we’ll find a home for it soon.

Take Away:  Use any creative avenue available to you to explore creative ideas, but remember the limits of what you can accomplish.  Take the foundational elements, strip out the rest, and go build a great novel.

Where else do you turn for creative input to explore story concepts as you begin working on a new novel?