The Hemlock Notations

~ The writings of Faust S. Amazing

Tag Archives: writing

We Searched and Researched and Researched and…

23 Tuesday Sep 2014

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editing process, hemlock notations, how to write, research, Samuel Eden, writing, writing preparation

Alright-y then, going off of the last post on preparation; I want to talk about research. I know research is a part of preparation, but it’s such an important, and big, part I thought I’d give it its due with a whole post about it.

So the meat of the argument, the question everyone asks, is: how much research is enough research/how much research should I be doing?

The quick and dirty answer to this question (and some budding writers out there will stop after this, which they shouldn’t) is: you do as much research as you feel you need to, and then you get on to writing.

That being said, if you consider yourself a writer, if you want to be a professional writer one day, you should do more research than looking up one website/article (wiki- or otherwise) before you sit down to write about something. As a general rule I go for two or three sources on a subject, but it will depend on what you are writing.

If, for instance, you’re writing a historical fiction story I wouldn’t say it’d be out of line to have at least six sources (two or three on the event itself and one for each of the major participants), and really if you had a dozen sources I wouldn’t say you’re out of line. I read an interview with a writer (and you’re going to hate me because I keep doing this) whose name I can’t remember (someone look it up and send me a comment: female author, book took place around/during the Chicago fire, came out late ’90’s or early 2000’s). Anyway, this author took ten years to write this book, most of that time being research. So there’s that.

I would even say if you’re writing an alternative history story you still need to research the event(s) you’re changing, because you need to know what happened if you’re going to change things. Plus, doing this may get you to think about outcomes/consequences you might not have thought of for your story.

For my Reiner Rotterdam story I looked up several sources (digital and print) about fairy creatures to make sure I had the legends right. As it turns out trolls (Reiner is a troll by the way) originally were just bigger humans that liked to live alone and it wasn’t really until the introduction of the fantasy genre that they took on monstrous features that have become common place in our collective imaginations. Learning this made me think about the story I wanted to tell again, and in a different way, and I think it came out much better because of it.

Let me bottom line it for you: you will have to do research about something for your stories. To be fair (more than fair really) in this glorious information age that we live in research has become exceedingly easy to do, and writers have less and less excuses for misinformed stories or completely wrong “facts” in their stories.

As a general rule (yes, another one) regarding research: If you don’t know, even if you’re unsure, about something look it up.

I hope this clears the air about research. And as always: think good things, writer good words.

I’m Prepared to Prepare for the Preparing

01 Monday Sep 2014

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beginning writing, getting started writing, hemlock notations, how to write, Samuel Eden, Superiority Complex, writers, writing, writing preparation

How’s everyone doing today? That’s good (and conversely: I hope it gets better).

Today I want to talk to you about preparation. This goes beyond making sure you have the power cord for the laptop and a refill for a Venti-Grand Pumpkin Seasoned Frappa-Latte hold the Whip. What I want to talk about is preparation for your story.

As with the actual writing process there are as many different ways to prepare for writing your story as there are people who write. We’re going to look at two of the biggest in this post and touch on some others. Research is a part of the preparation, but I have enough to say about just that that it will get its own post.

The first way of preparing is the outline. If you’re unsure how to outline something try this: http://web.psych.washington.edu/writingcenter/writingguides/pdf/outline.pdf . This is a PDF from the University of Washington, it’s straight and to the point. A good way to think of an outline is as a skeleton for your story. What you’re doing with an outline is putting down the bare bones of the story. You then use the outline as a road map, reminding you where the story was going when you first conceived of it. Many writers hang their hats on the obvious and genuine successful utility of an outline. It is a tried and true method of writing preparation. The upside of using an outline is that it is clear and easy to read, everything is right there for you in an order anyone can follow at a glance. The downside I’ve seen with the outline is that newer writers see the outline as an absolute. They believe that because it’s on the outline it has to be in the story, that if they have something as the third scene on the outline it has to be the third scene in the novel. The best advice is to remember that an outline is just prep; if by the time you have some/most of the story down and something you have in the outline doesn’t fit right (or at all) anymore don’t try to force it into your story just because it’s in the outline. If a scene works better later in the story than where you have it in the outline move it. The outline is a static thing, but a story is alive and grows listen to it as much as possible.

The second way of preparing is note taking. Basically this means as ideas about the story come to you you write them down in a notebook. Notes can be as detailed or as sparse as you want, as long as there is enough information down to remind you of what you wanted to say originally. Many writers jot down notes on anything they have at hand (one author-damned if I can remember who now-said he once wrote notes to one of his books in the margins of another novel), but most carry a small notebook with them for when inspiration strikes. I want to state now that this is the method I use. It just works for me because of the way my mind works. My notes will include a character list, with a few sentences about personality/role in the story/some history, but mostly there will be notes on scenes and lines that I thought were cool when I heard them/they came to me. Sometimes the notes for the scenes are a few lines (this happens, then character A does this, and character B is saved/abhorred/dead), sometimes I write the whole scene down because I like what comes to me originally and want to get it all down. The upside of this approach to prep is that it’s much more free form than an outline. It doesn’t come with the same stigma of rigidness as an outline. The downside is this approach can be far less organized than the outline; which means you may have to backtrack during the writing to put in a scene you missed because it’s buried in a page of notes. This happened to me once, I was three-fourths of the way through a story, looking for a note about a line I liked, and found a scene that was supposed to go in the middle of the story. As it turns out after reading the note on the scene I decided not to include it because it didn’t really fit the story at that point. So be warned that you can miss notes, and if you’re the type of person who is disorganized outlining might be a better way to go for you.

At this point I want to bring up that these two types of preparation are not mutually exclusive. There are plenty of writers out there who take notes and before they sit down to actually start writing organize their notes by putting them into an outline. There are writers out there who do outlines and write notes about scenes and characters on it as they go and the information fills in during the writing process.

And again these are not the only ways to prepare for writing. I’ve heard some writers say they just sit down and pound out pages when they get an idea and then go back and take out things and rearrange scenes when they’re done. This can be good for a short story, but I’ve found it hard to pound out a novel (eventually I’ll forget something, which is more annoying to me than taking the time to write down some notes).

I do have a point to make that goes beyond mentioning how people prepare for writing. The point I want to make with this post is: Preparing to write is not writing.

I want to share something with you. I’m acquainted with someone who calls themselves a part time writer. He really likes epic fantasy and so wants to write epic fantasy. A couple years ago, being polite and semi-interested, I asked him how his writing was. He replied that he had some notes for a new story he was excited about. I asked him what it was about, he mumbled a few sentences, and we went on our ways. A couple weeks later I saw him and again asked how the writing was. He replied that he’d finally organized his notes into an outline. That’s cool I said, and again ways were went. Couple weeks later, how’s the writing? He’d found a map generator online and he’d finally settled on a map for his world. Okay. Ways. This time it was a month before I saw him again. How’s the writing? He’s been working on detailed backstories for his characters so he knows how they’d react in any given situation. I stopped asking after that.

I’m not telling anyone specifically how they should write (I like to think of these posts as suggestions to help get people started). However at some point preparing to write your story becomes putting off writing your story. I know for me writing is my addiction. On days I write I’m happy and bouncy, but the longer I go without writing the more irritable I get. So the fact that this person was doing everything they could except writing their story seemed like they were afraid to write it.

So today’s piece of writing addiction advice: Don’t be afraid to write your story. You’re the only one who can.

Genres the Niche in Your Market

25 Friday Jul 2014

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Christopher Barzak, Christopher Merkner, F. Scott Fitzgerald, Genre Fiction, Genres, George R. R. Marten, Literary Fiction, Samuel Eden, Stephen King, writing

Alright, y’all, I recently got something stuck in my craw about genres, and what’s considered “literary,” and stuff. A few months ago in a discussion someone brought up literary fiction and the idea that it was a niche market unto itself since only a certain type/amount of people actually read it. The conversation didn’t really go anywhere because most of the people there were literary types. I guess maybe they thought it was a null point since everyone they knew reads literary fiction.

Over the next weeks the subject kept popping up, I couldn’t escape talk about literary fiction and what the people who read it thought about it and genre writing.

Clarification: For those of you who might not know according to Academia there are basically two types of fiction, literary fiction and genre fiction. Literary Fiction refers to books like: Jonathan Franzen’s The Corrections, F. Scott Fitzgerald’s The Great Gatsby, and Christopher Merkner’s The Rise and Fall of the Scandamerican Domestic. Genre Fiction (and this term is almost used in a derogatory sense) refers to books like: George R. R. Marten’s The Song of Ice and Fire series, Stephen King’s IT, and Christopher Barzak’s One for Sorrow.

Here’s my problem with the people in the Literary Fiction corner: they are continuously writing papers and articles about literature. In most of them there is a clear bias towards Literary Fiction and how so much better it is than Genre Fiction. They are clearly arguing that Literary Fiction rules while Genre Fiction drools.

This makes them a bit of dicks for two reasons. 1) This is a one sided argument, because most (not all) of the people reading these papers and articles are other Literary Fiction people (most of the Genre Fiction people are reading something fun). It’s easy to win an argument when you’re the only one arguing. 2) They want people to read but then they’re telling people that how they read is wrong. It’s like a person telling someone they need to eat to stay healthy, watching them eat, and then telling them how they eat is wrong and they should stop until they figure out how to do it better.

Not that there haven’t been salvo’s fired from the Genre Fiction side, and now here’s my two cents. The whole Literary vs. Genre Fiction argument is just plain dumb. And not just for the above reasons. The simple fact is Literary Fiction is a genre. Go into any bookstore or library. There’ll be a section marked Literature (it will be the section that’s empty or populated by some teens looking for a school assignment).

Genres whether they be literature, fantasy, horror, or mystery are there to help people find what they like to read. It’s really quite clear. That’s it. How hard would it be to find the book you want if you walked into a store or a library and it was just a big pile? That’s why some smarty said: “Why don’t we put them in order like the alphabet?” When there got to be too many books for this to be helpful some other smarty said: “Why don’t we group the books that are like each other in the same section and label the sections after the unifying theme?” Hocus-pocus genres were born. And how helpful they are too.

The point of this whole thing: find what you like to read and don’t let anyone stop you.

Not As Many As A Lost Princess But I Do Got Some LINKS

21 Monday Jul 2014

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AJ Sabino, Community, Fantasy World Writer, hemlock notations, Samuel Eden, Teen Ink, writing, Writing Community

Okay, so as you can see I have some links up on the page. I want to talk a bit about them.

First is AJ Sabino. AJ is the first person I met through a convention. He’s a good guy and a talented artist. He actually did the superheroine for the All Ameri-Con flyer this year. If you get a chance give his site a look.

Second, we have Fantasy World Writer. I met Matt at this past convention after sending some e-mails back and forth about him wanting to review my work. He’s got a review up for Superiority Complex that I think is more than fair. He’s a good guy. From what he told me he runs the website as an aside from his day job. And that’s why I love the Internet; it allows you to indulge in what you like/love/are obsessed with and find other people who like/love/are obsessed with the same thing. It’s a great place to build a community or find one. He doesn’t just do books either, he also reviews movies and television shows, and recently setup a calender for release dates on movies and shows and books. Go on over and join the community.

Thirdly of the new links: Teen Ink. A young woman at this past convention told me her story was on their website. After checking it out (search: Raven Darius, the story is Delusional), I spent some time bopping around the site. It’s pretty cool. It encourages teens to write. There ain’t nothing wrong with that. They have both a print magazine and the website. Again I think this is great because of the whole sense of community. When I was a teen and trying to find my voice through writing there really wasn’t anything like this. I’m a fan of anything that encourages people to write. So once again take a look at the site and be part of the community.

Now a word on future links, while I like the distinct lack of clutter on my website I can’t very well rave about building a community through the Internet and then not put links up on my site. So more links will appear, but there isn’t a set list or schedule for that right now. Just keep an eye out. Until next time.

The Uncle Karl Fix Pt. 2

21 Saturday Jun 2014

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beginning writing, editing, editing process, how to write, Samuel Eden, writing, writing advice

Okay, so enough people have said something about “Uncle Karl” that you’ve (begrudgingly) decided to take a look at the scenes he’s in. Hopefully there’s been a few days/weeks/months between you finishing the writing and you going back to edit. The reason for this is that time can help you get a better perspective on your story. I can’t tell you how many times I wrote something that made complete sense in the middle of the writing, but when I went back through editing I was like: Wait! What?!

So, you’re looking at the scenes with Uncle Karl. The very first thing you need to ask yourself is: What is Uncle Karl bringing to the scene?

Try to be as objective as possible. This will be difficult. Probably at some point during your re-read of the scene you smile because of Uncle Karl. It’s tempting at this point to go: Hey, I don’t know what they (your friends who have been nice enough to read your story to help you edit it and make it better) are talking about. Uncle Karl is great. I’m the cleverest motherfucker here.

Alright, stop right there. Now I’m not saying you’re not clever, and you may be the cleverest one among your group of friends, you might even be the cleverest motherfucker writing about what you’re writing about, but…BUT…what if you’re not? And even if you truly are the cleverest writer to ever write, if people are too distracted by Uncle Karl to notice then in the end it doesn’t matter.

So you’ve re-read the scene with Uncle Karl in it with the question, What is Uncle Karl bringing to the scene, on your mind. Now for the second question: What is the scene trying to accomplish? Thinking of this question re-re-read the scene. Now is Uncle Karl helping or hindering what you’re trying to do in the scene?

Obviously if Uncle Karl is helping then Uncle Karl gets to stay. If Uncle Karl is hindering Uncle Karl gots to go.

You have to do this for each scene individually. I must stress: DON’T GET RID OF UNCLE KARL IN EVERY SCENE BECAUSE HE DOESN’T WORK IN JUST ONE. The reason I bring this up is because Uncle Karl isn’t just taking up space on the page, he’s taking up space in the world of the story. You took the time for the story to have Uncle Karl in it so the story WILL have a hole to fill if you take him out.

This is actually a good segue into the coolest question of “The Uncle Karl Fix”: What happens to the story if you take Uncle Karl out completely? BA-BA-BUUUUM!

For instance what if Uncle Karl is hindering one of your scenes, but he’s there to introduce something that will be important later in the story? So Uncle Karl is hindering the scene but helping the story. Fair enough, but what does taking him out completely do for the story? What if taking Uncle Karl out forces the Main Character to be more proactive? What’s wrong with that?

What I’m trying to get at is that getting rid of Uncle Karl doesn’t have to be a bad thing. It can provide opportunities for the story to grow and move in directions you didn’t expect. From part one I mentioned my most recent “Uncle Karl” was that my story was from a character’s POV and that it just wasn’t working from their POV.

Yeah, I was upset. Something I wanted to do didn’t work. The story sucked. I had my maybe-they’re-just-not-smart/cool/into my genre-enough-to-get-what-I’m-trying-to-do moment, and once I calmed down I started thinking about the other characters in the story. When it occurred to me who’s POV it should be from all these ideas flooded into me about how I could play around with different aspects of the story, things that hadn’t even occurred to me the first time around, things that couldn’t have because the way the story was coming out. All of a sudden the story was breathing and alive again.

At the end of the day that’s all we, as writers, really want isn’t it? To have a story that’s fun to write and lives on its own.

The Uncle Karl Fix Pt. 1

06 Friday Jun 2014

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editing, editing writing, hemlock notations, how to write, Samuel Eden, Uncle Karl, writing

Okay, all the way back in March I talked about being objective about your writing and about the process of writing. As an example of objectivity I mention a character I called Crazy Uncle Karl and being attached to him even though he might not be the best thing for the story. If you don’t remember, or haven’t read, that entry go ahead, I’ll wait.

Now that we’re all caught up I want to talk in detail about the fixing of the Uncle Karl Problem. I want to clarify that the Uncle Karl Problem, as I like to call it because I like pithy names for things, doesn’t have to be just a character. It could be a character, a location, a scene, an object, or a concept. For instance in my most recently workshopped piece my “Uncle Karl” was the fact that I really wanted to tell the story from this one character’s point-of-view. It worked until about half way through the story and then because of the POV everything sort of doesn’t make sense and the people reading it had too many questions about what exactly was going on in the story, instead of just enjoying the story (which is really what I wanted). So the Uncle Karl wasn’t the character it was the fact that I wrote from that character’s point-of-view.

So let’s talk about how you know you have an Uncle Karl Problem. In the same post I mentioned that you should have more than one or two people read your stuff. It’s so you can more readily identify the Uncle Karl(s) in your story. For the sake of argument let’s say you have a group of six people to read your writing.

If one person in that group doesn’t like Uncle Karl: What are you going to do? You can’t please everyone all the time. Don’t worry about it.

If three people don’t like Uncle Karl: It’s a good idea to look at Uncle Karl. Maybe you can pull back on how crazy he is. Maybe only have him in the couple scenes no one really commented on him being in. At this point it’s a minor deal that people don’t like him. Still fifty-fifty is a good balance you don’t have to worry too much about him.

If four or more people in the group don’t like him: Okay, that’s a majority. I’m not going to lie to you it may be time to let Uncle Karl go. Look, he was fine in the first draft, you had a good time writing him, but if he’s getting in the way of the story he’s got to go.

At this point I’d like to disclaim that this system is just a guideline. I use this guideline and it helps me a lot in determining if something (or an entire story) is working or not. It is just a guideline though. It’s possible (very slimly) that you just so happened to beat the odds and stacked your writer’s/reading group with people who specifically don’t like Uncle Karl whenever he pops up in any story not just yours. It’s impossible to know that until you sit down and take a good hard look at Uncle Karl and what he’s doing for the story (suggestions and techniques on how to do this will be discussed in part 2).

Of course you don’t have to listen to your reading group. You can decide they don’t know what they’re talking about and not do anything with Uncle Karl. You are in charge of your writing. But then again, if you didn’t want their opinion why give them your story to read?

I’m Coming to You Today FROM THE FUTURE

07 Wednesday May 2014

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how do I write, L. Ron Hubbard, Samuel Eden, writing, writing advice, writing contest

I’m so excited. My story, Warm Blooded, is getting an honorable mention in L. Ron Hubbard’s Writers of the Future contest. We’re all very excited here in the land of notating hemlocks.

If you haven’t heard of the contest (or have but have never taken a look at it) I encourage you to check it out. It’s a free to enter contest which is always good, and it’s judged by some of sci-fi’s top names. It’s also not just a writers’ contest it’s also for illustrators (if you’re into that thing). The contest accepts the longer-ish stories too so that’s also a plus for those of us that don’t have a handle on the short-short.

An honorable mention isn’t a win, but this means I can keep sending them stories until I do. And I hope you guys decide to join me.

Nutrition and Processed Writing

07 Friday Mar 2014

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hemlock notations, how do I write, Samuel Eden, Superiority Complex, the writing process, writing

“It’s a meat process.”
–Doublemeat Palace, Buffy the Vampire Slayer; Season Six

Okay, we’ve been building to this for a while now. Today I’d like to discuss the writing process. Almost every writer gets asked what their writing process is. I haven’t been asked much, but I like to joke that it involves a lot of internet porn.

I’ve been avoiding talking about it because it seems like such a big thing to talk about. “Kids, sit down. It’s time for “the talk.” When a man, or woman, feels a building urge inside them to tell a story they go to the drugstore to buy some things they’ll need…” Yeah, that type of big.

At the same time the phrase “writing process” evokes incongruous images. Such as, an assembly line where cars get built, or a recipe for baking a cake. As if a writer, because he/she is popular and making money, or is critically acclaimed, has found the right setup of ingredients and/or procedure to write.

I’d like to say right now: the writing process is not a magical formula for writing.

A colleague in my writing group finds he writes best at the Barnes & Noble Starbucks a few miles from where he lives. Another colleague writes between midnight and two in the morning. Laurie Hallse Anderson’s husband built her a cabin in the backyard where the only electronic thing out there is her computer. J.K. Rowling wrote exclusively in coffee shops.

I have a loving and understanding wife who let me have my own office. So when I write I go into my orange office with black trim (that’s right it’s Halloween all the time for me), sit at my black table (not a desk; desks are claustrophobic), turn on my Dubstep playlist entitled: Medreadation (‘cause I’m a dork), and write. Furthermore, if I’m writing on the computer I change the color of the page to black and the color of the letters (I wrote this blog post in green). Sometimes I come in, turn on the music and just can’t take it. So I turn it off, put in my ear plugs, and shut out the world. Sometimes, I can’t take looking at the computer screen, and I whip out a notebook and pen. When I write long hand I use a variety of pens and notebooks (right now I’m on a legal pad kick; but white paged legal pads, the yellow pages annoy the fuck out of me). Black or blue ink depends on my mood, and a red pen on standby for on the spot corrections.

To point out the obvious: all of these “writing processes” are different. Here’s the secret to the writing process: it’s just a way for you to feel comfortable enough to write. It’s almost anti-climactic in a way. Innit?

Clarification: When I say comfortable I don’t necessarily mean relaxed. My one piece of advice for the writing process is that you find a space/place/environment that’s stimulating without being distracting. When I say comfortable I mean: a place where you feel you can sink into the story and express it in the form of words via writing. Some people feel comfortable floating along the background noise of other people in coffee shops, others find shutting out the world so it’s just them, their brain, and the world of the story. Whatever works for you is what’s good for you.

One thing to keep in mind about the writing process is you. As I stated above: the writing process isn’t some magical formula. The writing process is a tool to help you write. It is not set in stone. If you find that you’re not writing as much, or are being distracted more, by what you were doing, try something else. Sometimes I write stories on the computer, and sometimes I write them long hand first. Sometimes I switch back and forth between the two. Don’t be afraid to change what you’re doing. You’re going to change as a person, so too will the way you write.

Turtle Soup or Rabbit Stew: the tortoise and the hare revisited

22 Saturday Feb 2014

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hemlock notations, how do I write, Samuel Eden, Superiority Complex, The Man with the Invincible Gun, the writing process, writers, writing

Alright, we’ve discussed the writing habit, or muscle if you prefer. Now I want to talk about something that is closely related to “the habit” and “your process”: output.

BA-BA-BUUUUUM!

As writers, as people really, we like to see what we have to show for our work. Being able to look at a screen/notebook/printed pages and say, “wow, this is what I got done today,” is a key part to our esteem as workers, as writers, as creators. Eventually this question might also cross your mind: “How much should I be writing?”

In his memoir of craft On Writing (2000, Pocket Books) Stephen King mentions that he does ten thousand words a day. For those of you who can’t do the conversion from words to pages in your head that’s forty (OMG!) pages a day. Author of The Phedre’s Trilogy Jacqueline Carey, in an interview with Writer’s Market, mentioned that while writing the first book in the series she made a deal with herself that she couldn’t shower until she got at least a paragraph…and some weeks she went days without one.

Recently I overheard two of my colleagues in my writers’ group talking about writing. One of them asked the other how long it takes them to write. Of course I perked up and listened doubly hard. The other one answered: “I take about three to four hours,” and I thought this was reasonable, “per page.” My mind was blown. I couldn’t believe the person takes that long for each page.

For me, if I’ve spent 3 to 4 hours on a page it’s a bad day. I’m not feeling it; I know I have to admit I’m beat and take a break. The project I’m working on with my writers’ group I wrote over the summer. I wrote it in full lit-jock mode so not only was I hitting my five page quota easily I was averaging between 12 and 20 pages most days.

There are two very different amounts of output associated with working like this. I want to stress that my colleague’s pages have beautiful language (they better), but this is a stylistic choice that wouldn’t necessarily change if he worked faster. In the writers’ group we usually deal with a couple people each week with no more than a maximum of thirty pages. The last time we looked at this colleague’s pages he turned in 10 and those were a couple days late. My pages don’t have beautiful language, but then I didn’t write that type of story, and I’m done with the whole novel, in fact I finished in the summer, I turn in 30 pages every time I’m up for the group.

Now before you think I’ve thrown down the gauntlet, or I’m condemning my colleague, I want to clarify a few things. First, I’m a 10 on the personality scale (my scale only goes up to 10) so every story I write I’m excited about. Second, I have a crazy work ethic and if I don’t get at least five pages a day I feel like I’ve wasted my time. Third, I believe in the power of editing. One of my favorite things to say is: Editing lets you craft the story you thought you wrote the first time around.

Some of you might be thinking that taking 3 to 4 hours per page means you can cut down on the editing process. Well, that’s a false premise, because the 3 to 4 hours per page factors into that. Obviously my colleague is taking the time to make each sentence perfect (or near enough) before moving on. So there’s still editing, it’s just built into the writing process. Secondly, it cuts down on the editing on a basic, sentence level, but not necessarily when it comes to the story itself. Do you know that old military saying? “No plan survives contact with the enemy.” Well, no manuscript survives intact after first contact with readers (agents/editors/focus groups/what-have-you). So you still might have to change the story multiple times to clarify things or flesh things out.

Again, I’m not drawing a line in the sand and saying writing slowly is bad. I’m not even saying it’s less or more work, taking less or more time. What I want to make clear is if you write fast or you write slowly it’s roughly the same amount of work either way. I want everyone to be aware of that.

The point I want to make with this post is this: all progress is positive. It doesn’t matter if after 4 hours you have three pages or twenty, you’ve done a good job. If you’re only getting a few pages after hours of writing it doesn’t matter. Seriously, your process, your style, your output will change, should change, as you mature as a writer. The important thing is you’re writing.

And to put it simply: if you want to write more, write more.

If You’re Reading This You Should Be Writing

02 Sunday Feb 2014

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how do I write, Samuel Eden, writing

“If you only write when you’re inspired you may be a fairly decent poet, but you’ll never be a novelist because you’re going to have to make your word count today and those words aren’t going to wait for you whether you’re inspired or not.
You have to write when you’re not inspired. And you have to write the scenes that don’t inspire you. And the weird thing is that six months later, a year later, you’ll look back at them and you can’t remember which scenes you wrote when you were inspired and which scenes you just wrote because they had to be written next.
The process of writing can be magical. Mostly it’s a process of putting one word after another.”
Neil Gaiman, talking with Chris Hardwick

People always ask me: how do I go about writing the actual act. Neil Gaiman’s words sum it up. I sit down and I write. That’s what you have to do if you want to be a writer.

This is for all you beginners out there. For those of you who “have a great idea but I’m just never in the mood to write” people. The act of writing isn’t some divine rite. The stars don’t need to align in just the right way for you to sit down and write. The physical act of writing is like any other hobby or skill, you have to make the time to do it.

You need to carve out a time that you decide is time for you to write. Even if it’s just an hour on Sunday afternoon, that’s fine. When Sunday rolls around you grab your laptop/computer/paper and pen, go somewhere and sit with it. For the next hour that’s all you do.

Seriously, for the next hour do nothing but stare at the blank page or computer screen and thinking about your writing (whatever it is your writing). You may even write something, but don’t be discouraged if you don’t. And don’t do anything else.

Just you.

And the computer/paper.

And the story.

At the end of the hour you’re free to go. When the next Sunday rolls around grab your laptop/computer/pen and paper and go somewhere for an hour. Again you sit there with your computer/paper and you think about your writing.

Again, if you write something, that’s great. But don’t be surprised if you don’t. Don’t be discouraged if you don’t write anything (or if you write only a paragraph or two). This isn’t to gauge yourself as a writer, and it’s not about developing the process by which you write. It’s much more basic than that, it’s about developing the mindset, the habit, of writing.

When I started writing my first novel, Superiority Complex, I would get up in the morning, eat breakfast, and then sit down in front of my computer to write. Up until this point I’d only written short stories; these are relatively simple, I could sit down for a couple hours (up to six) and pound them out. The task of the novel is a different animal. I would sit in front of my blank screen staring at the blinking cursor. I’d type a sentence. Delete the sentence. Type another. Delete that one too. Sit in frustration hating the white screen. I wouldn’t move though. I wouldn’t play computer games. I’d cheat every forty-five minutes or so and check my e-mail, but then go right back to the blank document.

It was the most frustrating thing in the world. I had all these ideas about what I wanted to say and what I wanted my characters to be like but it was all stuck in my head. Eventually I’d attack the keyboard and write out of pure frustration. I was frustrated that I was wasting time I could have been working to help my wife support us. I was frustrated that a blank screen was defeating me. I was frustrated that my awesome ideas weren’t out there for everyone to enjoy.

Most of what I wrote like that I ditched. It wasn’t as awesome as I hoped, but some of it was good and I kept that. My point is two-fold: frustration is part of the writing process (especially at the beginning), and you have to develop the habit of writing so you can write. It got to the point where I was writing every day and I felt great.

Once you’re writing consistently every Sunday for that hour, you can work on finding more time to write and even on finding your process. First and foremost though, you have to get in the habit of writing.

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