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Finding Your Writing Process

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A lot has been written about the process of writing – how you go from initial glimmer of an idea to the final draft – and for good reason. It’s one of the things that most bugs new writers, and most fascinates many more experienced writers. When you’re starting out, you wonder if you’re doing it right, and when you’ve been at it a while you’re curious about what processes other writers use.

For those just starting out, the question of whether or not you’re doing it right, whilst valid and, to some extent, unavoidable, is a question that can never be totally answered.

There are as many different answers as there are writers. We all do it a little differently from the next person, and we’re all right. It’s getting to the final draft that matters, not the route we take.

Having said that, there’s something very reassuring about reading about the writing process of someone who’s further along the road to success than you are. At the very least you can, maybe, learn to streamline your own process if you’re lucky enough to find someone who’s work pattern is already similar to your own. At the very best you can discover that other more widely published writers take a route that’s just as meandering and repetitive as your own. Very reassuring.

The important thing is that you don’t let another writer’s writing process totally derail your own.

This has happened to me in the past. I’ve read a workflow that sounds really good, efficient, clean and organised. I’ve thought it was something I just had to try. I’ve abandoned my own process and adopted the new one – with mostly disastrous results. Disastrous because I’ve had to study how they did it to make it work for myself, so I’ve wasted precious writing time. I’ve had to, in some instances, recopy notes already written in order to make them fit into a new pattern, and I’ve even had to get new software and learn how to use that before I could proceed. And in the end, just about every time, I’ve eventually abandoned the new process and gone back to the one that is uniquely mine.

Just occasionally I come across a writing process/workflow that really does help. In case you’re curious, the best ones I’ve found recently are the totally fabulous writing app Scrivener (which all mac users who write really ought to have, and which I was so sure would be the right one for me I actually bought a mac so I could use it), and which I now use for all my writing, the diary system used by David Hewson, and the notebook used by Antony Johnston.

I’ve always made copious notes about what I’m writing, including plot progression ideas, character sketches, motivations, questions to myself and my characters, reasons and consequences, and I’m more inclined to follow Mr. Johnson’s method of having one notebook on the go at a time, rather than a dedicated notebook for each separate long project/novel. I’ve never tried MacJournal, as used by Mr. Hewson but I am tempted by his latest idea of the private, online novel blog diary and may give that a go.

These two examples of successful author’s processes help rather than derail my own writing process because they expand on methods I already use – namely the notebook and Scrivener. With my notebook, I have tended, in the past, to leave my notes in there and eventually lose them in the plethora of random addresses, phone numbers and shopping lists that also get noted down. But if I adopt either the online diary or the extended use of Scrivener as described by Messrs Hewson and Johnston I should, theoretically at least, not lose track of my notes again.

I don’t think I’ll ever be totally cured of my curiosity towards other writer’s working methods, but hopefully I’ve learned over the years what works best for me and can now pick and choose which new methods I take on board.

The very best advice? By all means read how others do it, and learn from those who’ve gone before, but ultimately follow your own instincts and do what feels best for you. And never, never, ditch a working method half way through a project unless your present writing process just isn’t working and you’re starting again anyway.

Should You Write Every Day?

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notebookPhoto by jking89

Should you write when you don’t want to?

Everyone’s heard the advice to write every day. I’ve even repeated it to writers myself, but I’m wondering if it’s really good advice after all.

Most writers start out writing because they enjoy it. They do it just simply because they can and because it gives them a sense of satisfaction and fulfilment. It’s why I started writing, and why my exercise books in school consisted of several taped together by the end of term, whilst most people were struggling to get half way through their first. I just loved to write and wrote at every opportunity.

Back then I had no notion of writing for money, or writing to please someone else. It was just something I did, and if it pleased me it was good enough.

Because I had so much enjoyment in my writing, I wrote on most days. But I never felt bad or guilty for the days when I didn’t. I never once got anxious that if I missed a day or two, or even a week or two, I’d struggle to get back into it or have to relearn some writing skills.

If you don’t write everyday, unwritten crap doesn’t build up in your head. You don’t have to get all that garbage down on the page before you can writing the good stuff again. Once you can write well, you can write well at any time no matter how long you stay away from it.

You might get rusty. You might find your ideas don’t flow quite as smoothly or as fast as they did when you were writing every day. But you won’t necessarily have to write rubbish before you get to the good stuff.

The biggest danger in not writing every day, especially if writing isn’t your living, is that it’s harder to start again after a break.

Being such creatures of habit, if we allow the writing habit to get broken then that precious half hour we’ve got into the habit of stealing from each day will become elusive again. If you’ve missed two weeks of writing, it’s only too easy to let yourself believe another day won’t hurt.

That’s the biggest danger in not writing everyday. Losing the habit. Not losing the ability to write.

So, should you write everyday?

I’m no longer going to say yes. I’m going to say, if you like. If you want to minimise the danger of writing becoming something you used to do but no longer find time for.

But also if you still find it enjoyable to write every day.

If it’s become a chore, if you no longer enjoy it, then give it a miss. Walk away from it. Do something else for as long as it takes.

Writing is hard enough without making it a punishment.

First Drafts – Patchwork Writing

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patchwork writing

Photo by Lori Ann http://mamawit.wordpress.com/

I’ve just read a post on Holly Lisle’s Talysmana site regarding first drafts and the writing process, which has sparked off a few thoughts of my own.

One of the hardest things in writing, or learning to write, is learning to accept that what comes out of your imagination, your pen or your keyboard first time round isn’t necessarily anything remotely like what it will be when you decide it’s finished.

You have to push on through the muddles, accept the changes in direction and bear the confusion with stoic determination. You have to trust that the changes you make to a first draft are going to result in a better story.

And it’s not cheating when you change the beginning to match the ending. It’s okay to rewrite whole sections, delete others, change character names, swap locations, switch themes or whatever else occurs to you as you’re writing.

I’ve been a creative writing tutor for a few years now. I use the word ‘cheating’ deliberately, because so often I’ve had students cast me scandalised glances when I tell them it is perfectly okay to go back and add a few lines in chapter two when they think of a cool twist in chapter 15 that needs some foreshadowing. It really is as though I’ve suggested they cheat during an important exam.

First drafts are meant to be torn apart. Stories grow in much the same way as patchwork quilts. You have a load of little bits and pieces of material (in stories called scenes or ideas) and as you assemble the finished piece you rearrange, discard, add, match colours and shades, experiment with stitch styles and thread colours (in stories called narrative voices) and finally find a combination of all the above that pleases you.

You have to go through the experimentation and shuffling, the mixing and matching, the discards and the additions. There’s no other way to do it. If you don’t try the pink floral up against the purple stripes you might miss a wonderful and startling combination that delights and surprises.

It’s not cheating to shuffle the pieces around to work out which looks best.

But here’s the thing. In order to have pieces to shuffle about, you’ve got to write them first. Only then can you start the final assembly process that builds a story. And that’s what’s so hard about first drafts. It’s too easy to fall into the trap of believing that because it’s written, it’s got to stay as it is.

Wrong. It’s just another piece of the patchwork. If it clashes then change, revise, rewrite or delete it.

That’s what first drafts are for.

100 Stories Needed To Help Haiti

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Fund-raisers are calling for urgent short story submissions to help raise money for disaster-stricken Haiti.

Out of the submissions, one hundred pieces of fiction will be chosen to appear in an e-book, proceeds of which will go to the Red Cross.

The Red Cross is just one of a number of charities and humanitarian organisations mobilising a vast aid effort to reach the thousands of injured, hungry and thirsty survivors of the 7.0-magnitude earthquake to hit Haiti on 12 January.

100 Stories for Haiti is the brainchild of author Greg McQueen. On the morning of January 19, Greg posted a video on his blog saying: “Dear Twitterverse, I can’t keep watching this on the news or trending on Twitter without doing something. I woke up this morning with the idea that together we could make an e-book and donate all the profits to the Red Cross.”

Within hours news had spread throughout microblogging website Twitter and story submissions began arriving. Nick Harkaway, author of The Gone Away World, will be submitting a new story for the book as well as writing the introduction. Lorraine Mace, the co-author of the ABC Checklist for Writers, and award-winning environmental journalist Sarah Lewis-Hammond are volunteering their time to help with the editorial process.

100 Stories for Haiti needs short story submissions, editors, sub-editors and volunteers.

If you want to send a short story, please follow these guidelines:

No more than 1,000 words

No stories containing graphic violence, death or destruction

Send all stories in the body text of an email to 100storiesforhaiti@gmail.com. Stories sent as attachments will not be opened.

Stories must be received by Monday 25 January 2010

Notes for editors

Greg McQueen is a UK author living in Aarhus, Denmark with his wife and three year old daughter. He writes mostly for teens and is the son of Geoff McQueen, creator of The Bill.

Greg’s video can be found here http://www.ireallyshouldbewriting.net/100-stories-for-haiti/

Story submissions and volunteers email: 100storiesforhaiti@gmail.com

The book will be sold on www.smashwords.com. Founder and CEO Mark Coker will be waiving the normal 15% commission.

100 Stories for Haiti will be published in mid-February

Contact details

Greg McQueen

gregmcqueen@gmail.com

+45 31 71 77 41

Word Pictures

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We’ve all heard the saying about a picture being worth a thousand words, but I wonder how true that is. I’ve been thinking about the opposite just lately – that’s to say, not pictures being worth the words, but pictures that are created by the words.

And I’ve also been asking myself, who paints the word pictures? Is it the writer, or the reader? And should the writer try to influence the pictures that their words create in the imaginations of the readers?

The Concept of Beauty

We all have different ideas about what is beautiful and what’s ugly. Sure, there are conventionally acceptable standards, particularly in assessing whether or not people are beautiful, but when it comes right down to the particular there is always a certain something that’s hard to define that determines whether or not we find someone or something attractive.

When writing, it’s best to leave the definition of beauty either up to the reader or to the other characters. For instance, if I describe a young woman with long blonde hair, big blue eyes and a full mouth, and then tell readers she’s beautiful, they may not agree that what I’ve described is beautiful. But they would readily accept that another of my characters finds her beautiful even if they don’t personally. If I want my readers to accept that a character is beautiful because her/his beauty is central to the story, I’d try to avoid giving actual descriptions beyond the most vague. That way the reader paints their own picture and so can’t argue with the suggestion that the character is beautiful.

It’s a subtle difference, but letting readers paint their own pictures as much as possible makes for much deeper reader interaction with the story.