Three Reasons We Stall Out on Our Stories

I just read an article by writer and creativity coach Eric Maisel. In the article he says there are three ways we stall out on our stories.

1. We don't show up.
2. The story isn't there — you don't know what comes next.
3. The story doesn't work — the story is going nowhere.

I'm whole heartedly agree with him.  These are three biggies.

Sitting Down
The first just takes some discipline. Sit down, pick up your pen or turn on your computer and write.  It doesn't have to be great, but you don't get anywhere if you don't show up.

It helps it you make the experience something you look forward to. Maybe writing a coffee shop, in the park or out on your deck. I love writing my first drafts in a bathtub.

What Comes Next
This one is harder. You show up, pen in hand and try to write, but get stuck. What comes next? Stephen King once said that writer's block is  . . . not knowing your main character well enough.  (I'm paraphrasing by the way.)  If you know your main character, he says, you'll know what he'll do next.

So, if you're stuck, you might try some writing exercising that help you uncover more about your main character.  I.e. Put him or her in scenes that are unrelated to the story, or write about happened earlier in their life. Write a scene about the scariest moment in their life, or funniest, or most embarrassing. Or, you could just do an interview. Pretend you are in a room with them and start asking them questions.

At the very least, these exercises (for me anyway) get me thinking about new scenes and how to come at the story differently.

Story Doesn't Work
If you're story's not working it's hard to tell sometimes whether (a) there really isn't enough meat there for a story or (b) you need to dig in there and uncover more of the story.

I've had stories that fizzled after 30 pages. I had a great opening and first act, but that's all there was. There are a number of reasons, but usually (for me anyway) it's because the main character's goal wasn't enough to sustain an entire story.

For example, my character might need that PERFECT hair cut. They run into all kinds of obstacles in getting the hair cut, but there isn't meat there for  a full length novel or script. It's a better short story.

Or sometimes, 30 pages in, I discover, is really about someone else. It was never about the person getting their hair cut, but about the world behind the beauty parlor.

Eric's ideas
I could go on and on about the stalling stalling story, and finding ways to restart it. In short, you need to objectively look at your stories to find the issues. And if that doesn't work you can hit up your writer friends to help you noodle your way though.

Or, you can read Eric's newsletters coming up that will be addressing issues 2 and 3.  I know I'm going to be reading them to see if they help shed new light!

Di

 

Writers Need Books

We're in the middle of finishing a new house and living under a nice roof, with an office, lots of boxes and a bed. We are quickly finishing floors, installing cabinets, hanging doors, painting, etc., etc., etc.

Dying for Basics

It's dusty and I'm dying to do a load of laundry. The washer and dryer are sitting in the middle of the laundry room waiting to wash clothes if only someone would come hook them up. But that comes after the counters on Friday.

I'm also dying to hang up my clothes, which are all in garbage bags sitting in my soon-to-be cool closet. I've found my sweaters, blouses, old coats and shoes. Have not found the bag with socks, underwear. (Foresee a trip to Fred Meyer in my future.)

Dying for Books

But you know what I'm really dying for — BOOKS!! The books I was reading when we packed were: Twitter for Dummies, the Donner Party expedition, and the Stephen King book, Under the Dome. Now I can't find them. My guess is they're with my underwear.

It's stressing me out. All the characters in the books are in limbo. The Donners are three-quarters of the way through their journey, stuck there until I can read more. The town folk in Stephen King's novel have just realized they are trapped and starting to panic. I need to rescue them!

Need to Read

I love reading and wish I liked to read more on a computer screen, but after working all day on one, my eyes are begging for a break. So, I prop my paper books up on my stair machine and peddle away as my characters struggle through their journeys. Right now though, I'm just peddling.

I had no idea how much I needed to read. I guess we writers like to surround ourselves in stories and words because that's a world we feel comfortable in. I'm off to Borders to buy some books.

di

Are You Compelled to Write?

In the last several months I've heard no less than 4 agents, 3 publishers, 1 manager and 5 producers say that they are looking for for writers who are "compelled to write".

What they mean by this — I think — is that they're looking for writers who are more driven by the act of writing than they are by the desire for a big check. They're looking for the writer who (I quote), "just keeps churning it out."

The manager even said, "I don't want to represent the writer who just writes one script a year."

Compelled or Crazy?

The phrase "compelled to write" bothers me partly because it makes me think of some wild-eyed, crazy person with their desk overflowing with manuscripts . . . and also because I'm not compelled to write.

The writing process is hard. There are about a million things I find more enjoyable than sitting in front of my laptop trying to fix a scene or figure out why my subplot isn't working. It's mental boot camp! Half the time I'm wondering, "Why am I doing this again?"

What I DO like is getting a response from readers.

Storyteller

What drives you to write? I'm curious, and would love to hear.

I'm not compelled to write, but compelled to tell stories. No, let me change that. I'm compelled to have my stories HEARD — to bring something to the reader that matters. Maybe that's what the industry folks are talking about too, but that's not quite the vibe I get.

Stories are a conversation. If no one reads my story, it's like talking on the phone with no one on the other end. Or telling joke without someone there to laugh. It seems pointless.

I don't need the big check, but I do need a minimal audience. Heck, one person will do.

Gentle Reader

Stephen King, one of the most prolific (dare I say compelled) writers out there, talks about the gentle reader and taking them by the hand through the story. That's a great image and one that helps when the writing gets tough.

But I have to wonder if Stephen King would have been such a prolific writer if no audience had shown up. Would he have stopped talking to a non-existent crowd or would all those novels be filling up his closets?

Your thoughts?

Crazy writer?

Sorry for rambling. I guess I just heard "compelled to write" one to many times and snapped.

Keep writing. I know your readers are waiting.

di

Great Books on Writing

I was just asked if I could recommend some great writing books. I'm looking at my bookshelves stuffed with books wondering where should I begin.

I'm not sure what makes a "great" book, so I've decided to just pick a few I find myself going back to. They were either inspirational or informative, or both.

 1. Bird by Bird by Anne Lamott. Every time I read this book I find something new to take away.  On that note . . . someone has taken my last copy. OK, I probably loaned it to someone. Luckily, I see you can get a used one on Amazon for about $3.00.

 

2. On Writing by Stephen King.  It's kind of like two books in one — a quick autobiography and then the instructional piece, which is excellent. There are some sections that writing instructors might balk at — like he's not big into outlining. But hell, the guy's Stephen King, like he cares. 

 3. Stein on Writing by Sol Stein. I was told by a developmental editor that everything you need to know is in this book. She was right.

 4.  Eats Shoots & Leaves by Lynne Truss. I didn't think you could write a humorous instructional book on punctuation but it can be done. I know, you're thinking, "We've read your blog. Have you really read that book? Your punctuation is borderline terrible." Well, you should have seen it before I read the book.

 5. Adventures of the Screen Trade by William Goldman. If you're a screenwriter, it's a must. This guy not only packs in loads of information but also includes gossip and the entire script for Butch Cassidy and the Sundance Kid. It was published back in the dark ages — back when Paul Newman and Robert Redford were young and total hotties — but it's worth the read.

OK, that's what comes to mind.   Any you want to add?

 

 

Writers Need Thick Skins

Hi,

I just finished a critique of a writer's work. I get paid to do it, so I take it seriously — reading through the manuscript thoroughly, taking notes, point out what's working, and lastly pointing out areas that could be improved.  

Once I'm finished writing the critique and it's ready to go out, it's extremely difficult to push the "send" button.  I've gotten enough critiques of my own work to know that any critique, even ones you've paid for, are hard to receive.  But if we're going to write for a mass audience, receive them we must. 

Here's my humble advice for anyone getting tough feedback:

• Remember it's only one person's opinion.  You don't have to agree with it.

• If the critique makes you mad, let yourself get mad. But then get down to business and see if any of it is worth considering.

• If it's overwhelming, put it aside for a while. Over the next few days, those points that resonated will probably surface.

• If something was confusing, feel free to ask the person critiquing to explain the point more fully.

• If all the critique is negative, ask the person to tell you what's working. 

Critique is tough. We've all been there. As professional writers though we're going to hear critiques in one form or another for the rest of our careers. (Ask Stephen King.) We might as well get used to it now.  

Di