Learn the Biggest Secret of Every Good Writer

This is good. No short-cuts. I’d add that growing as a writer means becoming more observant and more attentive to the world around you — and learning how to translate all that into words.

Business in Rhyme

secret_goodwriter

We all know that nobody is born as a good writer. It is a constant process of becoming. And I do believe that the difference between good and bad writers it’s not about the skill or gift. It’s not even about the number of written or published pieces. The key word we are looking for is persistence.

Good writer is writing – no matter how many times he fails or writes crappy work. He is there showing up every day, practicing and trying to improve himself. Not only writing, but everything that goes with writing.

In that sense, I think that biggest secret every good writer knows and we often forget is how good writer treats his bad writing. First, he takes time to write, erase, rewrite, edit, tailor every word to what’s need to be written. And how does he know what’s need to be written? He is…

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How to Write

In a New Year’s Day post to From the Seasonally Occupied Territories, also known as “my other blog,” I wrote about the only New Year’s resolution I remember making as an adult. It was for 2002 and, surprise, surprise, it was about writing.

mud-cover-smI’d been working on my first novel, The Mud of the Place, for three or four years at that point, usually in fits and starts.  I’d never successfully completed anything longer than 40 pages. It was like 40 pages was the edge of a cliff and now that I had a novel draft of 300 pages or so, I was looking down into an abyss with nothing under my feet. I was terrified.

Terror kept me from looking at my manuscript, and the longer I went without looking, the more certain I was that the thing was total, unsalvageable crap.

So my resolution? I will work on the  novel every day until it’s done.

And I did. Some days I wouldn’t open the Word file till five minutes to midnight. Every single time I’d see that the ms. wasn’t crap at all and that just by looking at it I’d know what to do next.

guitar“Beginner,” my New Year’s Day blog post, is about learning to play the guitar. For (semi-)recovering perfectionists like me, learning anything new or doing anything for the first time can be very scary, and sure enough, learning new things is hard. My fingers won’t do what I want them to do, or they won’t do it fast enough, or everybody else in the class is getting it faster than I am. Yadda yadda yadda.

As a teenager I had fantasies of falling asleep and waking up a guitar virtuoso. It never happened. I didn’t dare pick up a guitar or even tell anyone how much I wanted to learn how to play. At that point in my life, being a fumble-fingered beginner was too scary to contemplate.

The intriguing thing is that by that point I was already pretty good with words, and over the decades I’ve gotten better. If I’m a virtuoso at anything, it’s writing and editing — which, by the way, I didn’t realize were considered separate skills till I was promoted from clerical worker into my first editorial job. I was 28 at the time.

But I don’t remember how I learned to write, any more than I remember learning how to speak English. Come to think of it, I had the same fantasies about French, Spanish, and Arabic that I had about the guitar: that I’d wake up one morning with a native’s fluency, having skipped the years of stumbling around making a fool of myself.

I do remember diagramming sentences in grade school, and vocabulary quizzes.  In fifth grade, I wrote a story for my class’s one-shot newspaper. I also adapted a young readers’ biography of Patrick Henry into a play that my class produced. (I got to play Patrick Henry. My most vivid memory of the production is that Thomas Jefferson was twice as tall as I was.)

So evidently I’d achieved some facility by that point, though I’ve no recollection how. I must have progressed through the beginner and intermediate stages without major trauma. By the time perfectionism kicked in for real, probably in early adolescence, I must have been so confident in my facility with words that I knew I couldn’t look or feel like a fumble-fingered fool.

The big problem with not knowing how I learned to write is that I haven’t a clue how I’d go about teaching writing. I’ve actually considered taking a how-to-write course or two, just to find out how others do it. Unfortunately, or maybe not, the opportunities available locally are very limited. Sure, I could devise lessons about parts of speech and sentence structure and the other mechanical stuff, but how to teach the feel for the language that makes me so good at what I do?

I haven’t a clue, beyond “Keep writing, keep reading, keep listening, keep trying new things.” If you’ve got any ideas, please let me know!

6 Questions for Creative Reflection

The only New Year’s resolution I made in my adult life was when I was working on my first novel, The Mud of the Place, and was desperately afraid I was going to choke and not finish it. I resolved to work on it every day until it was done. Note that I did not resolve to write X number of words every day or for X number of hours. Sometimes I was so panicky that I opened the file at 10 minutes to midnight — and every single time I found something that needed doing.

Pretty much my only resolution is “Keep going,” and I make it every day. Nevertheless, I do like this list of non-resolutions and think I will give them a try. Maybe you will too.

Business in Rhyme

creative_reflection

New Year is often a time when we want to close one chapter of our lives and start fresh – with new ideas, with new energy and determination to fulfill our goals.

What usually happens, we do set new goals but as the months progress, so does our goals whittle along with autumn yellow leaves – until they become forgotten, unfulfilled and replaced by random events called life.

Instead of making a New Year’s resolution list, I have a different proposition for you. Why ‘hit your head against the wall’, and think of what and how you can accomplish when you are looking for the answers in the wrong place?

Here are 6 questions for your creative reflection exercise that can help you evaluate what you have accomplished in the previous period/year and maybe start from there? You might have a project that you could finish or idea that didn’t…

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Be Brave

Writing does take courage.

blank paper

The challenge of the blank page

It takes courage to sit down (or stand up, if you use one of those newfangled standing desks) expecting words to appear on the screen or sheet of paper in front of you, hoping that those words will be worth keeping or will lead to something that is.

It takes courage to set out on a journey not knowing whether it’s worth making (probably yes, though maybe not in the ways you expect) and whether you’re equal to the task (probably not, but if you keep going you will very likely become so).

Revision is a key to this process, especially for those of us who don’t plan everything out in advance, and for those of us who do but are willing to go along when the material has other ideas. (More about planners, seat-of-the-pantsers, and improvisation in “Whatever Works,” “Notes and More Notes,” and “Backstory Happens.”)

With nonfiction, I usually know where I’m going at the start but often I don’t end up in quite that place. With fiction, my usual is to put a few actors onstage, give them a task, and see what they do with it. I write it all down and sometimes give direction, which sometimes the actors ignore.

In “When Chitchat Takes the Wheel” I blogged about critiques I did recently of two first-novel manuscripts. Both were full of promise — vivid settings, interesting characters — but both bogged down in dialogue that went on forever and didn’t develop the characters or move the plot forward.

In one case, several characters held differing views about issues crucial to them and to the plot, but they never discussed them with each other. You and I both know how that works, right? When you strenuously disagree with someone you want to get along with, you skirt the contested territory and talk about other things. This makes for amiable relations but it does not make for interesting fiction. Be brave, I told the writer. Let them go at it and see what happens.

In the other case, the endless chitchat had a different cause: the protagonist had no memories from before her mid-teens, but her traumatic early years were key to the plot. Survivors of traumatic events do repress their memories,  but giving this character complete amnesia about her upbringing did not serve the novel well. Other people remembered what she did not, so (1) she was a sitting duck for the villain, and (2) she didn’t know enough to go in search of her own past. Be brave, I told this writer too. Let your protagonist have some of her life back.

I just finished reading a novel with a promising premise: a family’s determination to avoid dealing with a tragic event leads to problems down the road. This premise is common for good reason: it often happens in real life, and there’s so much a writer can do with it. But this writer made choice after choice that kept the tragic event at arm’s length, both for the characters and for the reader. For instance —

  • Everyone affected by the event is warned not to talk about it, ostensibly to protect the one who is supposedly too fragile to handle it.
  • They actually obey the warning.
  • The novel’s sole point-of-view (POV) character is fearful and not given to thinking too hard about the past or anything else.
  • The characters rarely interact on any but the most superficial level.

As a result, the characters don’t develop and neither does the plot. Each character has a shtick, and the dialogue is often clever, but the novel came across more as sitcom than as family drama. Not surprisingly, the writer had to resort to melodrama and last-minute surprises to tie everything together. The result is less than satisfying.

What would I have said if I’d been hired to critique this novel as a second or third draft? Let your characters have their memories and their voices back. Instead of one POV character, try it with three: the three who experience the tragic event as children and then grow up with the memories, the questions, and the silences. And don’t lock them in their closets, impervious to the world and each other. Challenge them! Challenge yourself!

Be brave.

Paper Wolfie

Draft #2

Draft #2 is printed on mostly on the back of other writers’ drafts. The green pages are leftover flyers from the Spirituals Choir I sing in. Note the long comment on the right. Those are notes for draft #3.

Yesterday I printed out draft #2 of Wolfie, the novel in progress. At long last I’m ready to embark on draft #3.

I’ve been edging toward this point since early June, ever more slowly, it seems. One of Zeno’s paradoxes has been much in mind — you know, the one that says you will never reach the wall you’re walking toward because first you’ll be halfway there, then you’ll be three-quarters of the way there, then you’ll be seven-eighths of the way there, and so on.

Logic or no logic, math or no math, if you keep walking sooner or later your nose is going to collide with the wall. Work or no work, heat or no heat, I kept writing and I did get to the scene at the end of draft #2.

Which is not the scene that ends the novel. I’ve got two or three or maybe four scenes to go before I get there. I’m standing at the brink of a narrow but deep chasm. Between the tendrils of mist wafting by I can glimpse what’s happening over there but I can’t see it clearly. I need to find myself another crossing point or build myself a bridge.

That’s draft #3. Draft #3 is a daunting prospect because several threads have been growing through the cracks of draft #2 and who knows how they’ll weave together or what else will want to change in the process? Draft #2 is going to tell me all this as I reread it and the many notes I’ve jotted to myself on the journey, some on the computer file, some in my notebooks.

But draft #2 didn’t start talking till I’d printed it out.

A week or so I was reminded of how important the visible, tangible weight of a manuscript can be.  I’d written a scene (in longhand) from one perspective, then stalled. What next? I wondered. So I wrote the scene again from another perspective — an omniscient overview that I haven’t used anywhere else in the book — and what next flowed out of my pen as fluidly as — well, as fluidly as the black cherry ink I was writing in.

I typed both versions into Word, intending to weave them together but wound up staring at the screen with my fingers hovering over the keyboard. Brain freeze. The two versions glared at each other like strangers who don’t want to dance. So I printed them out, and while I read them, page by page, pen in hand (loaded with fiery red-orange ink), they began moving together: this sentence here and that paragraph there and you don’t need this little bit at all . . .

Getting eight or ten pages to dance together isn’t such a big deal. Now I’ve got 466. One of my mantras has long been “Your writing will teach you what you need to know.” Draft #2, it’s up to you.

Thanks to writer Glenda Bailey-Mershon, whose recent post about cutting and pasting in her Weaver’s Knot blog helped inspire this one.

Breakthrough

I’m walking toward a wall. The wall is solid. It stretches upward, leftward, and rightward as far as I can see. It looks like the Great Wall of China.

The closer I get, the more slowly I walk. Small steps turn to baby steps turn to walking in place. If I don’t turn around, I’m going to break my nose on the wall.

I keep walking. A crack appears in the wall. As I walk, it gets taller and wider. I glimpse what’s on the other side.

I sit down, pen in hand, and start writing. The other side gets clearer and clearer. When I look back, I can’t see the wall at all.

20160730 breakthrough

The other side of the wall

On Inspiration

Truth. Nothing is wasted, everything is compost, and exploring within is at least as important as having exotic experiences. Another good one from the Business in Rhyme blog.

Where is the inexhaustible source of inspiration for your writing?

Business in Rhyme

disraeli

I’m going to be quite bold in my next statement and say that it lies in you. You are your most valuable and inexhaustible well of inspiration for any story, poem, article or blog post you want to write. Sounds strange? Now, before you dismiss the rest of the article, let me elaborate a bit:

Often times, we look for external stimulants, information for guidance and ideas for our writing. But I believe that our own actual, raw and vivid experiences are our truest guides in which direction our writing should go. Every event, relationship, travel, struggle, joy, pain, suffering, reasons to be happy…are our best source of inspiration. When you share sincere bits of your personalities, these are the parts that people can relate to most.

You can write a beautiful poem about your ordinary everyday trip to a grocery store (like an ode to strawberries 🙂 ), you can…

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Let Gratitude Empower Your Creativity

I’m not usually inspired by “inspirational” writing, but this post about gratitude was exactly what I needed to read before I got down to writing this morning. Instead of beating myself up about how long it takes to write a novel and how maybe it’s a stupid thing to be doing, I’m grateful for the characters who want me to tell their story and the words that come to me just when I need them.

Business in Rhyme

Deepak

In almost any religion and culture we have heard of the importance of being grateful: to search for positive aspects in life instead of dwelling on what is wrong and how world is a bad place to live in. Our modern and fast paced environment has so much to offer: yet we  get trapped in to trivial and petty things instead of concentrating our attention on more important experiences. Those negative feelings that arise can literally block our creative energy, potential for problem solving and seizing the opportunities.

Gratitude can help us combat fear and anxiety. That feeling of appreciation opens the door for receiving even better things to flow into your life – like creativity. Experience of positive emotions and nurturing the state of well-being helps us engage in the  activities that encourage discovery and growth. Your observation improves; your relationship with the environment improves and you tackle problems…

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Structured Revision: Keeping Your Novel on Track

I’ll almost certainly be starting draft 3 of Wolfie before I finish draft 2, so Alison McKenzie’s assurance that it really is OK to edit before you have a complete draft came at just the right time. Wrangling book-length works into shape is a challenge no matter what, but I’m intrigued by her “25K rule” and might try it with novel #3. If you’re working on a novel, novella, or book-length memoir, check it out.

Crimson

Just found this gem by the author of The Glass Bangle, one of my favorite blogs. Eloquent, intensely visual poetry about writing, and about other things.

The Glass Bangle

He was a poet, dabbling

Pic COurtesy:MAte Marschalko; FlickrPic COurtesy:MAte Marschalko; Flickr

in words and quicksilver thoughts

They spoke to him

about silences and dreams in black and white

about unicorns and blood-red wine

and sharp shards of glass

She was a book

languishing on his desk, littered

with all he held dear

crumpled promises and whispered sighs

bittersweet memories of silken hair

fractured smiles and drained emotions

He wanted to fill her

with words etched in gilt and gold

he yearned to write about a

breathtaking smile that threatened

to cut his heart to shreds

leaving stains of rust and blood.

She waited with bated breath

hungering for his thoughts.

his blood crept onto the paper

the crimson bands on his wrists

brought salvation and redemption

embracing her finally.

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