Fear and Apprehension

Over a month ago I said that I would actually post something I had written. I'll try and make good on that over lunch today, provided I don't freak out and think it's utterly worthless like the stereotypical writer has a tendency to do. I'm actually going to get my whining and insecurity out of the way now: Even after I make corrections to the part I'm going to post, I won't consider it "as good as it could be" and will likely go through another five revisions before I decide to leave it alone... blah blah blah etc whine complain.

In this instance, most of my insecurity is due to the fact that I use this blog to talk about the act of writing -- what I've learned about it and would like to share. My horrible, dark secret is that I don't follow all of my advice (at that moment, all of the writers in the room rolled their eyes) and I certainly don't write good first drafts (and, grinning, shook their heads). In my head, I know writers get this, but I still harbor the irrational fear that when I serve up the pudding, I'll be mocked for not having the cup of proof that is supposed to be in there (or, in some cases, substituting said proof with two cups of BS).

Anyway, coming up at some point today will be a snippet from my work in progress, which still doesn't have a title. It might be modified slightly to make sense as a short story, or I might just leave things as they are and see what happens. Who knows.

Status Update

While most people doing Sven seem to be writing more each day than I've done in the whole thing so far, I'm pretty pleased about wrapping up the first main arc of my story. I rewrote the end over lunch today, and it's much better. I'm not sure if I should press on and finish the rest of the story, or take a breather and touch up what I have a bit before moving forward.

Throwaway Drafts

I don't want to use numbers for fear that they'll increase the pressure, but I will say that I've hit my goals recently and I've been pounding away at my story this week. I'm about to wrap up the first arc of the story, and I'm really excited about it.

This whole "starting from scratch" experience has taught me something that I think is valuable: the throwaway draft (should I capitalize? The Throwaway Draft?). This sort of thing gets covered in writing classes and books (in "Bird by Bird," a book I don't recommend, Ann Lamott has an entire chapter dedicated to "Shitty First Drafts"), but the idea is always "Don't worry about if it is good! Just write and fix it later!" With my next longer writing project, I'm going to approach it a bit differently -- deliberately write something with the intention of throwing it away. Maybe this won't apply to other types of writing, but for fantasy, it has been amazing. I fumbled through my first version of this story with too much of my focus on the "cool stuff" -- magic powers, non-standard environment, epic conflict -- and wound up with a lot of junk. I didn't pay enough attention to my characters, so everything that sounded cool in my head wound up being lame on the page. Nobody cares if a bunch of really boring people have cool powers and are trying to kill each other under two moons.

When I read over the story, a few months after finishing it, I hated it. I needed to get to know my characters better, so I spent some time revising them, giving them more interesting histories and real pain in their pasts that would drive them to make stupid decisions periodically. I axed some characters, brought in some new ones. Then I sat down to rewrite, and things were much better.

I have some ideas for being for deliberate about this in the future. I have no idea if they will be effective, but hey, it's worth a shot.

Babysitting
Pick a couple of characters and write a few pages of what would happen if they had to watch someone's kid(s) for an evening. This kind of exercise would separate the characters from the environment, which I think would help immensely in a fantasy story, since the environment can often be a distraction. Even though the situation would be weird, it seems like a great way to find a character's voice.

Grocery Shopping
This is similar to the first one, only I would take one character and have him or her try to pick out stuff to make for dinner. This would provide an opportunity to focus entirely on what goes on in the character's head -- how he reacts to food he hates, how he thinks about other shoppers, etc.

High School
Dear heavens I hated high school -- would my characters hate it? Would the villain shake down the hero for lunch money? Would the hero pine over Suzie in chem despite the fact that she's totally out of his league? This type of arrangement could provide benefits from the first two examples.

Visitors to the New World
Put "normal" people into your fantasy world. No, don't make them "aware" (as in, "Wow! We're in a strange land!") -- just don't make them any different than someone from the real world. This will help you get a grip on the implications of whatever fantastic element you've added to your environment to make it special, and will help you understand how your characters might need to be different to fit in properly (an exaggerated example of what I mean would be putting an oxygen-breathing human in a world that is entirely aquatic).

Obviously, revision will always be necessary, and I don't mean to imply that I'm trying to eliminate that step from the writing process. The point here is to help figure out your characters before you have to start dealing with how the events of the story change them. Notice I said "help" -- almost every time I write a new scene, I learn something about one of my characters, so I don't want to give anyone the impression that a few prewriting exercises are going to solve all of your story's problems. They won't. They're meant to provide a few more tools at the front end that will breathe life into your characters.

Choosing the Right Words

In a work of fiction, every word matters. I mean this in a very literal sense - every single noun, verb, adjective, and preposition makes a difference in the way the story is understood. "Hate" and "loathe" may be considered synonyms, but when only one of those words carries the idea of "disgust" with it, it is important that you choose the one that best fits your situation.

"Oh come on, Stan," you say, "the reader doesn't care! You're just being nitpicky." Both of those statements may well be true, but that doesn't excuse the writer from practicing precision. Imagine a violinist in an orchestra saying, "Well, I'm not in tune, but no one will notice." There is no way that would fly - even tone deaf people would consider that attitude highly unprofessional because it aims for something less than perfection. The same is true for writers. If you're shooting for "good enough," you aren't giving your work the proper attention and ultimately failing your readers.

Okay, so we've got the gloomy stuff out of the way...now what? Well, the first step, as with everything else, is "Write the damn story." Step three is going to be "Repeat step two." Step two is going to be tedious.

Start reading your work, one sentence at a time. Look at each sentence one word at a time and ask yourself two questions: 1) Is this word necessary? and 2) Is this the right word?

For the first question, you're looking at word economy. Even if you prefer a more verbose style, you still need to consider whether you need the words you choose. Take a look at the following paragraph:

The house was empty when William returned home. "Damn, where is everyone?" he muttered irritatedly to himself. He dropped the family's mail in a pile on the counter. They can sort their own mail, he thought to himself. He kicked off his shoes into the closet, then went in his room and collapsed on his bed.

That gets the job done, sure, but it needs to be thinned out. We can get rid of "home" in the first sentence because the verb "returned" implies that he lives in "the house." In the second sentence, chop "irritatedly" because William says "damn" and mutters, axe "to himself" because, well, there is no one around for him to mutter to. The third sentence can do without "family's" because a family is implied by the next sentence; "in a pile" because, again, the rest of the sentence implies what we're cutting. Italics are typically used to represent thoughts, so that can stand alone (and again, "to himself" can go because he really can't think to someone else). Finally, the last sentence can lose "off" and "in his room"; the former becomes unnecessary and the latter is implied. The result:

The house was empty when William returned. "Damn, where is everyone?" he muttered. He dropped the mail on the counter. They can sort their own mail. He kicked his shoes into the closed, then went and collapsed on his bed.

Much better! I think you get the idea, so let's move on to choosing the right words. This time, I will present you with two slightly different passages:

Allison was about to switch off her lane when yet another customer began unloading merchandise on the conveyor belt. "Find everything you were looking for?" she asked, running the items over the scanner and placing them in a bag.
The man mumbled an affirmation, watching the prices blink on the display. "Hang on, those shirts are on sale. Get it right."

And:

Allison was about to switch off her lane when yet another asshole started unloading merch on the belt. "Find everything?" she started scanning and bagging.
The man grunted, eyeing the prices on the display. "Hey, those shirts are on sale. Get it right, bitch."

The same action occurs in each passage, but they have distinctly different feels to them. This is the sort of thing a writer needs to pay attention to. Don't shrug anything off as "close enough," or you will reach a point where the story doesn't come across the way it was intended.

Challenge: Write a few sentences, then grab a thesaurus (or visit thesaurus.com) and start playing with synonyms to see how they change what you've written.

Suffering Through Revision

First off, I'd like to apologize for being so late with this week's update. I blame assorted network and homework problems for this. Now, onward to this week's topic!

Revision, to many, is the least appealing aspect of creative writing. After creating characters, building an environment and breathing life into the scenario, the idea of going through and making changes seems too much like work. The whole point of writing is to have fun, isn't it?

No. The lazy person writes for fun. The writer writes because it is a fundamental part of who he or she is. For the writer, revision is something worth suffering through because it serves the end goal, which is to produce excellent - not good, excellent - writing.

Admittedly, my own revision ethic is weak, but I think I know a few things that are worth sharing at this point.

The most important thing is to let the work sit for a while after it is finished. How long depends on the length of the story - a short story may only need a week or two, where a longer body could require a few months. In the meantime, it's a good idea move on to other projects. The idea is to get your mind off your finished work so when you go back to it, you will see it with fresh eyes. What, then, should you be looking at?

Your Use of Words - I don't mean whether or not you have "proper" grammar. Have you chosen the right words for the situation? Think about the differences between words like "anger" and "rage." The basic meaning is the same, but they tend to have different connotations. Also, consider your characters' dialogue. Do the words they use reflect their personality, or does everyone say "darn it!" because you're afraid to make some of them say "shit"?

Scene and Summary - Do you spend too much time detailing your characters actions, or do you have a tendency to blast through parts of the story that could use more attention? Ask yourself, "Does this add to the story?" If you are questioning details, make sure they are relevant. No one wants to sit through a long description of a room and a lenghthy conversation if it doesn't pertain to the story. If you're looking at a summary, make sure you don't gloss over events that will develop the overall story. For example, you might tell the reader that your main guy "worked for the phone company for twenty years, only taking five sick days in that time." While that may be enough to show that the character is a hard worker, it would develop him even further to explain the circumstances around those sick days (were they consecutive? was he the one who was sick, or was it someone else? did he do something impulsive that he normally wouldn't do?).

Scenery and Symbolism - Look for objects that appear in your story and think of ways to make them somewhat consistent throughout the story. Suppose the protagonist goes to visit her mother several times in the course of the story. If the first scene includes, say, a photo album on the end table, make sure that photo album is present in subsequent visits, or else mention its absence. Show the page it is open to (if it is open). Work with these details to enhance what is going on with your story, just don't be too heavy-handed with it - keep it subtle.

Consistency - This is key. Get a notebook or new text file and take notes on what your characters say and do and what history you reveal and keep an eye on any changes that occur as the story progresses. The longer the work work is, the more likely you are to screw up your continuity - it happens. You come up with better ideas as you go, and they weasel their way in without your knowledge. That's just how it goes. Your job is to go back and fix those problems.

Revision is brutal, but you don't have to go it alone: Ask other people to read your drafts and offer their feedback. Outside input can be quite valuable in determining the story's weak points. That's not to say you should just change everything your readers don't like, you just need to honestly consider the opinions of others because they might see something that you overlooked.

So, let's recap. Revision is suffering but necessary. Don't worry too much about grammar until you've fixed problems with word choice, scene and summary, setting and symbolism, and consistency. Listen to others. The last, and probably most painful thing you'll hear today, is the last step in the revision process: rewrite and repeat. That's right, there's a good chance that you may need to start with a blank page and write the story again with the vast knowledge you gained in the revision process. Then revise it again. It may require more rewrites, but remember, it's okay to cry.

Challenge: Write a short story (keep it under five pages for this exercise). Let it sit for a day, then revise it, focusing on one area we discussed today. Wait another day, then look at a different area. Repeat until you are satisfied.

Developing Personality

A character's personality is something that develops over the course of the writing process. It's a lot like getting to know another person - it's impossible to know a whole lot about them before you've seen them in a variety of situations. In the prewriting stage, don't worry about brainstorming a full-fledged character; just stick with the basics we discussed two weeks ago - the immediate backstory and the important details of the characters' relationships with each other. Your chief concern is getting the story finished, even if it sucks.

Because it will suck, and it will most likely be due to your characters. That's where revision comes in. Your second and third drafts (and beyond) are where you start fixing things, including the focus of this week's talk: personality.

Do you have your character sketches handy? Get those out. If you had any ideas during the writing, add those if you haven't already. You should have a rough idea of what the character is like - adjectives like "angry" or "melancholy" should give you a basic filter through which all other details should pass. The next step is to take the information in your character sketch and ask, "How does this interact with the character's personality?"

Let's take a look. Suppose your character sheet tells you that your main character is bald. If he is fundamentally insecure, then he'll probably wear a hat and become defensive if attention is drawn to his head. If he's more secure, he may think he looks like a badass and try to act tough. Of course, it could be an interesting twist for a guy who is insecure about something else to think his baldness makes him look scary, so don't rule anything out without giving it real consideration.

Another thing to keep in mind are your character's hobbies, as they can be quite revealing. Think about the differences between things like collecting stamps and fixing old cars. What is it about your character that makes one hobby preferable to another? Does he have exceptional patience? Is he organized or disorganized? Is he creative or destructive? Try and imagine your character involved in different activities and see how it unfolds.

Finally, think about personality quirks - little things that bring a character to life. These can be anything from fear of clowns to obsession with the freshness of fruit. Work these idiosyncrasies into the story; the characters will be far more interesting with them than without them.

Challenge: Take a character you are working on and put them in a variety of challening situations (traffic jam, power outage, in line behind a screaming kid at the grocery store, for example) to see how he or she will react.