Why do writers write? It’s a question non-writers often ask us, a topic we sometimes approach with fellow scribes over a drinks at the bar during conferences, and one we sometimes ask ourselves – accompanied by gnashing of teeth and pulling of hair – when we’re having a dark night of the soul. (Writers suspect we have more dark nights of the soul than non-writers; non-writers suspect writers are just being dramatic when having what normal people call bad days.)
Bad things sometimes happen during those dark nights of the soul. Creativity runs dry. The writing stalls. Imposter syndrome sets in. Or maybe it’s always there, and this is just its chance to step out of the shadows and taunt us. The story dies on the vine. We question ‘why write’, as well as ‘why not quit’. Yeah, drama.
But it’s always darkest before the dawn, the sun also rises, there’s got to be a morning after, etc., etc., insert favorite cliche here. (That’s another writerly thing. Don’t worry, it’s just a placeholder we’ll fix in the rewrite.) When the words start flowing and the story gains new life after a few days or weeks or months of tough slogging, it’s nothing less than euphoric. There’s nothing like a day of story breakthroughs to make a writer say ‘I can’t quit you’ to writing all over again.
I had one of these wonderful days recently, but it only came after weeks and weeks of false starts and what felt like hour after hour of wasted time. Continue reading
Sometimes basic is best. Getting back to basics. Basic black. Basic humanity.
And so it is with writing. Every now and then, often in one of the revision stages of a story, it’s time to get back to the basics – the point, the goal, and the conflict of a story. That means it’s time to reach into the writer’s basic toolbox and pull out some old favorites to identify festering plot holes, shore up weak conflicts, and fix leaky sinks. Okay, maybe not that last one.
This lesson presented itself to me when I recently found my Harrow’s Finest Five book 1 revision slowly circling the drain (what is it with me and sinks today?). I was dissatisfied with the story stakes. As I read the manuscript, they didn’t seem to be escalating, further complicating heroine Emme’s life, and leading her to an inevitable clash with consequences of her own making.
An author has options at such times. Crying. Chocolate. Booze. Cyring into chocolate and booze. But I’ve heard it can actually be more empowering to use TOOLS. Powerful, writerly tools. In this case, I opted for the tools and pulled the conflict box out of my toolbox to see why my revision had gotten stuck and my story felt flat. Continue reading
In the song I Want Your Sex, GM sings: “Sex is natural, sex is good. Not everybody does it, but everybody should.” What do your characters think about that suggestion?
Followers of the blog know we started the discussion of sex – specifically, writing sex scenes – last week, when Kay talked about her difficulty writing the next (and more meaningful) sex scene between the h/h in her WIP. On Saturday, Michaeline followed up with some observations about different kinds of sex scenes and some words encouraging writers to practice writing them. Today, as someone who has written many sex scenes over the years, had them critiqued by other writers, and even survived having both my mother and mother-in-law read a book with some really hot stuff happening, I thought I’d add my two cents, or in this case, five points to ponder, about writing sex into a romance story.
1. A scene is a scene is a scene. When is a scene in your story not a scene? Never! So, it stands to reason that a sex scene will, in many ways, be like the other scenes in your book. As Kay and Michaeline both pointed out in their posts, scenes exist in a story for one reason – to move the story forward. That’s why the best scenes tend to have conflict, beats, escalation, and a turning point.
Conflict in a sex scene? Continue reading
The theme is the beating heart of your book.
Judging by my posts this month, it seems I’ve spent most of January thinking about keywords that apply to my writing life and process, including intention, patience, and empathy. This past week, I spent quite a bit of time thinking about theme as a result of the confluence of disparate elements.
First, a quick definition of theme as I’m using it here, from Reference.com: “The theme of a novel or story is the major message that organizes the entire work…The theme of a work is distinct from its subject, which is what the story is ostensibly “about.” The theme is an expression of the writer’s views on that subject.”
On Wednesday, Elizabeth wrote about defining what you stand for, as well as what your characters stand for, to help uncover potential conflicts, arcs, and growth opportunities. In the comments section, Jeanne and Elizabeth wrote about the way an author’s view of the meaning of a work can change through the writing process. With this in mind, it makes sense that many writers get their first (or second or fifth) draft on the page, then step back and analyze the work to uncover the theme. Why look for the theme? Continue reading
My very own ‘written? kitten!’ muse.
Jilly’s Sunday post about productivity (or the lack thereof) and her ambitious writing plan for the rest of the year dovetails nicely with this final post about setting up a writing plan. I’ve written about setting up a big picture plan, breaking it down into bite-sized pieces, and applying the math to meet daily, weekly, and yearly word counts. That’s all fine and good until you sit down each day to work your plan and meet your word count…and get stuck. Or distracted (Look, shiny things! Email! Squirrels!) Or just plain overwhelmed by the ginormous to-do list to whip that WIP into shape.
So today, I’m going to tell you the secret to never facing that dilemma again! I’m going to hand you the key to unlocking your bottomless productivity and unending creativity! I’m going to…stop lying to you now, Continue reading