Deadly Perfection – Why It Kills Writers (and our novels!)

“A poem is never finished – only abandoned.” – Paul Valery

Have you ever been frog-marched to a particular session at a writing conference because your writing friends are absolutely convinced you HAVE to be at that session?

OH. Good. I’m not alone! 🙂

Last Saturday, I attended the Nimrod Writer’s Conference at the University of Tulsa on Saturday with a group of fellow writer friends. One of the sessions was cleverly titled, “How do I Know When I’m  Done? Strategies for Revision.” That’s the one I was forced to attend. Seriously. You’d think I had a problem with finishing novels or something . . .

This was a panel session, meaning that four authors held a discussion with the audience about their revision strategies and – yes – knowing when you’re done. Three were fiction writers; one was a poet, so they had varying points of view about this issue!

For me – as for many, many, many writers, maybe even you! – perfection is the siren call. We know it’s a siren call. We know that by following it, we are abandoning all else. We know that by trying to find it, we’re risking running ashore, having our novels crash and burn, having ourselves crash and burn. That’s what sirens do. They make you destroy yourself. Perfection is a Siren. She’s insidious and seductive, and she makes you think one more draft, one more set of rewrites, moving this scene here and tightening this, creating a better motive for this character . . . ad infinitum . . . and then it will be done because it will be Perfect. 

I am a perfectionist. I know whereof I speak. I also know that perfection is not achievable. So did the panelists. But for them as well, it’s a siren song that’s hard to resist. So how do they do it? Well, as one put it, “Perfection is the enemy of the paycheck.” When you’re a published author and on a deadline, you just don’t have time for perfection! It has to get as close as you can get it by the deadline, and then you have to let it go. (Though at least one admitted that when your intuition tells you the novel isn’t right, you should listen to your intuition . . . because otherwise, your lovely, sweet, supportive editor will call you and in the nicest voice possible, say, “Oh, honey . . . NO.”)

However, for poet Patricia Smith, it’s a little different. She has more time to work on her poems. She performs her poetry live, and so she gets feedback on it constantly. Or, as she said, “Perfection is fluid, it changes from audience to audience. Perfection is a shifting thing, depending on the needs of the people I’m writing for.”

So perfection isn’t a realistic goal. So . . . you’re off the hook, right?! No edits! No rewrites! One draft and you’re done! Right?

WRONG.

Perfection may not be achievable. But in today’s world of publishing, we have to get as freaking close to it as we possible can. Your first draft, as my friend and novelist Debra Dockter says, is a sandbox; you put up railroad ties and pour in the sand, and then you get to play in it. Revisions. Revisions are where we pull out ideas of theme, deepen character motivation, establish settings. Or, as one panelist put it,

“Revision is where the magic is.” 

But. How long those revisions take is another matter entirely. If you’re on deadline – well, in the words of one panelist, “Deadlines are a great way of knowing when you’re done.” You might get a small grace period, but you’ll be overnighting that thing to New York in the morning for sure.

pointing+hand+vintage+image+graphicsfairy2What resonated with me, though, was the comment made by one author on the panel. She said the danger of taking years to write a novel is that we grow, change, learn. We’re not stagnant. 

This one made me sit up and take note. That’s why I put my handy-dandy nota bene icon next to it. I know this. I know this firsthand. I’ve seen my writing grow and change over the years – yes, since I’ve been working on this series! I’ve gotten older. My perceptions have changed. The core of who I am hasn’t – but my writing style, my world-building, my word choices, have all changed. And my characters have, I hoped, kept pace a little. Grown and deepened as well.

But that’s the problem. Every time we evolve, we look at the novel with a slightly different outlook. And that outlook makes us go back to revisions. Some are good. Some are redundant, unnecessary. Who can say if taking nine years to write a novel is good or not? Maybe it takes that long for some writers to mature into their voices, to develop the skills to pull off a novel. As Patricia Smith put it, “Sometimes things don’t work because they’re asking for something we don’t know how to do at the time.” We mature as writers. We figure out solutions to things that were unsolvable a year ago, two years ago.

And at the same time, we run the risk of putting off the inevitable.

So I’ve made a commitment to myself. And now I’m putting that on paper. My novels will not be perfect. That’s a hard, bitter thing to accept, but I guess I can work up to that. What I HAVE to do, though, for myself and my characters, is get the damn thing done. Finish this last round of edits, and take a deep breath, and send it out into the world, knowing it won’t be perfect. Knowing there will be rejections, and maybe an offer, and if there are offers, there will be more rewrites, more edits.

If we ever want to be published, we have to accept the sad fact:  our novels are never finished, only abandoned. And although I known this blog post isn’t perfect, I’m publishing it anyway!

(And just so you know we’re not alone, here’s a few links to other articles on overcoming perfectionism in writing!)

https://thewritepractice.com/writing-perfectionism/

https://www.craftyourcontent.com/writers-perfectionism/

https://mandywallace.com/writing-perfectionist/

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What’s in a gait? Horses and how they move.

As I peruse writing message boards – especially those seeking advice on certain questions – I often see some variation on this:

“How long can a horse gallop?” “How long can a horse go without rest?” “I’ve got my hero needing to ride his horse 20 miles in one hour. Is that possible?”

Yeah. NO.

Nothing pulls a reader out of a book faster than finding something that’s Not Right. If I read that a horse is galloping for an hour straight, I’ll chuck that book straight across the room! So I thought this week, I’d see if I could clarify a few things when it comes to horses and their gaits.

The basic gaits:  The way a horse moves is called a gait. Horses have four basic gaits:  walk, trot, canter, gallop. (We won’t get into the gaits that some breeds are specially bred for.)

  • The walk is a four-beat, flat – well, it’s a walk.
  • The trot is two-beat; the horse’s diagonal legs move together as a pair. Human equivalent is a jog. Here’s a link to a short video on YouTube:  https://www.youtube.com/watch?v=XkRieNqW56o (There’s also the pace, but unless you’re writing about Standardbred racing, I wouldn’t worry about that.)
  • The canter is a three-beat gait; most horses find the canter easy to maintain, and it’s easier to ride than the trot.
  • The gallop is the fastest gait a horse has. It’s four-beat, and cannot be maintained for long (it depends on the fitness of the horse, the terrain, etc. but it’s like having a person sprint. They can’t maintain that for long.) Horse racing is the gallop. Here’s a video of the most famous match race in history – Seabiscuit vs. War Admiral, 1938. https://www.youtube.com/watch?v=WVT2MPNCqgM Notice how at the end, Seabiscuit’s legs are nothing but a blur? That’s why horse races only last 1-2 minutes. Horse just can’t maintain this pace for that long.

Here’s one of the most fantastic videos I’ve ever seen – this is Edward Gal and his most famous ride, Moorlands Totilas. This is Grand Prix Dressage. Unless the horses in  your book DO Grand Prix dressage, they won’t be doing any of the movements you see here – but this will give you an idea of the basic gaits and how they differ from one another. Totilas enters at the trot; the walk is at 3:29; the canter work begins at 4:00. Also – most horses who do dressage work, even at the Grand Prix level, don’t make it look this damn effortless. Totilas is in a  class by himself.  https://www.youtube.com/watch?v=GT6Yn7SLkmQ

How long can a horse maintain its gaits? It depends on a lot of things – are they at liberty? How fit are they? How much does the rider weigh? How much other weight is the horse carrying?

When you see Westerns with the riders galloping their horses hell-bent across the desert – YEAH, RIGHT. Doesn’t happen. Not for long, anyway. The same thing with the stagecoaches and the four-horse teams cantering or galloping down the road – just NO. Maybe for very short bursts, but those stagecoaches were bloody heavy! Mostly, those horses walked and trotted. Mostly they walked. Have you ever seen True Grit? Remember the scene at the end where Rooster Cogburn gallops the pony to death in order to save whats-her-name, the whiny little girl? That’s the reality. That’s what happens when  you gallop a horse too fast, for too long.

It also depends on the breed or type of horse you have. If you’re writing a Western, your horses are probably going to be a mix of several breeds. The cavalry had Thoroughbreds, which often escaped and bred with local stock, producing a tough, smaller horse that was more suited to the environment. If you’re writing a medieval history and you have knights, they would have ridden draft or draft-crosses – horses big and heavy enough to carry a rider, his armor, and his incredibly heavy saddle. Here’s a chart that shows some of the major draft breeds – as you can see, there’s quite a bit of difference between them all!

draft_horse_breeds

ALSO – if you research this further, you’ll find that many times, Western riders have different terms for the gaits. They refer to a trot as a ‘jog’ and the canter as a ‘lope’. In point of fact, if you show Western, these are the proper terms. ‘Lope,’ however, is often a four-beat, quasi-gait, and not a true three-beat canter, and the ‘jog’ is often more of a shuffle. To illustrate, here’s a video from the 2008 Quarter Horse Congress:  https://www.youtube.com/watch?v=stEgqgnbC4M (I’m trying to be fair, but I absolutely despise the way Western Pleasure has gone downhill! When I showed 20+ years ago, proper gaits were still rewarded – ugh.)

I hope some of these videos help illustrate the basic horse gaits, and maybe clarify any questions you might have had. 🙂

Now that NaNoWriMo is over . . .

So. NaNoWriMo is over. Maybe you got to 50,000 words. Maybe you didn’t. I did!

But even if you didn’t . .  . Take heart. Take stock of what you’ve written. Was it a novel you’ve had in mind for a long time? Or something you just started on a whim, with no idea where it would end up? Did you have notecards and plans and research done, or did you just say “hey, what happens if you take x and y and mix in this and that and . . .”

Either way, it’s good. You wrote.

But what now?

Apparently (and I didn’t realize this until I found this article – http://www.salon.com/2010/11/02/nanowrimo/), there’s a problem with NaNo novels being pushed onto unsuspecting agents and editors without any thought to the process whatsoever. To save you the trouble of reading the entire rant, here’s the salient point:

I am not the first person to point out that “writing a lot of crap” doesn’t sound like a particularly fruitful way to spend an entire month, even if it is November. And from rumblings in the Twitterverse, it’s clear that NaNoWriMo winners frequently ignore official advice about the importance of revision; editors and agents are already flinching in anticipation of the slapdash manuscripts they’ll shortly receive. “Submitting novels in Nov or Dec?” tweeted one, “Leave NaNoWriMo out of the cover letter … or make it clear that it was LAST year’s NaNo.” Another wrote, “Worst queries I ever received as an agent always started with ‘I’ve just finished writing my NaNoWriMo novel and …’”

I’d like to say that surprises me, but – given that I actually once read a message board post that said, ‘I just finished my 88,000 word novel two hours ago and uploaded it to Amazon as an e-book, and NO ONE has downloaded it! What do I do?” – I can’t. This could, in fact, be a pervasive problem.

So what do you do?

The last time I won – three years ago – I knew I wasn’t done with Nicky. Not by a long shot. I wasn’t sure exactly where it was heading, but I did know that Nicky and I stood at the edge of a big adventure together. I knew this would be bigger than any book I’d ever attempted before. Which is probably why I’m still feeling my way through it.

This year, I did a bit here and a bit there. I wrote on three different novels, in fact. None are done yet. But that’s not really what NaNoWriMo is about. It’s not about finishing a novel; it’s about starting that journey. (I think, anyway.)

So if you won NaNo, congratulations! But now, let’s think. What, exactly, have you written?

It’s time to be honest, unfortunately, and that’s hard for a lot of us. But as a writer, you have to be realistic about what you’ve written. I know, I know:  this is your baby. You just spent an entire month (more, hopefully!) writing it, crafting it, bringing it to life. You’re too close to it. Just like no parent wants to admit their child is a screaming, raging, bullying lunatic (and if you’re saying “but mine isn’t,” trust me, IT IS!!!) no author wants to admit their novel has problems.

You have to, though.

If you’re still writing, that’s great. That means you’re not satisfied with it yet. You’re not done. Keep going! Maybe NaNo just opened the floodgates for your characters and you’re only now feeling them come to life. That’s fantastic! Keep going!

But if you feel done . . . let’s evaluate.

  • How many words did you do? If you’re at less than 50,000 words, either keep writing or . . .
  • You need to decide: Is this a novel? A novella? A very long short story?
  • How do you know? Simple. Does it have a beginning, middle, and end? I’m guessing that yours may have only the beginning and the middle. The ending is probably not quite there yet. Keep working.
  • Characters: are they fully formed, or do they feel like cardboard cutouts you’re parading around on a stage? Do you know what they want? Do they know what they want? If not, keep writing. This goes for ALL your characters! Main characters, secondary characters, even – especially – your baddies.
  • Do the characters have believable goals, and do the goals remain consistent throughout? (Do their names remain consistent throughout? If you’ve been on a 30-day writing binge, you might accidentally have renamed someone at some point.)
  • Does the beginning jive with the end? In other words – do the characters achieve the goals they set out to achieve in Chapter 1? If not, keep writing. It’s really not surprising to find that your characters change from the start of your draft – what you thought you were going to write about isn’t what they want to talk about. That means they’re taking on a life of their own. And that’s a good thing! But it does mean some rewrites.
  • Are there plot holes? If so, fix them. Are there places where you just wrote “Stuff Happens” and forged ahead to a scene you really wanted to write? Nothing wrong with that – writers do it all the time – but you do eventually need to figure out what ‘stuff happens.’
  • Do all the characters have a reason to be there? If not, get rid of them.
  • Maybe most importantly of all:  are you scared to death to let your beta readers see it? If so, it’s definitely not yet ready to go out into the world!

While these are obviously big, overarching things – that’s where you need to start, because any one of these will cause a publisher or agent to toss your submission like yesterday’s cat litter. As harsh as that blog post I quoted above is, let’s face it:  it’s true. Agents and editors are looking for reasons to reject you out of hand. Your job is to force them to read your manuscript.

There are many published books that started as NaNo projects, but they all have one thing in common:  the authors took the time to craft them afterwards, to mold and shape them into a readable, marketable work.

Now, that’s your job, too.

 

Here’s a link to some novels that got their start as NaNao projects: http://mentalfloss.com/article/53481/14-published-novels-written-during-nanowrimo

And here’s a link to the NaNo Official List of published NaNo projects:  http://nanowrimo.org/published-wrimos

And, to give you some inspiration and make you feel better about that first draft, here’s a great blog post from NaNo published writer Alan Averill:  http://blog.nanowrimo.org/post/128034053636/i-spy-with-my-critical-eye-trusting-your-inner

Inspired by true events . . . authors, agents, and publishing.

Last Saturday, I trekked 60 miles – about an hour and a half – to hear a ‘publishing panel’ at the Wichita Public Library.

I didn’t really know what to expect, and since I was about 15 minutes late (darn my addiction to white chocolate-cinnamon chip scones!) I honestly can’t tell you who the panelists were – I know one of them was former Kansas Poet Laureate Denise Low-Weso, who is co-publisher of Mammoth Publications (https://mammothpublications.net/). (No, the information’s not available on the library’s website, either, sorry!) By the time I got there, they were taking questions from the audience.

Most of the audience seemed to be beginning writers – there were some that were already published, either by small presses or self-published. I have to say that I think the panelists would have been best if left alone to answer the questions. However, there was a facilitator – a librarian – who simply wouldn’t let that happen. By the time it was over (half an hour early), my inner teacher had kicked in and I wanted to stand up and say LISTEN PEOPLE, IF YOU REALLY WANT TO KNOW THE ANSWERS TO YOUR QUESTIONS, LET’S GO OUTSIDE AND I’LL GIVE IT MY BEST SHOT! It was pretty clear that most people had come to get specific answers to specific questions – but they didn’t get them. And I felt so bad for them.

But I did want to address one question that was handled so poorly, the advice given was useless. Here it is:

I’m already self-published, but I haven’t had much success. How would I break into mainstream publishing? The facilitator wouldn’t let the panelists answer this question. She answered it herself and her answer was total crap. Her suggestion was to get a blog and get your books listed on Goodreads.

pointing+hand+vintage+image+graphicsfairy2Here’s the real answer:  GET AN AGENT. It really is the only way to break into mainstream publishing, even with small houses. Very few reputable publishing houses will accept unsolicited manuscripts. They just get too many! Last year, a fairly well-known sci-fi publisher accepted open submissions (no agents) for 30 days. They had more than 5,000 submissions. They did not read them all. Agents, for better or worse, have become the gatekeepers of the publishing world.

Agents aren’t just a gateway, though. They may be the first people to really critique your book and give you honest, unflinching, realistic views about it. I love my beta readers in large part because I know they will tell me that crap is crap. But so many people don’t have those kinds of betas – they have the kind that gushes over everything and proclaims it perfect. (Much the same way I imagine Trump’s handlers must do every time he opens his mouth and tries to utter a coherent sentence and fails spectacularly.) Agents don’t have time to do that, though. This is their business. They’ve got to sell books to publishers in order to keep their cars and houses. That’s why they’re so choosy about the projects they take on. On average, agents will only take on a teeny, tiny fraction of authors who actually query them. They don’t have time to do more.

Your first taste of how critical agents can be will come with the query letter. (For more on this, see my blog post https://kswriterteacher.wordpress.com/2015/05/03/agents-authors-and-query-letters-oh-my/ ) But I will say this:  the days of a form query letter addressed to ‘sir or madam’ are OVER. If your query letter isn’t 100% right, kiss that agent goodbye. Agents have requirements on their websites. Follow those requirements. Follow them to the letter.

There’s several responses you might get to your query letter. A lot of agents don’t even respond to query letters if the answer is ‘no,’ and I think that’s just wrong. Some will send a form letter back – ‘thanks but this isn’t for us.’ If the manuscript is good, but not their thing or not quite ready, they might send a personalized note – ‘Hey,  I really liked x, y, and z about this, but I’m not the best fit for the project,’ or ‘Like the concept, but the main character needs work.’ If they like the manuscript and they think it’s close to being ready they might say ‘look, I’m excited about this project, but there’s changes that need to be made to it. I’ve got them listed on the next page. If you’re willing to do that, then resubmit when you’re done and we’ll talk.’

If you get that last one, the agent’s interested. Really interested. If they take the time to not only read your manuscript, but also to make detailed notes about what they’d like to see changed, they’re interested.

Of course, what you really want is an email that says “OMG, I love this – can I call you at x time on x day to talk about representation???? Please????” 🙂 Been there, done that, best feeling in the world!!!! But even then, you might find that the agent isn’t the best fit for you and your work – and it’s up to you to make that decision. They might be asking for changes you’re not willing or able to make. That’s where you have to take a step back and say okay, do I want to be published – or do I want to be a writer? No, they’re not the same thing.

But to get back to the original question –

Agents are the ones who know what editors want. A lot of them started out in publishing, as either editors or junior editors. They know how to make a pile of pages into a book. They know which editors are actively seeking new projects – and what they want. And agents are the only good way to break into traditional publishing.

The sad fact is this:  yes, there are a handful of self-published authors out there who had the traditional publishing world come knocking at the door. A handful. That’s it. Hugh Howey had this kind of success with Wool (it started as a short story that evolved into an online novel; but by the time Simon & Schuster came along, it was already making more than $100,000/month on Amazon). And of course . . . E.L. James and Fifty Shades of Grey. But seriously? That’s like IT. So the odds of your novel a.) making it big on Amazon and b.) attracting an unsolicited bidding war between the Big Five are c.) astronomical.

I did a blog post a while back that included a bit about self-publishing – https://kswriterteacher.wordpress.com/2015/09/13/what-the-bleep-do-publishers-want/ – and the fact is this:  if you’re self-published and your novel isn’t doing well, it’s time to pull it and think about why that is. That’s what a good agent can help you with. (Also, a good freelance editor, who will – for a fee – read your manuscript and make suggestions. If you’re not good at editing, spelling, grammar, etc. I highly recommend you do this.)

One last sad fact to leave you with today:  most writers won’t break into mainstream publishing, depending on what your definition of ‘mainstream publishing’ is. If you’re only shooting for the Big Five, it’s a long uphill slog. If you’re okay with a smaller press, you’re in luck – they’re much more willing to take on new authors and more willing to work with you to make that novel successful. Again, these are things your agent will discuss with you.

But if you want to be published ‘mainstream,’ finding an agent is the only way to do it.

Some helpful links:

http://www.writersdigestshop.com/writers-digest-october-2016?utm_source=writersdigest.com&utm_medium=referral&utm_campaign=wd-bak-bl-161001-oct16-preview – this is the latest issue of Writer’s Digest, which had some great insights into what agents are seeking, as well as a list of new agents seeking authors. No, there’s no articles here, but you can run out to your local bookstore and grab it. 🙂

http://www.writersdigest.com/editor-blogs/guide-to-literary-agents/11-steps-to-finding-the-agent-wholl-love-your-book – from Writer’s Digest.

http://www.sfwa.org/real/ – from the Science Fiction and Fantasy Writers of America, on how to find an agent.

 

 

 

 

 

The Procrastinating Writer

If you’ve read any of my blog posts, you probably know one thing about me:

I like to procrastinate.

Well. Wait. That’s not really true. I don’t like to procrastinate; I need to procrastinate. Yes, there is a big difference.

One thing I know about my writing – or anything in my life – is this:  If it feels wrong, if it feels forced, there’s a reason for it. Something with a capital S is telling me wait a minute, hang back, let’s see where this is going, this isn’t quite right, we need to regroup . . . a bit like Bill Paxton’s character in Twister when he thinks the tornado is going to change tracks and if they keep going they’re going to be right in its path.

A lot of people procrastinate for the wrong reasons – they’re bored, or they don’t want to do the work. That’s NOT what I’m talking about here. What I’m talking about was something I couldn’t quite put my finger on, until yesterday when I heard this fantastic TED talk by Adam Grant. Here’s the link:  http://www.ted.com/talks/adam_grant_the_surprising_habits_of_original_thinkers/transcript?language=en#t-300538

Grant is also the author of a book I almost bought yesterday, Originals:  How Nonconformists Move the World, and his belief is this:  procrastinators are more likely to be creative, and more likely to be world-movers, than non-procrastinators. Let me be clear:  this doesn’t apply to all procrastinators!!!!!! Some are just goof-offs and there’s nothing to be done there. But for some us – and yes, I’m including myself in this subset for one very good reason – procrastination serves a purpose.

It gives us space to think.

It gives us space to be creative.

Seriously. Walk with me for a minute. Let me explain.

We’ve all had writer’s block, yes? I don’t need to explain the mechanics of it to you – the numbing doubts, the overwhelming choices, the dread of putting fingers to keyboard and finding nothing there. Some will tell you it doesn’t even exist; some will tell you the only way to get through it is to keep writing, even if it’s nothing more than dribbles of cold pudding. Write, damn it! Write! Write! Write! Sort of like a prison guard telling prisoners to move these cement blocks over here and stack them and now take them and move them over there and don’t you dare stop! There’s no purpose to moving the cement blocks; it’s just something to keep the prisoners active. Writing, when you have writer’s block, can be the same way.

Here’s what I find, and this was the big revelation for me in Grant’s TED talk:  procrastinating gives you the chance to, as he puts it, “doubt the default.” You were 100% sure your novel was going in X direction. But then you get writer’s block. Why? Maybe your brain is doubting the default. Maybe this isn’t the best idea after all. Maybe it’s trite, overdone. Maybe it’s not what your characters would really do. Maybe, if you walk away for a bit, you’ll come up with something better. Here’s what Grant had to say about that:

Vuja de is when you look at something you’ve seen many times before and all of a sudden see it with fresh eyes. It’s a screenwriter who looks at a movie script that can’t get the green light for more than half a century. In every past version, the main character has been an evil queen. But Jennifer Lee starts to question whether that makes sense. She rewrites the first act, reinvents the villain as a tortured hero and ‘Frozen’ becomes the most successful animated movie ever. So there’s a simple message from this story. When you feel doubt, don’t let it go.”

Because here’s the thing:  your brain doesn’t stop thinking about your novel and your characters just because you’re not writing actively. It’s still processing. Somewhere, deep inside, little gears and gizmos are whirling away. Or alternatively, your characters are waiting for you to listen to them again. However you personally look at it. 🙂 Grant noticed this, too:  he said that one reason we like to-do lists is because once we cross something off the list, we can stop thinking about it. But those ideas we procrastinate on? We can’t cross those off the list. They’re just – there. So our brain works on them. We may not know what to do about them. We may not want to do anything about them. We may not know what direction to take next. It’s okay.

We’re procrastinating with a purpose.

Grant talked about this as well. He was writing the book I mentioned above, and had a chapter on procrastination. So:

I thought, “This is the perfect time to teach myself to procrastinate, while writing a chapter on procrastination.” So I metaprocrastinated, and like any self-respecting procrastinator, I woke up early the next morning and I made a to-do list with steps on how to procrastinate. And then I worked diligently toward my goal of not making progress toward my goal. I started writing the procrastination chapter, and one day — I was halfway through — I literally put it away in mid-sentence for months. It was agony. But when I came back to it, I had all sorts of new ideas.

So being a procrastinator can help generate new ideas and more creative angles and solutions to problems than forcing yourself to work through to the end.

Right now, I’m stuck again on Nicky. I had that great revelation a few weeks ago about how the rest of the novel should flow, and that opened me up to a wonderful, absolutely wonderful, run of writing. But now – I’m stuck again.

I’m not worried, though. I’ve been here before. I’ll be here again, with Nicky and with other books. I’m procrastinating, but I trust the process. (Meanwhile, these two new characters just showed up on my doorstep one night to ask if I’d write their story and of course I said yes, get in queue . . . but they’ve decided they’d rather try to jump ahead of everyone else.)

So that last bit is very important – I’m not not writing. I’m still generating ideas and jotting down scenes and listening to these two characters and their crazy romance and doing research. It’s just that I know if I push it on Nicky right now, I will get crap. I don’t want crap. I don’t want to waste time on crap. More importantly, it won’t be the right crap. It won’t be anything I can work with. I know that about myself and my habits by now. Heck, even if I walk away from writing completely for a while, I know I can come back to it and pick up where I left off.

Of course, you can’t procrastinate forever. And there’s a very fine line between creatively procrastinating and being lazy. One gives you space to generate creativity; the other generates nothing.

But if you’re stuck on your novel – give it a try.

 

Here’s some other links on the same topic:

 

Half-Baked Cupcakes: Getting Your Characters “Done”

It’s no secret:  I’m a historian, and I write a lot of historical fiction. Even my urban fantasies are infused with history. (Sort of hard not to be, when one of my MCs is an 18th-century ghost, I guess.)

But one thing I’ve learned over the past years is that characters will often come to you fully formed – including backstory – and sometimes, they don’t. They’re like a cupcake that’s not quite done in the center. It looks done; the top has risen, and it looks like all the other cupcakes, but it’s just not. Stick the toothpick in, and you get a gooey mass of unbaked chocolate batter.

So what do you do?

There’s a couple of things. First, figure out what you do know about this character. They came to you, so clearly you need them in the story somehow. They fulfill a purpose. Of course, if this is the waiter that brings your MC a glass of water and we’re never seeing him again, then no worries. Don’t bother. But if this is the waiter that brings your MC a glass of water, and suddenly he pulls out a gun and shoots at the baddie that’s been secretly stalking your MC – wow. He just turned into a Real Character. How’d he come to be there? Why is he packing? How many more tricks does he have up his sleeve, and where did he learn them?

Those are the things you may not know right now. You may be just as shocked as anyone that this random guy has done this. Maybe you meant for something else to happen in that scene. Who cares? Go with it!!!! Because if this character can suddenly insert himself into your novel like that, he’s worth keeping.

So. You can talk to him, of course – do a character sketch, where you let the character tell you about his life. I do this a lot.

But depending on what he says, you may also have to do some research. Let’s say he’s Interpol. Well. What do YOU know about Interpol? Maybe nothing! Maybe you head the term on an old rerun of “Magnum, PI.” So you’ll need to do your research. What you learn in your research will shape who he is. If he’s Interpol, chances are he’s not American – so what is his nationality? That will give you race, religion, ethnicity, beliefs, other languages he speaks, contacts & connections . . . You might even change your mind. You might realize he’s not Interpol at all – instead, he’s Mossad (Israel’s version of the CIA). Or Scotland Yard.

Well, then what?! 🙂 More research!

If you hate research, then better stick to the old adage “write what you know.” But even then, there’s going to be research. Let’s say you’re writing about your home town and one of your MCs is an auto mechanic. Do you know anything about that? Or maybe he’s engaged to a woman who runs the local movie theatre. Or teaches for a local college. Research!

I’m doing this right now with Sarah, my female lead in the historical romance I’m working on. The more I research Massachusetts circa 1774, the more real she becomes.

Another example is Rebecca, from my urban fantasy series. Rebecca appeared briefly in one novel, but I was always intrigued by her and finally decided that she needed her own novel. So I wrote it. It sucked. Mostly because I had no idea who Rebecca was. I thought I did:  I really thought I did, but in reality, she was a caricature. Calling her a half-baked cupcake is a kindness; she hadn’t even been put in the oven yet! In truth, she was missing quite a few key ingredients!

So I put it away, embarrassed I’d even let my beta readers see it.

And then one night – about six months later – I had a very clear scene in my mind. Rebecca, squaring off against her husband, only I knew that it wasn’t really her husband, but something else. I grabbed my laptop and started writing – and from the second my fingers touched the keys, it was her voice coming through. Calm, educated, scared to death. In love so deeply with her husband that she might very well drown in it. And yes, a woman living in the 17th century with powers no one could attribute to anything other than witchcraft. It was that voice I’d been waiting for. It simply took her longer than my other characters to bake.

What’s funny is that there’s another character from these novels. a ghost named Shannon, who came to me 100% done and ready to raise all kinds of hell. But Rebecca was more subtle. I needed to do more research on the time period, read more about the witch trials of the time, review the Malleus Maleficarum. And in truth, there was another character who I needed to know more about – her nemesis. They began to come to me in tandem, telling their stories. In truth, I love her nemesis – he’s an extremely complicated character, and makes no excuses for it. But I needed to research him as well. I needed to know how he came to be in her village, and once I understood that . . . I had no problems.

Rebecca is much closer to being done than she was a year ago. I’m still struggling with how to finish her story and embed it into the existing novel without a ton of rewriting – it’ll involve some experimenting with format, and I’m okay with that. Besides, I’m still doing research for both her and Sarah. And with every new fact I learn, the more ‘real’ I know they’re going to be.

Someday, they’ll be cupcakes fresh from the oven. Fully baked. Ready to be frosted and consumed by readers.

At least, I hope so!!!!

An Evening with Elizabeth Gilbert

This past Monday, I was lucky enough to see one of my favorite authors – Elizabeth Gilbert – live. Thank you, Watermark Books in Wichita! 🙂

I picked up a copy of Eat, Pray, Love this spring . . . and as I’ve said before, you have to be a certain point in your life to truly get this book, on the level it’s meant to be understood and contemplated. It saved me. I’m not really ‘there’ yet, but this book made me realize that you can have everything that everyone thinks you should have, and still be miserable – and that’s okay. I meant, it’s not okay to be miserable, but it’s okay to seek Something More, or Something Else. So when I heard that Watermark was hosting her in October, I bought my ticket the first day they went on sale.

This was a stop on Liz’s tour to promote her newest book, Big Magic. It’s about how to find creativity and make room for it in your life. I admit, I haven’t had a chance to read it yet, but I wanted to share with you some things Liz told us.

First:  she admitted that this book has been in her mind for twelve years. Twelve. Years. Why hadn’t she written it before now? Because, as she said, “I felt i needed to establish the chops, and make sure I had the authority to stand here . . . I needed a few more books under my belt first.” But she couldn’t stop thinking about it. At first, she thought it needed to be something grander, a huge volume about creativity based in neurobiology and science, so she bought lots and lots of books on the subject. And then one day . . . “I looked at all of those books on my shelf and decided I didn’t care! I needed to do creative work – a completely irrational thing to do.” And it was this thought that finally made her sit down at her desk and work.

Liz isn’t shy about pulling punches. In fact, that idea that creative people – whether we’re writers, photographers, artists, or whatever – engage in completely irrational behavior was a theme she returned to time and again that night. “I am going to take the single most precious thing in my possession – my time – this commodity that can never be restored – and I’m going to pour it into working on something that no one wants or needs or even asked for!” There are lots of things you could be doing with that time, so “why do we indulge in this completely irrational behavior?”

A question I think we all ask ourselves from time to time! Especially when the laundry is piling up and the cats want fed, and the kids have to go to soccer practice and dinner is going to be cold cereal again . . . why do we do it? What drives us to spending our time on our art, our writing, our whatever, when there is no guaranteed payout? When the only person who may ever see it is YOU?

For Liz, though, that’s not the question. For her the question is:  “Why – if you’re not doing your creative work – why aren’t you? What’s stopping you?” This was the question she posted on her Facebook page a year or so ago, and she got back tons of responses – fear after fear after fear. Fear of failure, of wasting time, of taking time away from family and other pursuits, of being told you’re not good enough. Fear of beginning. Fear of success. Fear of change. On and on. Sound familiar? It did to most of the audience, too.

Liz took many questions from the audience (so many that I was late to pick up my kittens from the babysitter, in fact!), and I want to share some of them with you:

The first came from a young lady who asked (and I’m paraphrasing here):  how do you choose from your many ideas which one you want to focus on?

Liz’s answer:  “Realize that they’re collaborators:  they want to be made, and I want to make stuff. BUT. I am the president of my creativity, and my ideas are my cabinet. Assert your presidency. There’s limited resources, and no one gets to have everything they want – even your ideas. Explain that to them. This book, for example (Big Magic) wanted to be made for twelve years. Every day, it spoke to me. And I kept sending it back, saying ‘Come to me when you’re fully formed. I have to spend time with other ideas who got their shit together and put together a proposal!'”

But she also said that once you commit to a project, you have to follow through. “I know what it’s like to be at the boring part of the project . . . and this lovely idea, this Jessica Rabbit-like idea, comes along to seduce you. Don’t let it happen.Say, ‘too bad. This is the idea I have a contract with. Finish things.”

There was so much more, and I’ll cover that next week. But for now, think about those things. If you’re like me, some of these things were a revelation. How man of us get sidetracked by those alluring, sexy new ideas wearing three-piece suits and fedoras, looking a heck of a lot like Matt Bomer, when we’re stuck on a project that’s just sitting around in its boxer shorts, gut hanging out and beer in hand? Of COURSE we want the sexy idea! That’s how we get unfinished novels and started novels and how we never get published.

But I also loved her take on the ideas – because that’s how I sort of think about them, too. They’re not living, obviously, but they are real. They do invade our lives, whispering incessantly in our ears, keeping us up at night. How many of us have ideas that sound great, but in reality, we just know they’re not going anywhere? I’ll raise my hand! You’re in charge of your ideas.

Think about that this week, and next week – more from Liz Gilbert. 🙂