Category: Writing

September 4, 2018

How to Switch Between Your Writing and Editing Hats

Writing and editing are complementary skills, two sides of the same coin. When you write, it’s helpful to develop your self-editing ability so that you can polish your prose (or poetry). Having done both writing and editing professionally, I’ve found that switching between the two isn’t always easy. In this blog post, I’ll take a look at the differences between writing and editing your own work. Here are some tricks I’ve discovered to hone both skill sets and move between them smoothly.

When you’re writing:

Let your creative mind have free reign. Writing your first draft is the time to experiment, follow tangents, and get your ideas and impulses out on the page. Keep on going, perhaps scheduling yourself so you write regularly whether you feel like it or not. Just show up and get things down. When you’re not writing, let the project live in the back of your mind. You might find that ideas come to you at unexpected times, perhaps when you’re out and about or about to fall asleep – keeping a notepad or note app at hand can prove handy. Leaving room for inspiration is especially useful for those of us who write by discovery, figuring things out as we go along. (All of us do this at some point.) Have fun with it!
Plan if it works for you. Some of us are plotters and outliners. This can be useful for generating ideas and giving ourselves a map so we have a sense of where our writing is going. With fiction, I used to get stuck in the middle of my projects, but have found that an outline guides me in having ideas for what to write next. Don’t be afraid to veer off script, though if a more interesting idea comes along than the one you’ve planned. Whether you’re more of a discovery writer, an outliner, or a blend of both, either technique is great to the extent that it helps you get your writing done. The key is…
Don’t self-judge. It’s all too easy to let the editorial voice jump into the writing process. This is valuable at times, such as when it has a plot suggestion or catches an error in your sentence. At other times, the voice can get harsh and critical, becoming more of a judge than a guide. If this happens, remind the voice that you’re on your first draft, the one where you’re hashing everything out, and will address its concerns later. You can even save that critical feedback in a separate document to consult when you’re editing. (Save the things like “Fix plot hole with spaceship in chapter 3,” not the things like “You suck.”)

When you’re editing:

Get to the point. Editing is worlds away from writing in mindset. This is where we look at our draft critically and make sure it’s got all the essentials. Take a good, hard look at structure and clarity. For each important element, ask yourself: Would your readers (or your reader self) like it? Would they get it? Does it need to be there? Make sure the beginning, middle, and end all flow together and make sense.
Check spelling and grammar. This is what a lot of us picture when we think of editing because it’s a vital part of the job, even if it’s not the only important one. If this isn’t your strong suit, a computer program such as a spell checker or Grammarly can help you out. I’ve found that repeating words, homophones (similar-sounding words like “to,” “too,” and “two”), and words that sound or look similar can be as tricky, if not trickier, to catch than typos. You might also try reading your work aloud. Do this carefully so you can catch any “the the”s or “ladies” that are supposed to be “ladles.” The read-aloud technique has benefits beyond spelling, too. Some fiction writers swear by this as a way of hearing whether their characters’ voices ring true, and if you find yourself getting bored in the middle of reading, you’ll know this is a section you need to liven up or cut down.
Polish those sentences. Along with addressing content, spelling, and grammar, sentence-level editing or line editing is a big part of what professional editors do. First-draft sentences are often choppy, overly long, or unclear. Once you’ve done structural work on your draft to a point you’re satisfied with, take a look at each sentence individually and in context of the larger piece. Does it flow? Does it sound nice? Can readers follow it easily? Does it help achieve the pace and tone you’re going for?

As you can see, writing involves a lot of creating. Too much doubt can stop us in our tracks, feeding the inner critic and getting in the way of finishing the project. Editing is the opposite: it’s all about questioning. Instead of building something from scratch, we “renovate,” improving our writing by addition or subtraction. The great news is that I’ve found working with each skill set improves the other. When writing, we learn how things should sound, how to structure our work, and what gives a piece energy. When editing, we learn where to cut back or expand, how to speak to readers, and how to communicate clearly. Learn to wear both hats flexibly and your writing will shine!

June 4, 2018

How to Write a Personal Story That Connects with Readers

I recently finished doing a manuscript assessment for a memoir. The author was eager to tell their story to future generations of their family, having put much time and effort into researching their own family history and finding the stories sparse. A memoirist in my writers’ group is impelled by the same impulse. The lines I’ve participated in critiquing are well crafted, the stories engaging. These two books have me thinking a lot about memoir lately, and one of my client’s comments made me think: “I know this story isn’t commercial.”

“Commercial” is another thing I’ve been thinking about. It speaks to the market, but the market is born from reader interest. Readers buy a book because they connect with the content in some form. For those who write memoirs, personal essays, and other forms of writing about their own experiences, their art becomes commercial when it resonates with others. Reading someone else’s story is most interesting when it connects to something you’ve felt, thought, wanted, or lived.

Many of us hunger to tell our stories. There’s a difference, though, between what works for the writer and what works for the reader. How to use the ephemeral medium of words to build a bridge between your experience and others’?

From reading and editing work based on personal experience, I’ve noticed that certain elements help an individual’s story resonate on a broadly appealing level. If you’re working on a memoir or personal essay, the following writing techniques might help it connect with readers, too.

Bring scenes to life. Rather than listing events, show your experiences by creating scenes. Incorporate the senses: What did you see, hear, feel, smell, and taste? If you’re writing a longer piece, dialogue can be built into your scenes to break up the narration. Because we don’t always remember what everyone said in the past, dialogue in memoir is often more of an approximation. That said, if you recall any memorable lines, by all means include them!

Be a character. Readers want to get to know you. Let your individual voice come through in word choice and craft. Use your story to highlight your values and share your feelings. It might be tempting to think that writing something “universal” means leaving your personality out, but the opposite is true. Few readers relate to a bland everyman or everywoman, while many will relate to a narrator who feels alive, even if they are quite different from the reader themselves. Don’t be afraid to take a stand. Let your uniqueness shine.

Build in a narrative arc. Readers appreciate progress and stories that make sense. While life doesn’t necessarily have clear-cut beginnings, endings, or climaxes, it’s helpful to shape your story so that it does have these elements. Show who you were before your story began, how your experience changed you, and why it matters.

Emphasize a theme beyond the personal. It’s often immensely rewarding to write about your life experiences, but readers want stories that have something to offer them beyond experiencing someone else’s reality. Look for universal truths that your experience individualizes. Maybe it relates to a global issue or relatable emotion. Bring out your story’s implications that are bigger than the scope of your personal sphere.

When done well, personal writing is some of the most powerful writing out there. It allows readers to experience walks of life they might never otherwise have access to, and it describes deep human experiences in ways that help them feel less alone. With thoughtfulness around audience and storytelling, your personal writing will shine. For some readers, your voice might be the very one they need to hear.

May 1, 2018

9 Tricks to Try When You Have Writer’s Block

Writer’s block. We’ve all been there. You want to write but find yourself staring at a blank page, your mind void of ideas. Maybe you’ve encountered a block on a project you’re currently working on, or maybe you’re hoping to start a new one and the inspiration just isn’t flowing. Either way, the words aren’t coming easily. Here are some ideas to jump-start your imagination and get your writing going again.

Write something ridiculous: Sometimes writer’s block is a product of taking your writing too seriously. If you have a vision of how you’d like your writing to turn out but are finding yourself stuck when it comes to getting there, write in something silly. What’s the least likely thing to happen?

Brainstorm with a friend: Find someone you trust who’s interested in your writing and talk about your block. If you’re in the middle of a project, talk about where you’re stuck – they just might know a way out of that tricky middle. If you’d like to get started, try to come up with ideas together.

Take a macro view of your piece: Look at the big picture of what you’d like to write. Is there a particular demographic you’re speaking to? What point are you making? Consider the big questions and see what inspirations emerge. How can you most effectively say what you want to say?

Write something you don’t usually write: Try a new genre or style, just for fun. Take a break from your usual writing interests to engage in creative play. How about rewriting the lyrics to a song, or penning some fanfiction? Write as far outside your comfort zone as you can.

Research an interest: Spend some time going down an internet rabbit hole and researching something random that interests you. Take what you’ve learned and use it as a jumping-off point for some writing, either on your current project or outside of it.

Use writing prompts and exercises: Find some writing ideas online and try them out. Try changing up genre and point of view, answering “What if” questions, or writing based on assigned sentences and topics.

Look at the options: Make a list of everything you could write, either everything that could possibly happen at this point in your project or every new idea that comes to mind, no matter how outrageous. Pick two or three options to try out. Set a timer and write on each.

Get moving: Go for a walk, exercise, or clean the house. Moving your body can fill you with energy and get your neurons firing, too. Many writers find a solution to their block by taking a long walk and entering a relaxed state where ideas can emerge.

Take a break: Declare the day a writing-free zone. Don’t stress about your writing. Use your writing time to get other things done: finish those tasks you’ve been putting off, or catch up on your favorite show. Come back to your writing another day, once you’ve had time to refresh and recharge.

April 2, 2018

The Myth of the Solitary Writer: How to Build a Support Team

Think of a writer. You’re probably picturing a lone figure with a laptop, right? A big part of being a writer is the writing itself, an activity that’s usually done in solitude by a single individual. However, the work of a writer involves collaboration at multiple levels, even for the most introverted of the bunch (raising my hand here)!

This March I attended the Scottish Association of Writers’ 2018 Conference and witnessed this firsthand. Making connections with other writers offers a peek into just how interconnected we who work on a blank page or screen are with myriad others, seen and unseen.

Books (and blogs and articles and poems…) don’t exist in isolation. They are influenced by years of reading habits and inspirations. Think about anything you’ve written and you may be able to trace ideas back to things you’ve read or seen, or identify texts that have influenced your style. Reading is what gets most of us interested in writing in the first place, which means that writers inspire other writers.

Look in the acknowledgments section of a book and you’ll find a list of names who have helped the author more directly. Critique groups and individual readers have often given valuable input into what works and what doesn’t. Editors have polished the manuscript to its full potential, and publishers have brought it into the world. Friends and family have offered support through the process of writing and publishing.

It can be motivating to hear others’ perspectives on our writing, and also a good reality check. Critique partners and beta readers approach your manuscript with fresh eyes and can give a first-hand opinion on which aspects appeal to readers and where your manuscript might be strengthened with changes. It’s most helpful to find early readers who enjoy your genre and style, as they’ll want to read the best version of whatever it is you are working on, rather than turning it into something else. They can also let you know if the words on the page convey the things you intend in your head. Once a book is published, the words are out there and people will interpret them in ways you may not have intended. Early readers can point out gaps in understanding and help you clarify your meaning.

If you’re looking to build a support team for your own writing, here are some places to look:

Get to know other writers. They’re working towards the same goals as you, and can offer understanding and support.
Seek out critique groups and beta readers to get input on your work. You can find these in person or online.
Find books and learning resources that will keep you up to date on the area in which you’re writing.
If you’re looking to traditionally publish, reach out to agents and publishers when your manuscript is ready. Publication involves a whole team working to bring your book into readers’ hands.
If you’re looking to self-publish, you’ll be assembling that team yourself. Find an editor to help with structure and flow and a proofreader to check for final errors. Unless you’re an artist, you’ll likely want a cover designer as well.
Get to know readers! This can be one of the most rewarding aspects of being published: seeing the impact of your (yes, often solitary) work on others.

There are lots of other forms of collaboration that can be helpful for writers. I’ve touched on just a few here. Do you have a favorite?

March 1, 2018

What I Learned – and Wish I’d Learned – in Creative Writing Grad School

There are debates in the writing world about the value of studying creative writing, and whether it’s beneficial or detrimental for honing your writing skills. I spent two years in a graduate Creative Writing program. Having gone on to write and edit professionally, there are skills I’m glad to have learned in class and others I’ve learned out in the “real world.” While programs, classes, and teachers vary, here’s my breakdown of what I personally learned in school vs. the lessons that came later, some of which I wish had been covered in the curriculum.

How to experiment vs. how to connect with readers

Graduate school did a fantastic job of opening my eyes to the different types of writing out there. By meeting practicing writers, I saw just how many genres and styles one could pursue, how many niches a writer could find for their own style and interests to shine. In classes, we were encouraged to try out different styles and voices. Writing exercises pushed our boundaries and deepened our abilities. We also analyzed a wide range of books in class. In this experimental climate, I could see that many different kinds of writing had value.

One thing that wasn’t at all stressed, though, was writing commercially. We were seen as artists, developing our abilities in an art form. Any considerations of marketing were left out, and so, in large part, were considerations of the readers – ironic in that I was hoping first and foremost for my words to connect with them. The elements that make writing “click” with people are often the same ones that make it sell, and I’ve been doing my best to learn them since graduating. Emotional resonance, concept appeal, and getting readers to turn pages are skills that transcend writing style and experimentation. I wish school had talked about them more.

How to write deeply vs. prolifically

“Write every day,” one of my professors told me, “even if it’s just a line in a notebook. If you’re writing a novel, it should be the first thing you think about when you wake up and the last thing you think about before you go to sleep.” I followed her advice, keeping notepads handy at all times. I learned how to be absorbed in a project and open to inspiration.

While depth was part of my education, no one talked about how to write prolifically or how to keep producing. There was no education about word counts or incentive to keep going outside of the thesis and classes. I also didn’t learn about outlining methods, which would have been helpful for the fiction I was writing. My instructors, of course, were part-time rather than full-time writers. If we’d had guest speakers in to talk about the discipline of writing full time and offer tips, or activities to instill discipline and practice along the lines of NaNoWriMo, how much that could have helped us learn about being productive, working writers.

How to critique and edit vs. how to market

The workshop format of our creative writing classes was useful in teaching us how to give and take critique. We went over classmates’ writing with a fine-toothed comb, learning to identify what they had done well and where they could improve. When receiving feedback, we discovered through experience how to incorporate consensus about what wasn’t working into revisions. We learned which critiques to take into account and which were off the mark for what we were hoping to achieve. I learned a good number of editing skills both through self-editing based on these critiques and through working with literary magazines on editing and acquisition.

By the end of my studies, professors said my work was “publishable,” but how exactly would I accomplish that? I left the program with very little idea. I recommend that anyone teaching creative writing talk their students at least a little through the business side of things, demystifying the submission process, query letters, agents, publication, and what the market is like.

There’s a lot I learned from my time in grad school about pursuing writing as an art. Since then, I’ve discovered how much it’s also a business, and how much I still have to learn. While studying creative writing can be the right learning opportunity for some, it’s not for everyone, and a lot of the craft’s practical lessons aren’t necessarily covered in the course curriculum. I recommend that anyone who’s interested in a writing career self-educate about readership, productivity strategies, and marketing. This part might come after writing a draft, as it favors strategy over artistry, but it’s important to look into if you want your writing to reach people and make its mark on the world.

February 1, 2018

Writing and Publication: A Nonlinear Path

In 2016, I’d given up on getting a publishing deal.

I’d been writing for most of my life. As a teenager, I’d self-published two poetry books (in the day before digital publishing, when self-publishing meant going to Kwik Kopy to get paper books printed) as fundraisers for charity. I went on to study Creative Writing in graduate school and complete a novel as my thesis. I had poetry, short story, and children’s book manuscripts ready to send out, a track record of literary publication, and old projects sitting in my Dropbox. I was bound and determined to have a career.

So the submissions and query letters went out, and the rejections came rolling in. The next five years brought two close calls: after many no’s, one publisher accepted my children’s book, only to have the line of books they’d accepted it for fold. A new small press was interested in my short stories, but the press ended up not getting off the ground. I tried to freelance and occasionally shopped around old pieces, but my heart was no longer in it. I dreamed often about having a great idea for a novel, but my real-life attempts never made it past chapter 1. The energy had drained from my writing attempts, and I worked in abortive fits and starts. Was my lifelong dream of writing books a false hope? Despite my love of stories and the positive feedback I’d received in my early life about my way with words, I wondered, not for the first time, if I’d been cut out for this at all.

Meanwhile, I focused on studying and then teaching the Enneagram personality system. My co-teacher Kacie and I decided to create a little ebook about personality types at work as a freebie connected to our mailing list. I brought out my editing and design skills to shape bits of our previous writing into a coherent whole, and added Decoding Personality in the Workplace to my email signature. I also continued to edit books on a freelance basis, and one day, one of these publishers asked: “We’re looking for an Enneagram book, and I see you’ve written one. Would you be interested in doing one for us?” And in 2017, Kacie and I got to hold The Modern Enneagram, the published book I’d given up on, in our hands.

There’s more than one path to being published, and the journey can be long and hard. Here are some strategies to weather its ups and downs.

1. Be persistent.

Rejection is a fact of publishing. A quick Google search will yield lists of rejection letters, hilarious in hindsight, for best-selling novels, and Stephen King collected enough of the suckers to hang them on his wall. From my experience on the other side of the acquisitions desk, I can attest that a lot of good writing, for reasons related to fit, space, and chance, just doesn’t make the cut. Those same pieces might find a perfect home elsewhere. Keep submitting, and if the editor takes the time to give constructive feedback, read it carefully. Sometimes they just don’t get your story, but at other times they’ve identified flaws that will improve your writing if corrected.

Also, while many publishers and publications simply don’t respond to submissions they choose not to publish, if the venue doesn’t specify this, don’t be afraid to follow up if you haven’t heard back. Last summer, I sent a fantasy story to an online magazine and heard nothing in response. I assumed they just didn’t like my story, then discovered that another submitter had received a prompt reply. My follow-up email led to the publication of “Count Three Stones,” and a piece I’d loved writing finally found a home.

2. Be open to different doorways in.

If one approach isn’t working, consider another. I just heard a great story from a Scottish literary agent about a writer of paranormal police procedurals. Despite the quality of his work, he was repeatedly turned down by traditional publishers because there was “no market” for his books. This agent encouraged him to self-publish, and the popularity of his unconventional mysteries proved the publishers wrong.

If you’re committed to getting your work out there, be open to trying different avenues for publication (including self-publishing), different genres, and new approaches. Experiment and see where it lands you.

3. Take breaks when needed.

If you feel exhausted and disheartened from the submission-rejection cycle, sometimes the best thing to do is to take a break from the whole game. Step away from your favorite manuscript. Let go of the projects you’re invested in if they’ve been driving you crazy. Later, you can return to them with fresh eyes, able to revise when needed, take a new submission approach, or start something new and exciting. Remember that “not now” doesn’t mean “not ever.” Publication is a non-linear process, so be open for its cycles of ebb and flow, and expect the unexpected!

December 1, 2017

Three Gifts of Storytelling

The holiday season is approaching, and with it a focus on gifts. It’s important to many of us to find just the right thing for our loved ones. But this is also a fruitful time for us to reflect on our inner gifts, and the gifts we can bring to ourselves.

One of our greatest inner gifts lies in story, both the stories we have lived and those we imagine. Your stories belong to you and express your unique voice; no one else could tell the same one the same way. When you choose to write these stories down, you share this gift with readers. For some, it may be exactly the gift they need. And it’s a gift that works in two directions: your stories can reveal new insights and perspectives to yourself as well as to others.

The art of storytelling also has inherent gifts that you can invoke deliberately to bring out your writing’s meaning and coherence. When you write, it helps to keep in mind the following three gifts of storytelling, inspired by the Enneagram’s conflict resolution styles, as tools for revealing your story’s wisdom.

Gifts of Context

No narrative exists in a vacuum. All stories have greater meaning beyond their own existence. They have something to say about being human and existing in this world (even if they are set in a different one). What is your own story saying? Here are a few questions to keep in mind when considering the context of what you’re writing.

What will this story give the reader?

Reader experience is important to think about. Are you speaking to a specific group of people, with a directed message? What do you aim to give through your story, and what will readers receive? Here’s where feedback helps to see if your intentions are conveyed effectively.

What possibilities does this open up?

Most stories engage with questions and options. There are multiple ways to tell a story and multiple decisions to be made as you go along. First person or third person? Reality or fantasy? Car chase or romance scene? What about both? Don’t be afraid to follow tangents as you’re writing and let inspiration lead you.

What themes are you engaging with?

Sometimes this question is a starting point and sometimes it isn’t clear until the end. This is your “I want to write about ___.” Why is this theme important to you? Chances are that your personal connection to theme will yield powerful material. What have others already written on this theme, and how can you engage with this wider dialogue?

Gifts of Logic and Structure

Writing isn’t just about context. It is also a structured art. Thinking ahead and strategically will help you create something coherent and polished, as will revising and rewriting once you’ve finished a draft. The following questions touch on important structural and logical points to keep in mind as you write.

What rules and constraints will you follow?

Most writing has a genre (or multiple ones) and structure. Some people prefer to lay out structure and logic from the beginning, creating outlines and defining parameters for their writing projects. Others “discovery write” and build in structure later, revising as needed. Giving some thought to the rules and traditions you will work in will help grant your project a strong shape.

What is the “high concept” or interesting part of your writing?

The most successful narratives have an attention-grabbing hook. In your case, there must be something driving you to write your story in the first place. Follow your inspiration to its source to find this aspect, and let it guide your writing. Keeping your own interest in mind will keep your story lively for readers, too.

What knowledge and research do you need?

Often, our stories require knowledge we don’t already have. Cue reading, Google, and asking primary sources. Experts in a field often have the most informed and targeted answers. Some experts might even be willing to read your story and give suggestions. Decide what you need to know and start learning.

Gifts of Emotion

Consider the emotional undercurrents that shape your story. How does the project make you feel, and what feelings do you want it to evoke in the reader? Just as it’s useful to read in your genre, it’s helpful to look at sources that reflect a similar emotional landscape for inspiration. The primary source of your own experience is invaluable, too.

What elements of internal life are you portraying?

Keep this question in mind as you build characters and narrative voice. The same plot event can be told multiple ways to evoke different emotions. Just as your story is a journey of sorts, its emotional arc takes your reader on an inner journey, with different landscapes and realizations.

How do reactions drive the story?

When plot events occur, they impact both outer and inner worlds. Dive into their consequences by having your characters react, and allowing their reactions to drive events. Show the internal impact the events have, as well as the consequences of your characters’ decisions.

What goals drive the story?

This question shapes structure, but is also at the core of your narrative’s emotional landscape. Something needs to happen, and this “something” is never neutral. It presents high stakes for narrative and character(s) alike. How does the character feel about the goal, and about plot events in relation to it? How do you feel about these?

With these questions in mind, explore the gifts that your story brings. What is new and unique, resonant and true about it? What aspects will stay with the reader long after they put it down?

November 1, 2017

Nine Tactics for Winning NaNoWriMo

So, you’ve committed to writing a novel this month. The ambitious goal of completing 50,000 words of a cohesive story in 30 days is both daunting and exhilarating. Whether you’ve completed previous NaNoWriMo novels or are dipping your toes into these challenging waters for the first time, you’ve made the choice to face down that blank page right now. Where and how do you begin? Whether you’re a plotter or a pantser, a veteran or a novice, here are a few ideas that will help you finish November with a draft you’ll be proud of.

1. Structure before you begin (or don’t). Some people prefer to have every detail of their story planned out before they begin (see above re: “plotters”), while others like to let their stories surprise them (these are the “pantsers” of the writing world). If you have a strong preference, it can be genuinely challenging to work outside of your preferred method. However, it can also be revitalize blocked writing. When you’re looking to write something fast (like a NaNoWriMo novel), having an outline speeds your progress, because you know what to write next. If your story isn’t moving as planned, though, try giving it freedom to develop and seeing what twists and turns pop up as you go along. And if you’re an obsessive plotter, writing a fast novel by the seat of your pants might be an exhilarating, and even time-saving, experience.

2. Work with others. Writing is usually a solitary activity: one person, one keyboard (or notebook, or typewriter). But it doesn’t have to be. NaNoWriMo offers a treasure trove of virtual support, as well as in-person opportunities in many communities to meet and write together. Take advantage of these changes to find support and camaraderie with others who are embarking on the same writing journey. Other fun ways to bring collaboration into your writing process include completing NaNoWriMo with friends, working with a writing group or coach, or coauthoring a novel. (My coauthor Kacie Berghoef has a great blog post about book collaboration, which might be helpful if you’re looking to go this route.) Collaboration means you don’t have to work alone. When you run into challenges, you’ll have others around you who will understand and help you through them.

3. Write to reader interest. You want to write the book you want to write. Maybe you’ve heard about “writing to market,” and cringed at the idea. Why would you want to follow ephemeral publishing trends? Conversely, maybe you’ve thought, “if (insert best-selling author) can do it, surely I can,” and decided to take up some broadly selling genre, topic, or formula, whether or not your heart is in it. Writing to reader interest is more complex than many of us think, though. It’s not about writing to a script; it’s about writing something that will be enjoyed. When it comes right down to it, most of us aren’t writing solely for ourselves. We write because we have a story to tell, and we’d like it to connect with an audience. And, my desired audience is probably going to look different from your desired audience. Consider the type of reader who gravitates to your genre and interests, and rather than writing to a general audience, write in a way that will keep their interest. Changes are you’re part of your own target audience. What book would you love to read? Write that book.

4. Write from personal experience. It’s an old truism that you should “write what you know.” This doesn’t mean that you need to limit yourself to things you’ve experienced in the real world. If this were the case, we’d have no imaginative science fiction, fantasy, or horror to enjoy. What is helpful is to draw inspiration from your experiences to ground your story. When your character’s in an emotional situation, look to your past to bring to life similar emotions that you’ve experienced. Your background can add color, detail, and richness: if you have a long career as a gardener, for instance, you can bring unique skill in describing the setting’s plant life. And don’t be afraid to mine your past for ideas. Your life is a wealth of inspiration, if you look at it closely.

5. Research what you need to know. There are lots of times when your story idea will extend beyond your current knowledge. Don’t be afraid to consult other people, books, or the Internet to learn the answers to your questions. From familiarizing yourself with your setting to getting to know the technical or medical details of your plot points, you’ll find that you need to research more factors than you’d expect to get everything right. In addition to information,relevant images, videos, and narratives (not just books–consider blogs and other internet resources) can make good sources, as can reaching out to people in your network who are qualified to answer your questions. Some of this research may come after NaNoWriMo, during the revision process. When the information is important to the plot, though, don’t hesitate to look it up on the go.

6. Throw in some danger. I’m not talking about endangering your own life as you sit in front of your treacherous laptop screen – I’m talking about imperiling your characters! Most novels are about people with problems. To maintain reader interest, keep the problems building until the end. When one problem is solved, might the solution create another one? Plumb plot possibilities by asking, “What could go wrong here?” If you want to write a can’t-put-it-down read, try ending your chapters with cliffhangers.

7. Keep the process fun and rewarding. External incentives make excellent motivators to keep going. NaNoWriMo is already great for this, with pep talks from prominent authors, relevant sponsor offer “prizes”, and the goal of “winning” built in. Build in intrinsic motivation by focusing on the fun parts of the writing process itself. Each day, focus on writing something that’s exciting and intriguing to you. If your scene is boring, cut it out. If it’s necessary to the plot but not that interesting, bring in fun details, dialogue, or other colorful touches. If you maintain your own interest through each passage you write, your writing will intrigue your readers too.

8. Use action to drive the story forward. Your story is about things that happen. Make sure enough happens to keep the pace going. Even a reflective story needs to have a consistent, interesting sequence of events. Your characters, too, need to be active – especially your protagonist. If you notice that things keep happening to your main character(s), give them more agency. Make sure they make decisions and initiate events rather than simply reacting. Give them a choice in every chapter. Give these choices consequences that significantly influence the plot.

9. Look at the story as a whole. If you’re a plotter, consider thematic elements and plot and character arcs up front. If you’re a pantser, watch them evolve and keep them in mind as you write. Beyond storytelling and entertainment, what meaning are you seeking to convey? What ideas do you want to explore? Who are your characters beyond their surface traits? What motivates them, and how will they grow (if they grow – iconic or static characters can work too)? What will they learn from the journey you are taking them on? Looking at your novel on a macro level will help it resonate with themes that speak to your target readers, ensuring it is both cohesive and meaningful.

NaNoWriMo is a wonderful challenge to take on, and you don’t have to do it alone. Feel free to reach out for support if you’d like some writing coaching, or to share what you’re working on in the comments. Happy writing to all of you!

October 2, 2017

Nine Roadblocks to Editing Your Writing (and What to Do About Them)

Anyone who writes knows the challenges of editing. You’ve gotten your ideas down in that “shitty first draft.” Now you must look at your work with fresh eyes, fixing messy sentences and filling in plot holes. It’s useful to get help from others, whether they’re peers or professionals, but ultimately we have to edit our own work too. Some of us love polishing our writing, but for others, it’s an uphill slog. Our personalities stall our progress and throw roadblocks in our path. Here are nine that you might encounter during the editing process, along with tricks for dealing with them when they arise.

1. Perfectionism: If you’re a meticulous type of person, editing might come naturally to you. You enjoy reworking problem areas and finding the right word for the job. You might find, however, that your perfectionism sometimes leads to paralysis. The temptation to fix what you’ve written, again and again, makes it hard to know when your piece is done. Set yourself a “no more editing” deadline, or seek out encouraging others who will help you get your work out there and call it a day.

2. Focusing on Others: As much care as you put into your writing, you also devote a lot of attention to the people in your life. If this sounds like you, you might find editing to be a challenge. It seems selfish and daunting to block out time to improve your work. All of a sudden you need to help Grandma wash her car, or put in extra hours at the office. You get wrapped up in doing stuff for others while your draft sits there. Try getting others involved in the editing process, using their feedback as fuel.

3. Goal Orientation: You have big ideas about what you want your writing to do. You envision an impact bigger than the day-to-day grind of editing, which can make it hard to sit down at your desk with your red pen (or its digital equivalent). Maybe you’ve written with a market in mind, or dream of shortcuts to take your project where you want it to go. But quality takes time and authenticity. As you edit, look beyond results to the truths you want to convey. What do you have to say, and what’s the realest way to say it?

4. Introspection: The more introspective among us use emotions to fuel their writing, but those same feelings can get in the way of the editing process. You look over your draft and see only flaws. You wonder if your writing is any good, and if it’s worth putting in the time to edit. These thoughts are discouraging. Seek out reality checks about your work’s pros and cons, and work steadily, a little at a time, to polish it.

5. Intellectualizing: If your writing has an intellectual foundation, you may find yourself focusing on the ideas as you sit down to edit. The resulting work may be well thought out, or it may get bogged down in analysis. Look beyond intellectual concepts at other vital aspects of your writing. It might be helpful to have a list of criteria about clarity, structure, reader interest, and other elements important to your genre.

6. Committee Mentality: Some of us have a hard time seeking the necessary feedback to improve our work, but if you tend toward the opposite, asking all your friends and mentors for their opinion, you’ll find yourself listening to a lot of competing voices. Resources about writing and editing can also be expert opinions that confuse with their disagreement. Filter others’ ideas through your own goals: are they right for your work or not?

7. Distractibility: It was so much fun to write your first draft that you want to start something new again! Why spend time on a boring editing process? Or maybe you should change what you wrote so it’s completely different, make it much more interesting… Without focus, it’s hard to polish your work to its potential. Keep in mind how exciting it will be to have your project finished, and inject novelty into the editing process. Instead of working on new writing, edit in a new location, or intersperse editing time with other activities.

8. Impatience: This writing has been so much work that you just want to be done with it. Isn’t it good enough already? You’ve said what you had to say. Sometimes a light touch is wisest, but there are generally areas to improve that you’ll find with a further read-through. That in no way diminishes the impact or power of your work. If you’re fed up with it for the time being, set it aside, but give yourself a deadline to come back to it.

9. Inertia: You find it hard to summon the energy for editing. It’s hard work, it’s not pleasant, and it’s not part of your daily routine. You might intend to edit, but find that hours have passed and you’ve spent them puttering around the garage, or checking Facebook. An Internet-blocking program might help if digital inertia is an issue for you, and a new environment might give you fresh energy. If it’s novelty, build editing into your routine, so your inertia will work for your editing process rather than against it.

There are many roadblocks you might run into while editing, some of which are related to your specific project, rather than the personality-based ones I described above. If you’re looking for coaching through the editing process, or help from an outside editor, I offer both services and often provide them together. Feel free to reach out to set up a Skype call, or offer your own ideas in the comments. Happy editing!

September 5, 2017

Your Instincts and the Creative Process

When you embark on a large-scale creative venture, you bring every aspect of your human nature with you. One influence you may not think about is your instincts. The Enneagram describes three basic instincts that influence people’s behavior: Self-Preservation, or the drive for conservation; Sexual, which involves the drive for stimulation; and Social, the drive for shared engagement. Some of these instincts are more active in your daily life than others, with one usually being unconsciously overdone, one moderately engaged, and one under-attended to. If you look at your creative process, you’ll find these patterns recurring. Each instinct brings vital elements to creativity.

I was introduced to the idea of using the Enneagram’s instincts in service of the creative process in Lindsay Robertson and TJ Dawe’s Develop Your Creativity workshop, and have gained additional insight through teaching The Enneagram Institute’s The Three Instincts (Subtypes) Workshop, which I’ll be holding in Edinburgh this 14-15 October. The instincts are powerful material because they shape your behavior so deeply yet so unconsciously, and bringing them into your awareness opens opportunities for change that we wouldn’t otherwise access. Below, you’ll find strategies that you can use to work constructively with each of the three instincts. Notice which come easily to you, and which could use a gentle nudge. How can you incorporate the strategies you underuse into your creative practice?

Foundation: In order to create, you need to have some form of structure and discipline in place. You could have the greatest ideas in the world, but without sitting down in that chair and making something, they will remain intangible possibilities rather than vibrant creative projects. Building a productive foundation is one way the Self-Preservation Instinct plays a key role in creativity. You can make this instinct work for you by scheduling time to devote to your project. Many find it helpful to create routines for themselves, such as writing every morning, setting timers, or using a program that blocks the Internet for a set amount of time. Tending to your basic needs and creature comforts is another way to use this instinct in service of your creativity. Is your workspace comfortable? Does the setting enhance or detract from your productivity? Some people find it most conducive to their creativity to work in a cafe with a comfortable hum of chatter, while others might need their workspace to be clean before they get started. Are you sufficiently fed and rested? Many creators have day jobs in addition to their creative work, which help with their foundation by ensuring that their financial and material needs are tended to.

Immersion: All creativity starts with a spark. You have a great idea that gets you excited. You’re drawn to make something new. Connecting with the Sexual Instinct in your creative work is similar to the rush of falling in love. If you can stay passionate about your project, that spark can mature into commitment. Let yourself love what you’re doing, and have a way of recording new ideas when they come to you (notebook, phone app, etc.). Give yourself to your inspirations when they strike: if you’re sizzling with enthusiasm about your novel one night, this might be a good time to get out the laptop. Let your impulses be woven in and see where they go. This won’t always look like foundations and patterns, but fits, starts, and lightning are part of productivity, too. When you aren’t feeling lit up, continue to energize your work by bringing in new ideas. Julia Cameron suggests making weekly artist’s dates, a practice that fuses the routine of the foundation stage with the excitement of immersion. Make it a practice to take yourself new places and experience new things.

Context: No one creates in a vacuum. Even if you complete a creative project on your own, you draw inspiration, consciously or unconsciously, from a broader context. This may include the works of other creators (which are often part of long lineages of influence), and ideas or feedback from other people. Everyone uses the Social Instinct to connect with influences, strengthen, and disseminate their work. If you look in the Acknowledgements section of any book, you’ll see that it wouldn’t exist without a long chain of people involved. You can draw on this instinct’s power by seeking community and context. Find writers’ groups, critique groups, or collaborators who you can bounce ideas off of, and receive valuable perspective. Feedback will shape your work into something more powerful and ensure it resonates with your intended audience. Forge accountability partnerships where you keep each other motivated. Look for work in your field that interests you, and study it to learn new forms of technique and craft that you can try out. You may want to seek professional help, or public response, to take your work to the next level. These strategies will strengthen your work and ensure your voice has an audience and influence.

Which instinct-based strategies would you like to use more of? How can you build them into your creative practice?