I realized one of my problems with editing is that I can't keep track of my progress as easily as I can with writing the draft. The result is that I feel unproductive which, ironically, makes me unproductive.
I think I've solved that by cutting it into relatively bite-sized stages. I did that before, but these are a little more concrete (i.e. for each stage, I have about 10-20 specific items that need changing).
Stage 1: Strong Ending. (Includes all the changes to beginning and middle that will help improve the ending).
Stage 2: Continuity.
Stage 3: Global Changes (i.e. capitalizing officerial titles or being consistent with the definite article and ship names).
Stage 4: Other Revisions. (Mostly improvement notes I made while drafting).
Stage 5: Strong Beginning.
Stage 6: Full Read-Through. (The subtasks of this one are individual chapters).
I've finished stages 1, 2, and 3. I'm almost done with stage 4, but stage 5 will be hard and stage 6 will be super-rough. Hopefully if I can track my progress and check things off of a list, it will help me stay determined. (I do like lists).
The title of this post also promises an excerpt, so here you go. I had a hard time finding one, since the beginning has all the world explanations in it but is also the least-polished.
This is the beginning of chapter 3. The stone has shown Hagai a vision in which the Oleanna, a merchant airship, crashes into the docks. Unsure whether he's seeing the future, he runs to the docks to find everything exactly as it was in the vision prior to the crash, and he starts to get worried. (In the excerpt, a dak is like a goat).
Chapter 3
The Oleanna hung in the sky like a child's lost balloon, no bigger than Hagai's thumb at this distance. For a moment, Hagai thought the string of coincidences might end there. It didn't look like anything was wrong. If anything, the Oleanna was getting smaller as it floated away.
That was before he heard the explosion.
It was really quiet for an explosion. Just a small, muffled pop like distant fireworks. Hagai thought he imagined it at first. For a while, he hoped maybe it wasn't an explosion after all, until he saw smoke issuing from the top of the Oleanna above him. That was also when the daks started getting nervous.
"Did you hear that?" Hagai asked the dak counter.
"Nay."
"That explosion, up in the sky. You didn't hear it?"
"Nay," the man replied, but he looked up towards the smoking airship.
"I heard an explosion, and then that smoke started coming out of the Oleanna."
The man squinted. "Nay, they're breezy. That's just exhaust from her boiler."
"No, it was an explosion. I heard it. I think they're in trouble."
"She's fine, see? She's still going."
The daks were getting louder and starting to push against the fences. Only Hagai seemed to notice. "Okay, look," he said, "I know this is going to sound weird, but… I know that ship is going to crash into the docks. We need to get out of here. We need to warn everybody to get out of here."
"What?" he laughed. "What are you on about?"
"I got this stone, see, and it shows me the future." He put his hand on the sling.
"What'd you get that at the circ or something?"
"No, look..." Hagai looked up again. The airship looked bigger. "It's gonna... it's gonna crash right there." He pointed. "People are gonna get hurt. The… the daks there are gonna break out and run wild, and, and you break your leg, and - "
"Here, now. That some kind of threat?"
"No! No, I just… I mean that's just what I saw."
"I got work to do, dog. Take your circus toy home."
"But I..." Hagai started, but the man had already turned around. The daks were restless now, and the dak counter looked pretty upset about it. Hagai left him alone. He looked for someone else to tell. There were plenty of skylers and dock workers everywhere, but they all seemed real busy. He considered yelling out a warning to everyone, but decided against it. He tried a one-on-one approach.
To one man he said, "Excuse me, I - "
"Outta my way, boy."
To another: "I'm sorry to bother you, b- "
"Does this look light to you?"
"Excuse me, is that ship on fire?"
"Boiler exhaust. Please to move."
"Hey, that ship's falling."
"Nah, it's just coming in to port."
"But it just took off!" Hagai pleaded to the back of the last man.
Nobody would hear him, and the airship was getting closer.
Showing posts with label writing process. Show all posts
Showing posts with label writing process. Show all posts
19 Months of Air Pirates
It took me 19 months from word 1 to word 99,675 on Air Pirates. I told you I'd talk about the process, so here it is.
I write these kinds of posts to analyze my own process, to see what works and what doesn't and hopefully to improve. I hope other people can glean something useful from this as well, but if not, no worries.
This post is also an excuse for me to make charts. I like charts.
I started writing Air Pirates officially in September 2007. I'd been thinking about it for a lot longer than that (I have documents dating back to 2003), and I'm still not finished with it (the editing phase is a lot harder than I remember), but the first draft took about a year and a half to write.
You can see I had a slow start, and a plateau in early 2008 that I'll explain in a second. This next chart shows that more clearly. It's a chart of how many words I wrote in each month.
Clearly there's an upward trend, but it's pretty unstable. I'd write well for 2-3 months, then stop for 2-3 months, and so on. Here's how it went down.
Aug-Oct 07 (Slow): It took me 3 or 4 drafts to get the beginning, and rewrites weren't counted towards the final word count. Once I figured out how the story started, it got easier.
Feb-Apr 08 (Slow): At this point, I'd written four chapters of Air Pirates and needed to outline the rest of the story if I was going to get anywhere. Travelers also came back from the betas and for the first time I started seriously editing and working on queries.
May-Jul 08 (Fast): I really think the reason for my increase here was that I started thinking like a pro. In working on my query, and trying to figure out what to do next, I'd begun reading blogs like Nathan Bransford and Query Shark, as well as author's blogs. I learned a lot about writing good query letters, but also the publishing business as a whole. More than anything, I learned that this was something I really wanted to do.
Aug-Sep 08 (Slow): I tried writing a short story in the Air Pirates' world. I'd never written a short story for the purpose of publication before, so it took a lot of time (and it still isn't published). Our trip to the US slowed things down a bit too.
Oct-Apr 09 (Fast, mostly): The increase in word count here is most likely due to my wife's commitment to me. She started helping me get away for 2 hours a day, most days, just to write. I still wrote in whatever stolen moments I could, but having 2 undistracted hours really helped me discipline myself. I want to blame the dip here on holiday visitors, but I think it was due more to my lack of self-discipline than anything. I'm trying to get better at that.
Final Analysis. On average, I wrote 5,000 words a month on Air Pirates. I know that, with discipline, I can do 10,000 a month pretty regularly. Hopefully that means I can draft a novel in 9-10 months, but we'll see. I won't be doing any drafting for a while yet until I can get through all this editing I'm supposed to be doing.
I write these kinds of posts to analyze my own process, to see what works and what doesn't and hopefully to improve. I hope other people can glean something useful from this as well, but if not, no worries.
This post is also an excuse for me to make charts. I like charts.
I started writing Air Pirates officially in September 2007. I'd been thinking about it for a lot longer than that (I have documents dating back to 2003), and I'm still not finished with it (the editing phase is a lot harder than I remember), but the first draft took about a year and a half to write.
You can see I had a slow start, and a plateau in early 2008 that I'll explain in a second. This next chart shows that more clearly. It's a chart of how many words I wrote in each month.
Clearly there's an upward trend, but it's pretty unstable. I'd write well for 2-3 months, then stop for 2-3 months, and so on. Here's how it went down.
Aug-Oct 07 (Slow): It took me 3 or 4 drafts to get the beginning, and rewrites weren't counted towards the final word count. Once I figured out how the story started, it got easier.
Feb-Apr 08 (Slow): At this point, I'd written four chapters of Air Pirates and needed to outline the rest of the story if I was going to get anywhere. Travelers also came back from the betas and for the first time I started seriously editing and working on queries.
May-Jul 08 (Fast): I really think the reason for my increase here was that I started thinking like a pro. In working on my query, and trying to figure out what to do next, I'd begun reading blogs like Nathan Bransford and Query Shark, as well as author's blogs. I learned a lot about writing good query letters, but also the publishing business as a whole. More than anything, I learned that this was something I really wanted to do.
Aug-Sep 08 (Slow): I tried writing a short story in the Air Pirates' world. I'd never written a short story for the purpose of publication before, so it took a lot of time (and it still isn't published). Our trip to the US slowed things down a bit too.
Oct-Apr 09 (Fast, mostly): The increase in word count here is most likely due to my wife's commitment to me. She started helping me get away for 2 hours a day, most days, just to write. I still wrote in whatever stolen moments I could, but having 2 undistracted hours really helped me discipline myself. I want to blame the dip here on holiday visitors, but I think it was due more to my lack of self-discipline than anything. I'm trying to get better at that.
Final Analysis. On average, I wrote 5,000 words a month on Air Pirates. I know that, with discipline, I can do 10,000 a month pretty regularly. Hopefully that means I can draft a novel in 9-10 months, but we'll see. I won't be doing any drafting for a while yet until I can get through all this editing I'm supposed to be doing.
Two Important Announcements
First announcement: As of this moment, I am officially a published author. Thaumatrope has published all 22 words of a science-fiction Easter story I wrote for them. You can read it here.
I have a second story due to be published on August 17, this year. You don't have to remember that date. I'll link to it here when it happens. Also, Thaumatrope is open for submissions again, including serials. If that sounds interesting, there's more information here.
Second announcement: The first draft of Air Pirates is finished, after 19 months. That's a long time, but... well, I'll give you a breakdown of that whole process one of these days. With graphs and everything. It'll be great.
You'd think the hard part is over, but it's just beginning. Brainstorming, outlining, plotting, writing... these are the fun bits, when the story's fresh and exciting in my mind, and nobody else is telling me the truth (i.e. that it's not fresh or exciting). So let's take a look at the next couple of months:
I have to admit, I'm kind of rabbit-in-the-headlights right now. I'm scared to take a break, and I'm scared not to. I'm afraid to touch it, but I know I can't leave it. I just need to sit down in front of it and make something happen, I guess.
* This is the part where I'm not thinking like a pro yet. I get critiques and think, "Crap, you mean it isn't finished yet?" Hopefully I'll be able to get over this attitude with some practice.
I have a second story due to be published on August 17, this year. You don't have to remember that date. I'll link to it here when it happens. Also, Thaumatrope is open for submissions again, including serials. If that sounds interesting, there's more information here.
Second announcement: The first draft of Air Pirates is finished, after 19 months. That's a long time, but... well, I'll give you a breakdown of that whole process one of these days. With graphs and everything. It'll be great.
You'd think the hard part is over, but it's just beginning. Brainstorming, outlining, plotting, writing... these are the fun bits, when the story's fresh and exciting in my mind, and nobody else is telling me the truth (i.e. that it's not fresh or exciting). So let's take a look at the next couple of months:
- Ending: Fix the resolution to meet the standards of my Beloved Alpha Reader and myself. This is currently the best ending I've written so far, but it is still merely mediocre - not as satisfying as it could be. Cindy's helping me make it better. ETC: 1-2 writing days.
- Continuity: Go through the revision notes I made while writing and repair the novel's continuity (I broke it a little during the later chapters because the way I'd planned things wasn't working). ETC: 1 writing day.
- Polish: Read through the whole novel, fixing everything I see. ETC: 1-4 weeks? I'm not really sure.
- Beginning: Go back one last time and give the opening special attention. ETC: 2-3 writing days.
- Beta Phase: Send the novel out to beta readers and await their response. ETC: 2-6 weeks.
- Freak Out: Getting feedback is the best and worst part of this process. I love hearing what people liked (especially when it's some scene taken the way I meant it). I hate hearing about things I need to fix.* ETC: Ongoing.
I have to admit, I'm kind of rabbit-in-the-headlights right now. I'm scared to take a break, and I'm scared not to. I'm afraid to touch it, but I know I can't leave it. I just need to sit down in front of it and make something happen, I guess.
* This is the part where I'm not thinking like a pro yet. I get critiques and think, "Crap, you mean it isn't finished yet?" Hopefully I'll be able to get over this attitude with some practice.
Actual, Physical Writing
Last week I was at a homeschool conference for a couple of days. One of the days, there weren't any workshops I wanted to attend, but I still had to be there with my kids. That meant either sitting in a classroom I didn't want to be in, or waiting around for a few hours.
I chose the latter, because I'm good at waiting (I always bring 2 or 3 things to do on plane trips to the States, for example). In this case, I decided to take Tobias Buckell's advice and write on paper. I took out my old moleskine, given to me by a friend like 4 years ago. I've done lots of brainstorming and pseudo-outlining in the notebook before, but never actual writing. That is, I've never written anything in the notebook that I transferred directly to my manuscript. Tobias followed his own advice and shared his experience, so I thought I might as well do the same.
The thing I liked least is no surprise: it's slow. I can type almost as fast as I can think (or at least as fast I can decide what to say). Writing by hand bugs me because by the time I write a few words, I'm thinking 3 or 4 sentences ahead, and I forget how I was going to finish the first sentence.
I also didn't like being away from my notes (my timelines, my outlines, my character bibles, my maps...). I'm a planner, which means I have faith that my outlines are pretty decent to start with - there's a reason I plan. As I spent time writing without my notes, I felt like I was getting farther and farther off my plan.
There was one really good thing about it: it forced me to keep going. There was no e-mail to distract me, no World Doc to write sudden world-building thoughts in, no dictionary or thesaurus to ache over word choice. No notes meant I didn't spend time hunting down details, so when the protagonist referenced something that happened "4 years ago," I had to write "X years ago" and move on.
One of the things that forced me to keep going surprised me: there was no room to edit. Often when I get stuck on something (even if only for a few minutes), I end up looking back and revising. But writing single-spaced in the notebook, there was only a small amount of room to edit. Once I'd changed a word once or twice, there was no more room to change it, and I was forced to leave it and move on.
In the end, I wrote 1,000 words in 1-2 hours. That's about the same speed as my normal rate (although I still had to retype the whole thing once I got home). I'd definitely do it again, if given the opportunity, but I think I'd have to study my notes ahead of time to make sure I stayed on track.
Maybe the next time I fly to the States, I'll bring my notebook instead of my laptop. It's easier to carry around and setup anyway (especially with 2-year-olds in the next seat).
I chose the latter, because I'm good at waiting (I always bring 2 or 3 things to do on plane trips to the States, for example). In this case, I decided to take Tobias Buckell's advice and write on paper. I took out my old moleskine, given to me by a friend like 4 years ago. I've done lots of brainstorming and pseudo-outlining in the notebook before, but never actual writing. That is, I've never written anything in the notebook that I transferred directly to my manuscript. Tobias followed his own advice and shared his experience, so I thought I might as well do the same.
The thing I liked least is no surprise: it's slow. I can type almost as fast as I can think (or at least as fast I can decide what to say). Writing by hand bugs me because by the time I write a few words, I'm thinking 3 or 4 sentences ahead, and I forget how I was going to finish the first sentence.I also didn't like being away from my notes (my timelines, my outlines, my character bibles, my maps...). I'm a planner, which means I have faith that my outlines are pretty decent to start with - there's a reason I plan. As I spent time writing without my notes, I felt like I was getting farther and farther off my plan.
There was one really good thing about it: it forced me to keep going. There was no e-mail to distract me, no World Doc to write sudden world-building thoughts in, no dictionary or thesaurus to ache over word choice. No notes meant I didn't spend time hunting down details, so when the protagonist referenced something that happened "4 years ago," I had to write "X years ago" and move on.
One of the things that forced me to keep going surprised me: there was no room to edit. Often when I get stuck on something (even if only for a few minutes), I end up looking back and revising. But writing single-spaced in the notebook, there was only a small amount of room to edit. Once I'd changed a word once or twice, there was no more room to change it, and I was forced to leave it and move on.
In the end, I wrote 1,000 words in 1-2 hours. That's about the same speed as my normal rate (although I still had to retype the whole thing once I got home). I'd definitely do it again, if given the opportunity, but I think I'd have to study my notes ahead of time to make sure I stayed on track.
Maybe the next time I fly to the States, I'll bring my notebook instead of my laptop. It's easier to carry around and setup anyway (especially with 2-year-olds in the next seat).
The Voices in my Head
Tony Jay is an English actor, best known for his voice acting in various cartoons and video games. He's played many roles, but it was always his villains I loved. His smooth, British baritone lent an air of danger and superiority to characters like Shere Khan (though not the one in the original Jungle Book) and Chairface Chippendale.
Now you may have no idea what I'm talking about. You may never have seen Tale Spin or The Tick. Odds are good you've never played Fallout, Torment, or Icewind Dale either, all of which starred villains
voiced by the late Tony Jay.But for me, these were some of my favorite stories, and now it's presenting an odd sort of problem. See, the other day I discovered that no matter who my villain is, no matter how well I know them or plan their background and character or even pretend to talk like them - when I sit down to write the dialogue of that villain I involuntarily write the voice of Tony Jay.
Like Arad, the nigh-omnipotent tyrant of Travelers. In my head, he speaks with Tony Jay's voice. Now I didn't realize this at the time because the voice fit. Arad is a dangerous being who considers himself superior to, literally, everybody. So I thought it was just Arad's voice.
But then the other day, I was trying to write Jacobin Savage, the cruel pirate captain from Azrael's Curse (slash Air Pirates). The pirates in this world tend to speak like something between the Irishman from Braveheart and Pirates' Captain Barbosa - fast and flippant, with heavy use of slang and light use of grammar. Savage was supposed to be no different, but when I tried to write his dialogue he sounded less like Captain Barbosa and more like Commodore Norrington.
The difference is relatively subtle on the page, I suppose. For example, Tony Jay's Savage might say, "You want to change the world, isn't that it? You want to rid it of folks like the Imperium, and you think by hitting military targets instead of random merchants, you might do that. What you don't see is that you're just scratching an itch."
But Savage's words need to be more like, "You want to change the world, aye? Want to rid it of the Imperium, and you reck you can do that by hitting Navy marks 'stead of chance merchers. But you're just scratching an itch."
Subtle differences. And for all I know they both sound like Alan Rickman in your head. But it's hard when I want Savage to have a unique voice, and all that comes out is Tony Jay.
So thank you, Tony, for portraying such memorable villains that I can no longer imagine evil in any other voice. You've simultaneously enriched and ruined my life. Well done.
I Heart My Alpha Reader
I have beta readers who will read the novel when it's finished. In the meantime, I have one person who is willing to read each chapter as it comes out, even if it's weeks or months between, even when the chapters she gets are a confusing mess.
She's my alpha reader. The following is a random list of things I love about her:
She doesn't even like sci-fi or fantasy.
She's my alpha reader. The following is a random list of things I love about her:
- She claps in excitement when I tell her I have a new chapter.
- It's fun to watch her read. She winces and laughs and gets scared at all the right moments.
- She asks me all kinds of useful questions, especially when what I wrote doesn't make any sense.
- She doesn't put up with me when I try to argue why something I wrote is right. (Don't argue with the reader!)
- Even if a chapter sucks, she encourages me by telling me what she liked.
- Having her read each chapter, when I haven't finished the novel yet, helps keep me going. It helps me believe that what I'm writing is worth reading - or can be.
- Knowing she'll read the ending as it happens forces me to plan everything leading up to it, so it (hopefully) strikes her well.
- Her questions, and her convictions about what "has to happen next," give me ideas I hadn't considered and make the novel better.
- She doesn't give me ideas often (usually preferring to let me do the writing), but when she does they're always good.
- She believes in me.
She doesn't even like sci-fi or fantasy.
Endings
I recently received a short story rejection from Beneath Ceaseless Skies. It was a nice rejection; he explained what he liked about the story and what didn't work for him. The more I think about it, the more I realize that the things that didn't work for him were things I didn't like either. One of those things was the ending.
I have a problem with endings. I always have. I can remember getting reports back in 4th grade with all the red pen on the last paragraph. "Needs a better conclusion," it would say.
One problem is I don't plan them well. For all my neuroses about planning ahead, the truth is that I plan the near parts in excellent detail, with increasingly less detail towards the end. So by the time I get there, I am often left with all these plots and subplots crashing together, knowing who wins and who dies, but never knowing how.
This happens a lot in smaller scenes throughout the writing process, and I always figure something out, but for the ending that something has to be really good. That's hard to do when so much of the story has already been decided.
My other problem with endings, I think, is that I don't care about them. Oh, I know how important they are, and my very favorite books are those with amazing endings. What I mean is, when I first fall in love with a story I'm writing, it's never the ending I'm thinking of. It might be the world, or the speculative element, or one of the characters, but it's never the ending.
My Beloved Alpha Reader told me she loves the way I end chapters - could I just end the novel like that? The problem (I told her) is that what makes my chapters are the cliffhangers. I'm real good at cliffhangers. I can pull a decent scene- or chapter-ending cliffhanger out of almost anything. But if I ended my book like that, I'd make a lot of readers mad (including myself - I hate books that end with blaring cliffhangers).
Okay, so here we are. You're all readers. What makes a good ending to you? I know the basics - the logistics, if you will: It must answer most, if not all, of the questions raised earlier in the story. It must make sense, arising naturally from the plot and characters (e.g. no deus ex machina). It should not be boringly predictable (though it doesn't always have to have a major twist). What else, then? These things make an ending not bad, but what do you think makes one good? What are your favorite endings and why?
(Be kind with your answers to that last one. Mark spoilers appropriately.)
I have a problem with endings. I always have. I can remember getting reports back in 4th grade with all the red pen on the last paragraph. "Needs a better conclusion," it would say.
One problem is I don't plan them well. For all my neuroses about planning ahead, the truth is that I plan the near parts in excellent detail, with increasingly less detail towards the end. So by the time I get there, I am often left with all these plots and subplots crashing together, knowing who wins and who dies, but never knowing how.
This happens a lot in smaller scenes throughout the writing process, and I always figure something out, but for the ending that something has to be really good. That's hard to do when so much of the story has already been decided.
My other problem with endings, I think, is that I don't care about them. Oh, I know how important they are, and my very favorite books are those with amazing endings. What I mean is, when I first fall in love with a story I'm writing, it's never the ending I'm thinking of. It might be the world, or the speculative element, or one of the characters, but it's never the ending.
My Beloved Alpha Reader told me she loves the way I end chapters - could I just end the novel like that? The problem (I told her) is that what makes my chapters are the cliffhangers. I'm real good at cliffhangers. I can pull a decent scene- or chapter-ending cliffhanger out of almost anything. But if I ended my book like that, I'd make a lot of readers mad (including myself - I hate books that end with blaring cliffhangers).
Okay, so here we are. You're all readers. What makes a good ending to you? I know the basics - the logistics, if you will: It must answer most, if not all, of the questions raised earlier in the story. It must make sense, arising naturally from the plot and characters (e.g. no deus ex machina). It should not be boringly predictable (though it doesn't always have to have a major twist). What else, then? These things make an ending not bad, but what do you think makes one good? What are your favorite endings and why?
(Be kind with your answers to that last one. Mark spoilers appropriately.)
Skipping Ahead
If you didn't already know, I'm mildly OCD. I hate reading books out of order. I won't watch a movie sequel if I haven't seen the first one. I don't even want to watch a TV series unless I start from the beginning. If I'm going to get into a story, I don't want to miss a thing.
That may help you to understand what happened to me the other day.
I was writing chapter 20, in which protagonist and friend are escaping from a pirate lord's prison. As in many of Air Pirate's chapters, there is a fight scene.* Fight scenes always stick me. Mainly because the outline says something to the effect of "Sam and Kiro fight. Sam wins," and I realize I don't know how he wins.
I'm aware that one way of getting through writer's block is to skip ahead to another scene. So I tried that. I started to type "[fight scene]" where the scene would go, intending to move on to what happened after the fight.
But hard as I tried, I just couldn't do it.
I've identified two reasons I couldn't skip ahead. The first is quite sane: I use past events to inform future ones. Minor details that I think of during one scene will come up again later once I'm aware of them. Like in one airship escape sequence (this one, in fact), the police hit Protag's ship with a harpoon-like weapon I made up on the spot. Also made up on the spot was how the protagonists then cut the cables to free themselves, leaving harpoons and severed cables hanging from the airship.
In the next scene, I realized these cables had to be pulled out, so Sam enlisted Hagai to do so. This made for an excellent opportunity to showcase Hagai's low self-esteem and uselessness, and it gave me a good place for Hagai to have a conversation with another character.
Now obviously these sorts of threads and connections can be added after the fact in revision, but as I've touched on before, I'd rather not if I can help it. I'd rather get it right, or at least mostly right, the first time.
But the second reason I couldn't skip ahead - and more likely the real reason - is far less sane. I couldn't make myself skip ahead because, just as if I'd accidentally hit Next on my DVD remote, I felt like I missed part of the action. I wanted to know what happened.
That's right. You think I'm writing for others, but the truth is I'm writing this story, and probably all the others, because I want to know what happens next. I guess that's not so insane. I'm writing for me as much as anyone.
* Out of 28 chapters, 18 have either a fight scene or a chase scene. What can I say? I like action.
That may help you to understand what happened to me the other day.
I was writing chapter 20, in which protagonist and friend are escaping from a pirate lord's prison. As in many of Air Pirate's chapters, there is a fight scene.* Fight scenes always stick me. Mainly because the outline says something to the effect of "Sam and Kiro fight. Sam wins," and I realize I don't know how he wins.
I'm aware that one way of getting through writer's block is to skip ahead to another scene. So I tried that. I started to type "[fight scene]" where the scene would go, intending to move on to what happened after the fight.
But hard as I tried, I just couldn't do it.
I've identified two reasons I couldn't skip ahead. The first is quite sane: I use past events to inform future ones. Minor details that I think of during one scene will come up again later once I'm aware of them. Like in one airship escape sequence (this one, in fact), the police hit Protag's ship with a harpoon-like weapon I made up on the spot. Also made up on the spot was how the protagonists then cut the cables to free themselves, leaving harpoons and severed cables hanging from the airship.
In the next scene, I realized these cables had to be pulled out, so Sam enlisted Hagai to do so. This made for an excellent opportunity to showcase Hagai's low self-esteem and uselessness, and it gave me a good place for Hagai to have a conversation with another character.
Now obviously these sorts of threads and connections can be added after the fact in revision, but as I've touched on before, I'd rather not if I can help it. I'd rather get it right, or at least mostly right, the first time.
But the second reason I couldn't skip ahead - and more likely the real reason - is far less sane. I couldn't make myself skip ahead because, just as if I'd accidentally hit Next on my DVD remote, I felt like I missed part of the action. I wanted to know what happened.
That's right. You think I'm writing for others, but the truth is I'm writing this story, and probably all the others, because I want to know what happens next. I guess that's not so insane. I'm writing for me as much as anyone.
* Out of 28 chapters, 18 have either a fight scene or a chase scene. What can I say? I like action.
Dealing With Critiques
Over at SFNovelists.com, Kelly McCullough suggested the attitude that "whatever book or story you are revising or getting critiqued at this very moment, is a solid piece of work that can and will be improved if you work at it and learn from comments."
That's the ideal, and I hope to have that attitude one day. Unfortunately, my attitude towards critiques tends to mirror the stages of grief:
That's the ideal, and I hope to have that attitude one day. Unfortunately, my attitude towards critiques tends to mirror the stages of grief:
- Denial: "I don't need anyone's help critiquing my story. Heck, I could probably sell it right now."
- Anger: "The story's perfect! They just don't get it!"
- Bargaining: "Do I really need to make that fix? Maybe a smaller fix will be good enough."
- Depression: "This story's terrible. I'll never get it right. I might as well throw it away and write something else."
- Acceptance: "I can do this. I can make it better, I just need to work through the critiques one comment at a time."
Travelers Postmortem: What Went Wrong
On Saturday I talked about what went right while writing Travelers. Today I have some things that went wrong.
Not Enough Planning
This is controversial. Some writers prefer to just write and see what happens, fixing it later. I'm not one of them. My goal is to streamline my writing process until there are 5 steps: plan, write, revise, peer review, sell - each performed but once. Unrealistic? Perhaps. I won't beat myself over the head if I have to revise more than once, but I will figure out what went wrong to avoid it in the future.
That said, I didn't plan Travelers well enough. Characters popped up from nowhere. Necessity dictated their existence, but when I started thinking about their backgrounds I began to like them better than my protagonists.
That's part of the fun of writing, I know. But it only served to highlight how little I developed my protagonists. I just didn't care about them. In the beginning they weren't even characters, they were just points of view, giving me an excuse to explain this strange, decrepit future to the reader. I tried to fix it in revision, but I think the problem still shows. That could've been prevented if I had planned the characters and the plot out in more detail before I started writing.
The lack of planning also reared its head in certain climactic moments. I'd throw characters into a crisis and, in the outline, I'd write the ever-helpful "They escape" or "They fight and protag wins" without ever thinking about how they win. It wrote me into a corner a couple of times, and I don't like corners. When I write, I wanna run.
No Thought for Theme Until the End
This has happened to me more times than I'd like to admit. I get to the end of a story (short or long) and find myself asking, "How do I end this? What's this story about anyway?" I was just writing a bunch of cool stuff that happens, like an action movie. But like an action movie, it lacked any punch or purpose.
I never really understood theme back in highschool. I'm only starting to get it now, and realizing that it's something I should think about before I outline the plot, and then again everytime I write anything.
Useless Statistics
When I started Travelers, I didn't know what would be important. I chose to keep track of word count, # of pages, # of scenes, and dates of drafted chapters and revised chapters. The word count and dates were good, like I said, but # of pages was meaningless (being based on my personal writing format, which is very different from manuscript format) as was # of scenes.
Another problem was that I counted words only at the end of every chapter, and my chapters were really long. It would've been better to keep track of word count per week or month, in addition to chapter dates and word counts.
No Deadlines for Beta Readers
I had two beta readers. One finished reading the manuscript in 3 weeks, the other took 9 months. At the time, it honestly didn't bother me. The feedback was more important to me, and I figured it didn't cost me any time because I just worked on my next book while I waited.
In retrospect, with 35 rejections and no requests of any kind, it didn't cost me anything to wait, and it taught me a valuable lesson. Next time the beta readers are getting a deadline, and I'm moving on without them if I have to.
Not Enough Planning
This is controversial. Some writers prefer to just write and see what happens, fixing it later. I'm not one of them. My goal is to streamline my writing process until there are 5 steps: plan, write, revise, peer review, sell - each performed but once. Unrealistic? Perhaps. I won't beat myself over the head if I have to revise more than once, but I will figure out what went wrong to avoid it in the future.
That said, I didn't plan Travelers well enough. Characters popped up from nowhere. Necessity dictated their existence, but when I started thinking about their backgrounds I began to like them better than my protagonists.
That's part of the fun of writing, I know. But it only served to highlight how little I developed my protagonists. I just didn't care about them. In the beginning they weren't even characters, they were just points of view, giving me an excuse to explain this strange, decrepit future to the reader. I tried to fix it in revision, but I think the problem still shows. That could've been prevented if I had planned the characters and the plot out in more detail before I started writing.
The lack of planning also reared its head in certain climactic moments. I'd throw characters into a crisis and, in the outline, I'd write the ever-helpful "They escape" or "They fight and protag wins" without ever thinking about how they win. It wrote me into a corner a couple of times, and I don't like corners. When I write, I wanna run.
No Thought for Theme Until the End
This has happened to me more times than I'd like to admit. I get to the end of a story (short or long) and find myself asking, "How do I end this? What's this story about anyway?" I was just writing a bunch of cool stuff that happens, like an action movie. But like an action movie, it lacked any punch or purpose.
I never really understood theme back in highschool. I'm only starting to get it now, and realizing that it's something I should think about before I outline the plot, and then again everytime I write anything.
Useless Statistics
When I started Travelers, I didn't know what would be important. I chose to keep track of word count, # of pages, # of scenes, and dates of drafted chapters and revised chapters. The word count and dates were good, like I said, but # of pages was meaningless (being based on my personal writing format, which is very different from manuscript format) as was # of scenes.
Another problem was that I counted words only at the end of every chapter, and my chapters were really long. It would've been better to keep track of word count per week or month, in addition to chapter dates and word counts.
No Deadlines for Beta Readers
I had two beta readers. One finished reading the manuscript in 3 weeks, the other took 9 months. At the time, it honestly didn't bother me. The feedback was more important to me, and I figured it didn't cost me any time because I just worked on my next book while I waited.
In retrospect, with 35 rejections and no requests of any kind, it didn't cost me anything to wait, and it taught me a valuable lesson. Next time the beta readers are getting a deadline, and I'm moving on without them if I have to.
Travelers Postmortem: What Went Right
In the gaming and business worlds (two of my past lives), we would do postmortems at the end of a project to determine what went right, what went wrong, and how we could improve our process. I've unofficially done that on my own with Travelers, but "unofficially" means "not very well," so I'll do it more officially here now. It'll help me to think about my writing process, and I hope it can help others too.
I'll start with what went right. This isn't so much about the specifics of the story as it is about my writing process in general.
Developed Character Backgrounds Beforehand
For every major character, I made a chart like the one below. The information in these charts is out-of-date, poorly thought-out, and mostly never used, but if I didn't do it then every character would have been much flatter than they are. Knowing who the character is supposed to be, and used to be, helps when I'm writing and thinking to myself, "What would they do here?"
Random Passages
Before I started officially writing the manuscript, there were a number of scenes that seemed clear in my head. Often they were the ones that excited me most (my candy bar scenes), though sometimes they were scenes from a character's past, or scenes from a future book that may never be written.
Whenever I got stuck in my outline, or I got bored of the story or some character, I'd go write one of these scenes in a file called "Random Passages," prefixed with some note about the context of the scene. For Travelers, I wrote 9 such scenes over the course of the novel. Six of them ended up in the novel. Four of those were rewritten to the point of being unrecognizable (and one of the remaining 2 "scenes" was just a line of dialogue, three sentences long).
Even though they were almost never used as-is, writing these scenes kept me interested in the story and gave me a place to play with the characters before they were "committed" in the story. I read the scenes now and groan because they're bad and make no sense to the story anymore, but I also read them with fondness because I remember how much I enjoyed writing them.
Microsoft Word's Document Map Feature
I learned this during my life at Black Isle. Here's a quick run-down of the feature.
I didn't use the document map for an outline, though. The top-level headings were my chapters, and the sub-headings were the first lines of my scenes. It worked amazingly well to keep me organized and to remember where everything was.
Word Count Statistics
Most authors I've heard of keep word count statistics. I love statistics anyway, so for me, seeing my word count increase and dates of how long it took me to write a chapter kept me going. One of the things that motivated me to finish chapters was that I knew I got to update my stats file when it was done. It's geeky, but it worked.
Alpha and Beta Readers
Beta readers are the folks who read your manuscript before it gets sent out. For some authors, they read it when the draft is finished, for others they read it as each chapter is done. I have both, and call the former my beta readers and the latter, alpha.
For me, I had one alpha reader - my wife. She was both my encouragement and my insurance that I was on the right track. My beta readers were immeasurably helpful as well (in particular because my wife is not a sci-fi reader), but I don't think I would've gotten to the beta stage at all if I didn't have an alpha reader to push me through.
I'll start with what went right. This isn't so much about the specifics of the story as it is about my writing process in general.
Developed Character Backgrounds Beforehand
For every major character, I made a chart like the one below. The information in these charts is out-of-date, poorly thought-out, and mostly never used, but if I didn't do it then every character would have been much flatter than they are. Knowing who the character is supposed to be, and used to be, helps when I'm writing and thinking to myself, "What would they do here?"
Random Passages
Before I started officially writing the manuscript, there were a number of scenes that seemed clear in my head. Often they were the ones that excited me most (my candy bar scenes), though sometimes they were scenes from a character's past, or scenes from a future book that may never be written.
Whenever I got stuck in my outline, or I got bored of the story or some character, I'd go write one of these scenes in a file called "Random Passages," prefixed with some note about the context of the scene. For Travelers, I wrote 9 such scenes over the course of the novel. Six of them ended up in the novel. Four of those were rewritten to the point of being unrecognizable (and one of the remaining 2 "scenes" was just a line of dialogue, three sentences long).
Even though they were almost never used as-is, writing these scenes kept me interested in the story and gave me a place to play with the characters before they were "committed" in the story. I read the scenes now and groan because they're bad and make no sense to the story anymore, but I also read them with fondness because I remember how much I enjoyed writing them.
Microsoft Word's Document Map Feature
I learned this during my life at Black Isle. Here's a quick run-down of the feature.
I didn't use the document map for an outline, though. The top-level headings were my chapters, and the sub-headings were the first lines of my scenes. It worked amazingly well to keep me organized and to remember where everything was.
Word Count Statistics
Most authors I've heard of keep word count statistics. I love statistics anyway, so for me, seeing my word count increase and dates of how long it took me to write a chapter kept me going. One of the things that motivated me to finish chapters was that I knew I got to update my stats file when it was done. It's geeky, but it worked.
Alpha and Beta Readers
Beta readers are the folks who read your manuscript before it gets sent out. For some authors, they read it when the draft is finished, for others they read it as each chapter is done. I have both, and call the former my beta readers and the latter, alpha.
For me, I had one alpha reader - my wife. She was both my encouragement and my insurance that I was on the right track. My beta readers were immeasurably helpful as well (in particular because my wife is not a sci-fi reader), but I don't think I would've gotten to the beta stage at all if I didn't have an alpha reader to push me through.
Workspace
When I was writing Travelers, I usually only had a couple of documents open: the manuscript and an outline. I'd open other files as needed, like if I needed to find some old notes or update my word count statistics, but it was rare.*
The other day, I was working on Air Pirates, and one of my kids came up and said (as teenagers will), "Wow! You've got a lot of stuff open!" I have the taskbar expanded to double, and at any given time it's packed with manuscripts, world docs, outlines, brainstorming notes... Well, let me just show you an example:
I mean, just in that screenshot, I've got 2 time management docs (TODO and Writing Statistics), 4 story docs (manuscript, timeline, outline, character bible), 6 world docs and notes, plus the directory they're contained in and Firefox. That's normal. Sometimes I'll also open "Details to Remember,"** "Random Passages," or any of 100*** other files containing various notes on different story-related topics.
I don't feel disorganized yet, but I can sense that I'm getting close. If I have to write three books in this world, I may have to find a better way to manage all of this stuff.
* For example, at the time I only kept track of word count each time I finished a chapter. Travelers only has 11 chapters and an epilogue, and it took me three years to write. So I only got to open this file about once every 3 months.
** An increasingly obsolete document in which I attempt to keep track of little details, like how much money the protagonist has on him, and which leg was broken of a particular minor character.
*** One hundred twenty three, at the moment. Character notes, maps, old dead stories in the same world, old drafts, early outlines... I even have a flash animation of the world, its 3 moons, and 2 suns.
The other day, I was working on Air Pirates, and one of my kids came up and said (as teenagers will), "Wow! You've got a lot of stuff open!" I have the taskbar expanded to double, and at any given time it's packed with manuscripts, world docs, outlines, brainstorming notes... Well, let me just show you an example:
I mean, just in that screenshot, I've got 2 time management docs (TODO and Writing Statistics), 4 story docs (manuscript, timeline, outline, character bible), 6 world docs and notes, plus the directory they're contained in and Firefox. That's normal. Sometimes I'll also open "Details to Remember,"** "Random Passages," or any of 100*** other files containing various notes on different story-related topics.
I don't feel disorganized yet, but I can sense that I'm getting close. If I have to write three books in this world, I may have to find a better way to manage all of this stuff.
* For example, at the time I only kept track of word count each time I finished a chapter. Travelers only has 11 chapters and an epilogue, and it took me three years to write. So I only got to open this file about once every 3 months.
** An increasingly obsolete document in which I attempt to keep track of little details, like how much money the protagonist has on him, and which leg was broken of a particular minor character.
*** One hundred twenty three, at the moment. Character notes, maps, old dead stories in the same world, old drafts, early outlines... I even have a flash animation of the world, its 3 moons, and 2 suns.
No Examples
I've been looking at the Query Shark and the query project for good examples of what I was talking about the other day, and though I did find some, I discovered something else. While all of these queries are good enough to get a request for pages or representation, all of them are very different. Many of them break the rules, a number of them are too long, and a bunch could easily be written better.
What does that tell me? The should-be-obvious, I suppose - that writing a good query letter helps, but the story is what matters. So I guess the advice you can get from this post is: think about whether the concept of your story is a good one - one that others will want to pay to read. If it isn't, fix it.
This is not what I did with Travelers. When I first started sending out queries, my thought was that they would just have to read the book and they'd buy it. That's why my first query letter sucked - I thought it was just a formality. It's much more than that, and I'm starting to suspect that the long string of rejections is because the concept is... not bad, necessarily, but not very marketable the way I've written it.
Here's for trying one more time. This example is mine:
Yeah, so I'm kinda low on themes here. For all my thinking about it, I still don't know how to shove the theme in there without being all obvious/cheesy about it (e.g. "Travelers asks the question, is there more to being human than we've been told?"). But this is only one sentence. All the parts that are implied or weak or that leave the questions "What? How?" can be padded out in the rest of the query.
And this isn't perfect. I haven't gotten representation or anything. As with everything on this blog, these are just my thoughts and I hope that they can help others on the same road.
What does that tell me? The should-be-obvious, I suppose - that writing a good query letter helps, but the story is what matters. So I guess the advice you can get from this post is: think about whether the concept of your story is a good one - one that others will want to pay to read. If it isn't, fix it.
This is not what I did with Travelers. When I first started sending out queries, my thought was that they would just have to read the book and they'd buy it. That's why my first query letter sucked - I thought it was just a formality. It's much more than that, and I'm starting to suspect that the long string of rejections is because the concept is... not bad, necessarily, but not very marketable the way I've written it.
Here's for trying one more time. This example is mine:
Trapped in a post-apocalyptic future, Dr. Alex Gaines must rescue an extraordinary girl from an immortal tyrant to save not only the future, but all humanity.Protagonist: Dr. Alex Gaines, Antagonist: an immortal tyrant, Goal: rescue extraordinary girl, Stakes: save the future, save humanity, Conflict: (implied) tyrant has the girl, Setting: post-apocalyptic future, Theme: *crickets chirping*
Yeah, so I'm kinda low on themes here. For all my thinking about it, I still don't know how to shove the theme in there without being all obvious/cheesy about it (e.g. "Travelers asks the question, is there more to being human than we've been told?"). But this is only one sentence. All the parts that are implied or weak or that leave the questions "What? How?" can be padded out in the rest of the query.
And this isn't perfect. I haven't gotten representation or anything. As with everything on this blog, these are just my thoughts and I hope that they can help others on the same road.
Why I Do Write
Everyone has their influences and teachers. These are some of mine:
From J. R. R. Tolkien, I learned about sub-creation.
From Orson Scott Card, I learned that a world is only as good as its characters.
From George R. R. Martin, I learned that every character should have a name. From Masashi Kishimoto, I learned that every character should have a story.
From Chris Avellone, I learned that a well-designed character, no matter how complex, is definable in one interesting sentence.
Also from Orson, I learned that cliche is not a bad place to start, but a terrible place to stop.
From Chris Baron, I learned that revision can make anything better. From George Lucas, I learned that it is possible to revise too much.
From David Mack, I learned that writing is like exercise - the hard part is sitting down to do it. On my own I figured out that, most of the time, I don't actually want to write; I just want to have written.
I'm still working on that last one.
From J. R. R. Tolkien, I learned about sub-creation.
From Orson Scott Card, I learned that a world is only as good as its characters.
From George R. R. Martin, I learned that every character should have a name. From Masashi Kishimoto, I learned that every character should have a story.
From Chris Avellone, I learned that a well-designed character, no matter how complex, is definable in one interesting sentence.
Also from Orson, I learned that cliche is not a bad place to start, but a terrible place to stop.
From Chris Baron, I learned that revision can make anything better. From George Lucas, I learned that it is possible to revise too much.
From David Mack, I learned that writing is like exercise - the hard part is sitting down to do it. On my own I figured out that, most of the time, I don't actually want to write; I just want to have written.
I'm still working on that last one.
Why I Don't Write
David Mack wrote, "It's not the writing that's hard. What's hard is sitting down to write." I've been thinking a lot on what keeps me from writing, and recently I made a major change to help me work better.
The list of what keeps me from writing is huge. I'm married, have a toddler, homeschool, parent 5 kids, teach programming, blog, fix computers, write newsletters, fix the house, and on and on. But all of those are Things I Have To Do or Things I Should Do. There's an equally large list of Things I Don't Need To Do (or Things I Shouldn't Do Instead of Writing): e-mail, pointless research, blog reading, chicken counting*, books, Sudoku, and more.
I've always been aware that most of what distracts me is on the internet. I sit down at the computer out of habit, and the first thing I do is check my e-mail. I check my feed reader for any updated blogs. If I'm being particularly distracted, I'll do some research I don't need to do or check recent hits on my blogs. Only when I'm sure I've exhausted my interest in the internet, do I start to write. Needless to say, getting my head into writing after repeating this cycle a few times is difficult**.
So in the interest of Getting Things Done, I have made a change. As of yesterday, I check the internet once in the morning and once at night after the kids go to bed. The rest of the day Firefox stays closed. It's not easy, but I think I'll get used to it after a while, and I think it will help.
Mindy Klasky at SFNovelists mentioned a similar self-discipline technique, though she allows Firefox for research, et al. Unfortunately I can't do that. I know myself too well. Instead, I write blog posts offline to be uploaded later. If I need to research something, I make a note of it and look it up that night. If I need a dictionary or thesaurus, I *gasp* use a real paper one. I'm still working out where to get random names, as I make heavy use of online generators for minor characters. Yesterday I used my wife's highschool yearbook.
Mindy also talked about making daily goals for herself. It's a good idea I'm going to try and keep in mind. Today I need to write a blog post (done) and start a short story***.
* A reference to the fable whose moral is "Don't count your chickens before they're hatched." Also known as daydreaming. I waste much more time than I'd like to admit thinking about what things will be like after I get published.
** Everytime I get up, the cycle repeats when I sit back down, and with homeschooling and parenting a little one, the times I need to get up are many. Right now, for example, the Little One is quiet, which means he's doing something he shouldn't be.
*** I know. "Start a short story" is too small and vague to be a good goal. But I can't say "finish it" because I don't think I will, and I can't give a word count because I don't yet know what's reasonable for me, given the aforementioned homeschooling and Little One****.
**** Now that the day is done, I managed to write almost 1,600 words, or about 40% of the story. Not bad.
The list of what keeps me from writing is huge. I'm married, have a toddler, homeschool, parent 5 kids, teach programming, blog, fix computers, write newsletters, fix the house, and on and on. But all of those are Things I Have To Do or Things I Should Do. There's an equally large list of Things I Don't Need To Do (or Things I Shouldn't Do Instead of Writing): e-mail, pointless research, blog reading, chicken counting*, books, Sudoku, and more.
I've always been aware that most of what distracts me is on the internet. I sit down at the computer out of habit, and the first thing I do is check my e-mail. I check my feed reader for any updated blogs. If I'm being particularly distracted, I'll do some research I don't need to do or check recent hits on my blogs. Only when I'm sure I've exhausted my interest in the internet, do I start to write. Needless to say, getting my head into writing after repeating this cycle a few times is difficult**.
So in the interest of Getting Things Done, I have made a change. As of yesterday, I check the internet once in the morning and once at night after the kids go to bed. The rest of the day Firefox stays closed. It's not easy, but I think I'll get used to it after a while, and I think it will help.
Mindy Klasky at SFNovelists mentioned a similar self-discipline technique, though she allows Firefox for research, et al. Unfortunately I can't do that. I know myself too well. Instead, I write blog posts offline to be uploaded later. If I need to research something, I make a note of it and look it up that night. If I need a dictionary or thesaurus, I *gasp* use a real paper one. I'm still working out where to get random names, as I make heavy use of online generators for minor characters. Yesterday I used my wife's highschool yearbook.
Mindy also talked about making daily goals for herself. It's a good idea I'm going to try and keep in mind. Today I need to write a blog post (done) and start a short story***.
* A reference to the fable whose moral is "Don't count your chickens before they're hatched." Also known as daydreaming. I waste much more time than I'd like to admit thinking about what things will be like after I get published.
** Everytime I get up, the cycle repeats when I sit back down, and with homeschooling and parenting a little one, the times I need to get up are many. Right now, for example, the Little One is quiet, which means he's doing something he shouldn't be.
*** I know. "Start a short story" is too small and vague to be a good goal. But I can't say "finish it" because I don't think I will, and I can't give a word count because I don't yet know what's reasonable for me, given the aforementioned homeschooling and Little One****.
**** Now that the day is done, I managed to write almost 1,600 words, or about 40% of the story. Not bad.
Writing Algorithm
There are two kinds of writers*: planners and non-planners.** Planners think, brainstorm, outline, and do all of the other stuff that your writing teachers taught you to do in elementary school. Non-planners just write. Both methods are valid, but if you know me at all then you can guess that I'm an obsessive-compulsive planner.
I have to plan.
Mainly, this is because I don't like major revisions. I know, I know, revision is part of writing - the most important part even, but to me it still feels like wasted work. The idea of writing half of a novel only to then figure out what the story's really about, and consequently throw away that whole first draft, is too painful.
That doesn't mean that everything goes according to plan. It hardly ever does, and no matter how much planning I do, the beginning bits often get heavily reworked by the end of the novel. And so far, in both novels, I didn't really know how the ending would work until I got there.
I've never been good with endings.
Anyway, once the writing begins, I have a pretty established process - so much so, I refer to it as an algorithm:
*Actually that's not true. There are as many kinds of writers as there are writers. But stereotyping people with convenient labels is what separates us from the animals.
**I've often seen non-planners referred to as "pantsers", a reference to writing by the seat of one's pants, but since for me this word only conjures images of junior high school bullies, I won't be using it.
I have to plan.
Mainly, this is because I don't like major revisions. I know, I know, revision is part of writing - the most important part even, but to me it still feels like wasted work. The idea of writing half of a novel only to then figure out what the story's really about, and consequently throw away that whole first draft, is too painful.
That doesn't mean that everything goes according to plan. It hardly ever does, and no matter how much planning I do, the beginning bits often get heavily reworked by the end of the novel. And so far, in both novels, I didn't really know how the ending would work until I got there.
I've never been good with endings.
Anyway, once the writing begins, I have a pretty established process - so much so, I refer to it as an algorithm:
- Given: A chapter-by-chapter outline in which each chapter has a 1-2 sentence summary.
- Brainstorm events/scenes that must happen in this chapter.
- Create an event outline of the chapter. The event outline is what actually happens, whether behind the scenes or not.
- Convert the event outline to a plot outline. The plot outline is how I choose to reveal the event outline to the reader - it's what I actually write.
- Write the chapter.
- Read the chapter once and revise it.
- Give the chapter to my wife, Cindy.
- When Cindy finishes reading it (this could be in four days or four months, but I'm writing while I'm waiting), go over it with her.
- Revise the chapter again based on Cindy's critiques.
*Actually that's not true. There are as many kinds of writers as there are writers. But stereotyping people with convenient labels is what separates us from the animals.
**I've often seen non-planners referred to as "pantsers", a reference to writing by the seat of one's pants, but since for me this word only conjures images of junior high school bullies, I won't be using it.
The War of Art, VI
From David Mack's Kabuki: The Alchemy. (Read Parts I, II, III, IV, and V). This is an idea I'm not sure I understand completely yet. Maybe I'm not a true artist, but when I get in the zone it's usually because I already know what needs to happen. Sometimes ideas just come to me, but it's rare. More often than not, even when in the zone, I'll have to stop at some point where I don't know what happens next, or the protagonist is seeing an airship for the first time and I don't know what it looks like, or he is escaping out of a window ledge and I need to figure out what's there and how (or whether) he can possibly escape.
Usually I brainstorm at this point, and one or two of the things I end up thinking of will be kind of good. Maybe I'm defining "in the zone" differently. Or maybe I get distracted too easily (that's not hard - I'm usually writing in a room with 2-3 other kids that are sometimes vying for my attention in ways ranging from respectful to naughty).
Part VI of VI:
Usually I brainstorm at this point, and one or two of the things I end up thinking of will be kind of good. Maybe I'm defining "in the zone" differently. Or maybe I get distracted too easily (that's not hard - I'm usually writing in a room with 2-3 other kids that are sometimes vying for my attention in ways ranging from respectful to naughty).
Part VI of VI:
Pressfield cites
the other secret true
artists know that
wannabe writers don't:
"When we sit down each
day and do our work,
power concentrates
around us".
What Pressfield
calls professionalism
others may call the
Artist's Code,
or the Warrior's Way.
It is an attitude of
egolessness and
service.
When you get
in the zone, don't
second guess it. Your
ideas are smarter
than you are.
A natural principle
of organization channels
through you, even if you
cannot initially comprehend
its larger implications.
Connections
are made.
Dedication and
concentration put
us in touch with our
natural talent.
Our genius.
The Romans
used the Latin
word genius to
mean an inner
spirit...
...Which
guides us to
our calling.
The War of Art, V
From David Mack's Kabuki: The Alchemy. (Read Parts I, II, III, and IV). Here the conversation between Kabuki and her mentor ends, and she acts on what she's learned. That quote from Ghandi is just... the most universally applicable truism I can think of.
Part V of VI:
Part V of VI:
I turn Pro.
You imagine what you want to be
and you act as if you are that.
Ghandi said, "Be the change you
want to see in the world".
If I want to create, I must
treat it with the respect and
dedication that a pro would.
Do it every day the best I can.
I don't know if it is any good
or not right now. I don't
have perspective for that
at this time.
All I know is that for
this day, I have overcome
the worst parts of me.
I have overcome
resistance.
Now I understand
The War of Art.
The War of Art, IV
From David Mack's Kabuki: The Alchemy. (Read Parts I, II, and III).
When I first read this, I thought I knew what it meant to "consider yourself a pro." I thought it meant that I needed to have the self-discipline to just write, even when I didn't feel like it.
While that's true, I've learned going pro is even more than that. Ever since I sent out my first queries, I've been doing tons of research into the publishing world, and I've been reading the blogs of other authors - especially SF/F authors. In a sense, I've been living in the world of the pros, and I've discovered that I want it.
I think that sudden, unexpected desire is part of why I've written more in the last two weeks than in any given month previously. That desire is what has helped me go pro, at least for now.
Part IV of VI:
When I first read this, I thought I knew what it meant to "consider yourself a pro." I thought it meant that I needed to have the self-discipline to just write, even when I didn't feel like it.
While that's true, I've learned going pro is even more than that. Ever since I sent out my first queries, I've been doing tons of research into the publishing world, and I've been reading the blogs of other authors - especially SF/F authors. In a sense, I've been living in the world of the pros, and I've discovered that I want it.
I think that sudden, unexpected desire is part of why I've written more in the last two weeks than in any given month previously. That desire is what has helped me go pro, at least for now.
Part IV of VI:
The pro knows that if you do the work, the muse will show up. You don't wait for the muse to show up first.Read part V.
"Someone asked Somerset Maugham if he wrote on a schedule or only when struck by inspiration. "I write only when inspiration strikes," he replied. "fortunately it strikes every morning at 9:00 sharp."
That's a pro.
There is a secret that real writers know that wannabe writers don't, and the secret is this: It's not the writing that is hard. What's hard is sitting down to write".
Calculating Speed
I can type over 100 words per minute. That means, in theory, I should be able to write 6,000 words per hour and 48,000 words in an 8-hour work day.
While that's technically true, it's completely impractical. In order to write that many words in a day I'd have to think as fast as I type or plagiarize word for word. And to handle 8 hours a day, I'd also need superhuman finger strength and the sitting endurance of a tree sloth.
Physical typing speed is not what slows me down. In real life, I can write 500-1000 words per hour on a good day. That should mean I can write a full draft of a novel (80-120,000 words) in less than 3 weeks, but the problem is that most days I'm unable to write for even one hour. The rest of the time, I'm plotting, outlining, parenting, revising, teaching, parenting, brainstorming, playing Sudoku, blogging, decompressing, parenting, and parenting.
That's still just a theoretical rate anyway. In real life, it took me about 3 years to write the first draft of Travelers at 76,000 words*, a rate of about 100 words/day.** I started the first draft of Air Pirates last September and in 6 months wrote 16,000 words (130 words/day). The crazy thing is, after taking a break to do a bunch of querying for Travelers, I wrote another 7,000 words in the last two weeks, which is like 700 words/day!
Shoot, if I could keep that rate up, I could write a draft in 5-10 months. If only life were that simple. If you'll excuse me, I have to move the worldly possessions of eight people from one house to another, while simultaneously ensuring that the kids get to school and back, do their homework, obey Mom and Dad, go to sleep on time, and (in some cases) have a clean diaper and learn to classify a direct object.
* When I say word count, I mean only words left in the final draft. I don't count revisions, notes, outlines, brainstorms, or previous drafts. When the draft is done, I just ask MS Word what my word count is and record it. It's the simplest, most honest way to count, but it's not the most useful statistic if your question is, "When will the book be done?"
** Assuming 5 work days per week, 50 work weeks per year.
While that's technically true, it's completely impractical. In order to write that many words in a day I'd have to think as fast as I type or plagiarize word for word. And to handle 8 hours a day, I'd also need superhuman finger strength and the sitting endurance of a tree sloth.
Physical typing speed is not what slows me down. In real life, I can write 500-1000 words per hour on a good day. That should mean I can write a full draft of a novel (80-120,000 words) in less than 3 weeks, but the problem is that most days I'm unable to write for even one hour. The rest of the time, I'm plotting, outlining, parenting, revising, teaching, parenting, brainstorming, playing Sudoku, blogging, decompressing, parenting, and parenting.
That's still just a theoretical rate anyway. In real life, it took me about 3 years to write the first draft of Travelers at 76,000 words*, a rate of about 100 words/day.** I started the first draft of Air Pirates last September and in 6 months wrote 16,000 words (130 words/day). The crazy thing is, after taking a break to do a bunch of querying for Travelers, I wrote another 7,000 words in the last two weeks, which is like 700 words/day!
Shoot, if I could keep that rate up, I could write a draft in 5-10 months. If only life were that simple. If you'll excuse me, I have to move the worldly possessions of eight people from one house to another, while simultaneously ensuring that the kids get to school and back, do their homework, obey Mom and Dad, go to sleep on time, and (in some cases) have a clean diaper and learn to classify a direct object.
* When I say word count, I mean only words left in the final draft. I don't count revisions, notes, outlines, brainstorms, or previous drafts. When the draft is done, I just ask MS Word what my word count is and record it. It's the simplest, most honest way to count, but it's not the most useful statistic if your question is, "When will the book be done?"
** Assuming 5 work days per week, 50 work weeks per year.
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