Tag Archives: Nathan Barra

Goals vs. Objectives – Who is Really In Control?

Balancing Acts Goals Living Deliberately Motivation Nathan Barra Reflection Self-Awareness The Writing Life Work-Life Balance No Comments

“No battle plan survives contact with the enemy.” ~Helmuth von Moltke

I am highly motivated by progress and will often get frustrated when I feel like I am spinning my wheels in a task. This probably explains my penchant for lists. I know that I’m not the only one who gets a sense of satisfaction by drawing a bold stroke through a particularly challenging line item. However, I have found that it is all too easy to focus on the list itself and forget that it exists to serve my objectives. Recently, I’ve put a lot of thought and effort into living a purposeful life, driving towards and realizing my objectives to the best of my abilities. Through trial and error, I have found that the key to effective progress is self-aware honesty, maintaining a life balance, and having the courage to change course when results do not line up with what was intended when I set my goals.

The first step to living deliberately is to determine what you truly want out of life. There are countless voices in the world, some benevolent and others selfish, that seek to guide our desires. Many people never look past what society, advertising agencies and our loved ones tell us we want. If they are happy that way, all the better for them. It takes work to quiet all the voices and achieve the self-awareness necessary to decide what you really want free from the influence of others.

Once your objectives are set, it takes practice to be able to manage all the distractions and necessities that the world demands of us. Though there are a thousand obligations competing for our time and attention, many things that we view as “essential” can actually be minimized or eliminated entirely. It is a matter of understanding one’s priorities. Once you achieve the self-awareness to determine your life’s objectives, sorting the essential from the non-essential becomes much easier.

Finally, I have found it necessary to be proactive in evaluating and adjusting my goals. Though it is easy to simply stay the course until things start to fall apart, it is a much less effective strategy than taking time periodically to honestly evaluate the results of my efforts. If a course of action isn’t working, isn’t supporting my objectives, there is nothing holding me to them. Try to make a change and see what effects come. I look at it like sailing by the stars. Having a heading does no good if you don’t look up every so often.

I started out my blogging year with the Fictorians by describing the system we use to set annual goals at work. Though I stand by the idea that goals should be SMART (specific, measurable, actionable, realistic and time bound), I have come to realize that they need to be adaptable as well. Action is not progress unless my objectives are being achieved. Therefore, goals should be designed and maintained to support objectives, not the other way around.

A Crash Course on the Best and Worst Elements of Writing

Ace Jordyn Character Craft & Skills Reading Reviews The Writing Process Writing Tools No Comments

What an enlightening month November has been! If you ever wanted a crash course in what makes writing the best or the worst, this was it.

There is so much to learn about writing craft and storytelling from the masters yet we can learn equally from writing that doesn’t engage us. Deciding on the ‘best’ means we need to understand why we like what we do and what constitutes the best for each of us (Kristin Luna). It also means not disregarding other forms of fiction because the best stories use elements of both literary and commercial fiction and knowing how each works makes us better skilled writers (Susan Forest).

Elements in the best writing includes:
precision of word choice, great imagery and detail plus an author who gets right into his character’s heads (Clancy); a grasp on multi-sensory prose which like a dream, makes the fantastical normal and lifts the reader to a place of wonder (Brenda Sawatsky); cliffhangers and when multiple story lines crash together in a maelstrom of calamity at the end of a book (Evan); well executed diverse fiction that helps the reader understand the world we live in and cultivates respect (Kim May); story matters and being a good storyteller with proper pacing and resolutions is key, but before telling the story, think about how much you can tell us by each word, each sentence, and the beauty you strive for in bringing them together (Colette); it’s not just about the protagonist against the antagonist but about how every character interacts with every other character (Jace Sanders); heroes aren’t heroes all the time. They are just humans with something about them that is extraordinary, and the more flawed a character is, the more human they seem (Leigh Galbreath); the best writing has characters who strive for themselves along with sentences that soar on their own (James Van Pelt); successful prologues convey information without being an info dump and they promise a story/writing style upon which they deliver (Ace Jordyn); a consistent background which functions almost as another character, widening the options for the protagonist’s conflict along with psychological realism where characters behave consistently (Al Onia); the key to the ‘best’ has less to do with perfect prose, and more to do with story impact when what we’re writing matters, emotions rise up, and the reader can feel it (Adria Laycraft).

What constitutes the worst writing includes:
meandering prose that loses the reader and is boring and there’s no beginning, middle or end and no characters to invest in (Clancy); it’s a bad idea to mislead readers about what kind of story you are telling readers for pick up books because they’re hoping for a certain type of experience. (Mary); when writers grab hold of a culture’s cool elements—Samurai swords, martial arts, ninjas—and throw the rest out the window because the history, philosophy, sociology, and traditions are so intertwined and influential on the cool elements that you can’t separate the two and do it justice. (Kim May); it’s not possible to root for a guy who seems like a walking pity party or if the main character lacks any sense of wonder (James Van Pelt); prologues don’t work if they create expectations that the book doesn’t meet either in story content or style, if they’re an info dump or if they are used to foreshadow or tease (Ace Jordyn); when writers betray the promises set in the beginning of the book and shatter the reader’s bond with the story (Frank).

So how can we judge how we each measure up at being the best? We can compare our work to those we admire and like to read or, as Nathan Barra observed, we can learn by comparing our earlier works to our current ones and being motivated by that.

In case you want to follow up on any of the excellent points I’ve summarized, here is a list of November’s blogs. Just click on the title and the link will get you there.

Happy reading and writing!

Lee Child vs the Boring Clancy
Not What I Signed Up For Mary
The Dreamer Brenda Sawatzky
In Loving Appreciation of the Story Swirl Evan Braun
The Emperor and the Impostor Kim May
Kneeling in the Silver Light Mary
The Importance of Word Choice Colette
Learning from the Masters Jace Sanders
A Tale of Two Readers; or, Everybody Wins Kristin Luna
The Not So likeable Hero Leigh Galbreath
Pluck, Pity Parties and Prose – What I Like Best and What Doesn’t Work James Van Pelt
SSWS Writing Scholarship: Should YOU Apply?  Colette
Clive Cussler, Guy Gavriel Kay and DJ McIntosh are Masters at … Ace Jordyn
Writing What I Like to Read Al Onia
Writing Stories that Matter Adria Laycraft
Looking for Progress in a Mirror Nathan Barra
Don’t Break Your Promises Frank
Using the Tools of Both Literary and Commercial Fiction Susan Forest

 

 

 

 

Looking for Progress in a Mirror

Author's Perspective Balancing Acts Craft & Skills Motivation Nathan Barra Self-Awareness Starting a Career The Writing Life 1 Comment

It is human nature to compare oneself to others, no matter how unfair that comparison is. I know that I have neither the productivity of Kevin J. Anderson, nor the skill to write the poetic prose of Guy Gavriel Kay, nor the ability to manage massive story lines and milieu like Brandon Sanderson. However, they are all professional writers with many years more experience than I have. Their skills represent goals, markers of achievement that I aspire to. Even looking to my friends who are closer in experience to myself isn’t an apt comparison. We are all different people and very different writers. Ultimately, their skills and successes have no direct impact on my own abilities. They are simply further down the road than I am. I have found that self-comparison is the only reliable and reasonable metric of progress.

As a writer advances through his/her career, growth occurs with every word and work written. I have often heard writers bemoan their old stories, talking about how they would do things differently given the chance. Though, I have written plenty of prose that has made me cringe later, I am more pleased than disgusted by the discovery. My ability to recognize flaws in my old work shows me better than any other metric my own growth as a storyteller.

The original introduction of my first completed novel is a perfect example. Because I largely discovery wrote that book, it took me two full years to complete. Now, I prefer to work in a more focused and deliberate manner, but that initial experience taught me a lot about my own style and craft. Naturally, my skill and tastes grew in that time. My more experienced eyes were able to see that a passage I had thought was filled with compelling characterization and evocative metaphors was little better than navel gazing. I redrafted that particular introduction half a dozen times, and each version was able to leverage my new skills and perspective. By comparing the initial and final drafts, I am able to clearly plot my own growth.

Though there have been times where I have made notes in a manuscript to rewrite or rework a passage during editing, I would not release a story into the wider world until it represented my best work. I have found that it is generally a good assumption that other writers have the same philosophy. What most non-writers have a hard time understanding is that it is almost impossible to track down and eliminate every error in a manuscript, especially since it passes through so many hands during the publishing process.

The way I see it, if I can recognize that some aspect of my old work is garbage, I must have come a long way from the time that I wrote it. Bonus points if I now understand why it is bad and how to fix it. Therefore, my own terrible prose is a marker of my progress as a writer. For me, that’s very motivating. Being a professional writer isn’t a game for those looking for short term benefit. Rather, writers must be continuously growing and learning. After a while, the trajectory of your skill matters more than the absolute value at any particular moment in your career.

Juggling Personal and Professional Lives – Never Drop the Ball

Balancing Acts Business Goals Motivation Nathan Barra Reflection Self-Awareness Starting a Career The Writing Life Work-Life Balance No Comments

A year has passed since I wrote my post on how we spend our time being a value statement, but I still find that my time is my most precious resource. By the necessity of my choices, I have become very skilled a juggling large workloads. Between extraordinarily long professional workweeks, maintaining my personal relationships, and the every day effluvia of keeping food on my table and a roof over my head, I somehow find the time to regularly blog and write fiction. It is a juggling act that I suspect that many aspiring writers will empathize with.

However, some of those balls, those commitments, have come disturbingly close to hitting the ground recently. I was able to recover, but as I grow older, the number and weight of my obligations grows ever larger. I fear that one day I will accidentally and irrecoverably sacrifice something important to me to feed my ambitions.

I have been pondering this possibility a great deal recently, as both my personal and professional lives gain momentum. For me, personal and professional progress is both exhilarating and terrifying. You see, once you start getting what you want, you have something to lose. As we chase accomplishment, we often put on blinders to what else is important in our lives. As an example, I was fortunate enough to be invited to dinner with an extremely successful author in her field at a convention I recently attended. During the meal, one of the diners asked the author what her greatest professional regret was. I can still remember the broken sound of her voice as she told our group that she was afraid that her daughter would never forgive her for the years she spent locked in her office.

Despite the trepidation that such examples inspire, I am unwilling to give up my writing and my dreams of professional authorship. After all, in biological terms, the fear response serves to both identify potential hazards and prepare us to face them. If I want to accomplish my personal and professional goals, I must use my fear, not be ruled by it. My unease reminds me that I have things that I value outside of my accomplishments, and in so doing, allows me to keep my other priorities in focus. I must choose what I sacrifice, not let circumstances decide for me. As an example, for the past couple of years, I have rarely played video games or watched television. By cutting out these activities, I have made more room in my schedule for writing. I have talked to many authors who have done the same thing. Compared to the rest of my life, that particular sacrifice was well worth the cost.

Throughout my life, I have found that accomplishment is almost always paired with sacrifice. It is up to me live deliberately and choose how I spend my time wisely so that I may both achieve my goals and retain what is important to me. To live is to risk pain. To fear is to be aware of that risk and to manage it appropriately.