Browsing Tag

breaking bad habits

Quick Edits: A Look at “Show Don’t Tell”

Craft of Writing, Quick Edits, Writing

Quick Edits is a short feature where I give quick editing advice on how to handle common problems in fiction writing.

Show Don’t Tell

In my capacity as an editor, I’ve written “This is telling. I want to experience this with the character, not be told about it,” countless times. And the soundbite is “Show, don’t tell.” We’ve all heard it.

But the problem with soundbites is they’re meant to be short, so if we embrace them as rules, rather than guidelines, we lose the nuance.

“Never use adverbs.”
“Don’t use passive verbs.”
“Don’t use exclamation points.”

All of those items that are verboten by soundbites are valid, useful parts of speech. The issue the soundbite is trying to address is that they’re all overused, so the general guideline is not to use them at all. The guideline is really to keep us from overusing them (or using them wrongly, which is usually the case with adverbs) and to make us think about the instances when we do choose to use them.

“Show don’t tell,” is similar. Authors should mostly show. But it doesn’t mean authors should never tell. The “show don’t tell” soundbite drops all the nuance and all the reasoning of why authors should show, rather than tell. And because of this skipped nuance, many authors, particularly novices, adhere to the soundbite as if it is set in stone.

It isn’t.

Below is a list of instances where telling could be appropriate, where you can and sometimes should violate “show don’t tell.” Note that you don’t always have to tell in these instances, and sometimes shouldn’t. As writers improve, they learn when each is appropriate. Generally guideline is still: if you’re unsure, go with showing.

When to Tell

  • when transitioning from one scene to another – often Telling can happen at the beginning of a chapter or a scene when setting up for the action to come
  • when the action doesn’t matter – if your character is traveling from one place to another and nothing happens during the travel, the reader doesn’t need to know every turn and stop the character makes
  • when there is repetition – if a character has to tell another character about something the reader has already heard or experienced, Telling the reader that the character conveys the story is better than rehashing everything the reader already knows (an exception to this is if the character is misrepresenting or misunderstood what happened; that can be important for the reader to know)
  • when time passes – similar to above, if time is passing and nothing important happens, you don’t need to Show us that
  • in short stories – because short stories have a word limit, Telling is often necessary to summarize events that may not be as important to the plot as others.

There are also some instances in which you should rarely Tell. Obviously things that are the opposite of the list above. For example, any time the action does matter, it should be Shown and not Told. Another instance is action scenes. Action scenes should always be shown.

So there you go! A quick guide on when not to use Show Don’t Tell. Can you think of other times when you should Tell rather than Show?

Are there any editing issues you run into that you’d like covered in the Quick Edits series? Drop a comment below!

Keep writing,

Quick Edits: Don’t Blink

Craft of Writing, Quick Edits, Writing

Quick Edits is a short feature where I give quick editing advice on how to handle common problems in fiction writing.

Don’t Blink

We’ve all read it. Some of us have probably written it.

Some surprising thing happens. And, in response, a character blinks.

This is a problem. Why?

Because blinking is not an indicator of surprise. If it were, we would be indicating surprise more than twenty five thousand times in a day. Blinking is a mostly involuntary bodily action. It happens all the time.

In face-to-face life, it isn’t blinking that shows a person’s surprise. It can be wide eyes, a shocked expression, raised eyebrows, a flinch, a mouth agape. There are any number of things that actually show surprise. Blinking is never one of them — unless it’s a melodramatic blink for effect. And even then, I’d argue that’s deliberate, not as a result of a surprise.

Blinking, like breathing, is a natural thing that the body does over and over again each day. In order to justify mentioning it on the page, there should be something special about that particular blink. So I find blinking to be acceptable when there’s something in the character’s, eye or when he’s trying to hold back tears.

As an editor, I see the use of blinking as an indicator of surprise to be a wasted opportunity. There is so much more that could be described to really push the surprise across to the reader to make it vividly drawn in her mind. Using blinking seems lazy.

So don’t blink.

Are there any editing issues you run into that you’d like covered in the Quick Edits series? Drop a comment below!

Keep writing,

Quick Edits: Action Scenes

Craft of Writing, Quick Edits, Writing

Quick Edits is a short feature where I give quick editing advice on how to handle common problems in fiction writing.

Let’s talk about writing action!

What Is Action and What Makes a Good Scene?

Action scenes are any scenes that require high tension and lots of movement by the characters. Obvious sorts of action scenes are fights and chases, but they’re not the only types of action scenes. Sex scenes are also action scenes.

Clarity and high tension are the hallmarks of an effective action scene. The reader should have absolutely no opportunity to put the book down. She should be grabbed and pulled through the scene with so much need that turning the page takes too long.

Action Scene Toolbox

Clarity

The reader must understand exactly what’s happening in the scene, so clarity of language is very important. You don’t ever want him to have to stop and reread things in order to envision who is doing what.

You want to use concise and vivid words. No wishy-washy descriptors, like “fast” or “large.” Instead, use “breakneck” or “colossal.” While a thesaurus will be useful in the case of substituting a word, don’t limit yourself to that. Consider whether rewording the sentence altogether would make for a more exciting and memorable description. Stretch yourself. Don’t take the easy way out.

Active and evocative verbs are your friend, but don’t go overboard and use so many or so unusual words that the pacing of the scene gets bogged down.

High tension

Writers have much more in their tool boxes than just words. One of the most effective tools for getting readers to feel what you want them to feel is sentence structure. When writing action scenes, you want to use shorter, punchy sentences. Simple noun-verb-object structures with the occasional phrase at the beginning or end.

Why? Because shorter, simple sentences are very easy to parse, and we can read them faster. Complex sentences make us slow down to make sure we understand what’s being said. In an action scene, you want the reader to read faster and not have to slow down. This serves the purpose of raising the tension. Used in conjunction with your actual writing — ie, how you describe what’s happening and the words you use — you get a bonus on top of the natural tension of the scene.

As a writer, you should use all the tools at your disposal to get the reader to feel what you want him to feel. 🙂

Are there any editing issues you run into that you’d like covered in the Quick Edits series? Drop a comment below!

Keep writing,

Put On Your Unicorn Hat: How to Create Writing Boundaries

Writing

Are you constantly interrupted when you sit down to write? Does it seem like every time you try to get some words in, that is the exact moment that your spouse needs your input on something, your kids suddenly MUST have your attention, your mom wants to chat for an hour about her dog?

You’re definitely not alone. People in our lives can often be excited to hear that we want to write a book (or whatever we’re writing), but then when we try to do it, they want all our attention. It’s almost as if there’s now a subconscious competition with the writing.

It can be really frustrating, because of course we don’t want to hurt the feelings of someone we care about. And we definitely want to be there if we’re needed. But, in my experience anyway, the interruptions are almost always about trivial things, or things that could have waited an hour or two, til my writing time was over.

What makes the people who care about us subconsciously try to undermine our writing time? Who knows. And the “why” doesn’t even matter. What matters is that we are able to get our work done. So here are a few tips that might help with the “interruption-itis.”

Talk with your people

Help the people you cohabitate with to understand how important your writing is to you. Explain that this is a job for you, not just something you’re wasting time on, like when you watch television or play a game. If they can understand the importance of this, they will be more likely try to be aware of when they’re infringing on your time.

There is another side to this, though. If you tell them that this is important to you, that it is like a job for you, it needs to be those things. If you are setting writing boundaries for them, you must also set writing boundaries for yourself.

Don’t sabotage your work by constantly being on Facebook or Twitter during your writing time, or talking on the phone, or playing a game. Because not only does that undermine your own goals, but that sends a message to the people around you that even though you said you were serious, you’re really not.

So be serious.

Silence your devices

This goes hand in hand with not messing around with Facebook during your writing time. Turn your phone off, turn off notifications on your computer, close down your e-mail, your social media, and anything else that might distract you, like your mom wanting to talk about the dog. It’s surprising how often our concentration is stolen simply by a blinking light, a vibration, or a funny sound, even if we don’t respond to them. Silence the devices, turn them face-down so you can’t see the light notifications. Let your writing time be about your writing, not about everyone else.

Get behind a closed door, if possible

Being able to close a door in order to create your own writing space is incredibly powerful. If you have an office, wonderful! But if you need to close yourself off in a bedroom, in a laundry room, in a garage, or heck, even a bathroom, try to do it! And then teach your people to always knock when a door — any door — is closed.

If there are no closed doors in your house, create a symbol

Sometimes you can’t hole up in a room, such as if you have kids. In that case, create a symbol for your writing that other people can see. I have a friend who told her family that if they saw her sitting at the computer with her unicorn hat on, it meant she was writing and not to disturb her unless someone was bleeding or something was on fire. This was an excellent symbol of her writing boundaries and it was silly enough that it didn’t come across as pushy.

Maybe you don’t have a unicorn hat though. What else can you use? Here are a few suggestions:

  • A paperweight moved to a different location on the desk, such as the corner, where it is clearly visible.
  • A glittery sign on the back of your monitor (or the back of your chair, if that’s more visible) saying, “Writer at work. Do no disturb on pain of DEATH!” Or, yknow, use your own words 🙂
  • Wear a particular shirt or sweater or jacket that is your “writing attire.” Make sure to throw it in the wash regularly. Although not throwing it in the wash might also make an acceptable deterrence to interruptions!

Anything you can use to communicate that you are writing, without having to be interrupted in order to tell them that you’re writing, can often work.

Enforcing Writing Boundaries

So you’ve set up your glittery sign on your chair and your monitor and your Pennywise paperweight on the corner of the desk, clearly visible. But your spouse still comes in to ask you where the can opener is.

All the signs in the world are not going to help enforce your writing boundaries if you’re not willing to say, “No.”

If someone interrupts you with a non-emergency, point to your sign (or your paperweight or your unicorn hat) and make it clear that you are not open for questions at this time. Enforcing these boundaries is just as important as setting them. Because they won’t mean anything if you’re still answering the question about the can opener, even though you’ve said you need to be left alone to write.

If you’re not willing to respect your writing boundaries by enforcing them, no one else in your household will either.

Do you have some fun symbols to help enforce your writing boundaries? Let me know in the comments! I’m always looking for new ways to communicate with people around me.

Happy writing!

 

 

 

Unless attributed otherwise, all images are CC0 licensed.

Quick Edits: Distancing

Craft of Writing, Quick Edits, Writing

Quick Edits is a short feature where I give quick editing advice on how to handle common problems in fiction writing.

Distancing is when you are using 3rd person limited or 1st person point of view and then use language, usually in descriptions, that distances the reader from that POV. Here’s an example:

She watched Thomas get out of the car.

If we are firmly in our character’s POV, we don’t need to be told that she’s watching. All we need is:

Thomas got out of the car.

We will know she watched that happen, because if we’re in her head and she didn’t watch him getting out of the car, we wouldn’t even get the action at all.

Another example:

As he closed the car door, he felt the chill of the metal on his palm.

Instead, consider:

As he closed the car door, the metal chilled his palm.

The first sentence is the author telling the reader what the character is feeling. Do you notice how we are pulled out of the character’s head? It puts a degree of separation between the reader and the character that you, as the author, may not want. In the second sentence, we are invited to experience the feeling along with the character, which, in my experience as reader and a writer, is infinitely preferable.

Words you can search your manuscript for that might identify distancing sentences:

  • Saw
  • Watched
  • Heard
  • Felt

There are others, but that is a start. Now, of course, not every instance of these words will need to be removed, but they should each be evaluated individually. Push yourself to think outside the box, to think about how a sentence can be phrased differently.

Pulling these words out of your writing encourages you to create better, more vivid and interesting sentences. This will make you a better writer.

And isn’t that the point? 🙂

Are there any editing issues you run into that you’d like covered in the Quick Edits series? Drop a comment below!

Keep writing,

Quick Edits: Word Echoes

Craft of Writing, Quick Edits, Writing

Quick Edits is a short feature where I give quick editing advice on how to handle common problems in fiction writing.

This week we’re looking at word echoes. Word echoes can be used as a writing device to emphasize some aspect of the scene, character, or plot. Therefore, you don’t want accidental word echoes. You always want echoes to be a deliberate choice.

There are a couple different types of word echoes.

One type is crutch words. These are words that, as a writer, you lean on heavily, usually in first drafts. I keep a list of my crutch words (which includes “actually” and “smile,” also “so,” among others) and when I finish a first draft, I search on each of the words to see where I can change them up. Notice I didn’t say “find a different word.” We’ll talk about word choices in a minute.

A second type is words that commonly connect with each other in some way. This is an echo I began to recognize as I edited professionally. Words that have a natural opposite, like “up” and “down,” “in” and “out,” often find their opposites within a few lines. In my experience, it’s very common that if I see “on” somewhere in a sentence, “off” shows up, usually within three lines of it (and vice versa). And that pairing is usually repeated two more times within the next page or two.

A third type is simply when we use the same word too many times in too short a span. I find that I do this most often when I’m not in the zone of writing and just trying to get the words down on paper. I will usually mark it and come back to it later.

But the bigger issue is when we don’t see those echoes on the page. This is where beta readers can come in. I wrote a post on how to best utilize beta readers. One of my suggestions is to give beta readers specific things to watch for or comment on. So you can task one of your beta readers with watching for echoes. That is probably the easiest way to catch them. If you hire a professional editor, they will definitely catch those echoes. (If they don’t, you need a new editor 😉 )

A word about word choices

See what I did there? 🙂

When looking at word echoes and deciding how to fix them, don’t always go for a synonym to substitute for the offending word. Look at the entire sentence. When we echo, it’s a good indication of sloppy writing. Not necessarily bad writing, but when we wrote, we went for the easy words, the expected words. That’s why we echoed.

If you look at the sentence and can work out a way to revise the sentence itself so that the echoed word is no longer necessary, I will bet that the sentence you come up with is much better than the original sentence.

Why? Because the sentence was built with intent, rather than just tossed together in the midst of a writing sprint. Intentional writing is almost always better than off the cuff writing.

My advice: try not to think in terms of synonyms. Think in terms of recreating the sentence to get rid of the echo.

~

Are there any editing issues you run into that you’d like covered in the Quick Edits series? Drop a comment below!

Keep writing,

Doing What We Do (Rough Draft Writing – Part One)

Craft of Writing

I mentioned in my New Year post that 2018 is going to be dedicated to writing. I’m refocusing on the words.

I thought it might be interesting to post about how I actually do that. What my “process” is, so to speak. Fair warning: this is going to be a two-parter. This is mainly because as I wrote, it got really, really long! So you’ll get a bit here and you’ll get a bit next week too 🙂

Back before I got into publishing, before I’d even taken one course about writing, I was a dyed-in-the-wool pantser. I came up with an idea for a character or a situation and I’d just sit down and start writing, without any idea where I was going.

This is a perfectly valid way to write. Lots of people do it successfully this way. For me, what I found is that it was really inefficient. I spent a lot of time meandering around, not really sure where I was going. I strongly resisted any suggestion I do anything like outlining, because the story was in charge, not me. I had to go where the story took me.

As I connected with other writers and also worked through my graduate program at Seton Hill, I realized what my problem was and it was inherent in the way I was writing.

My husband is Dutch. When his mom came over to the US to visit us the first time, one of the things she really wanted to do was go to a grocery store.

I know. That seems weird. But in the Netherlands, grocery stores are small, neighborhood businesses. They don’t have sprawling jungles of produce and glaciers of frozen foods.

So she wanted to see a grocery store here in the US. We obliged, of course. We let her loose in a Kroger (I think… maybe it was Publix) and I went around, gathering what I needed from various sections. A little while later, I got to the dairy section and I found my soon-to-be mom-in-law standing in front of a dairy case. This older woman, just frozen there, staring at the butter.

Why do you need so many different kinds of cream cheese?

You know… that wall of butter that is generally four feet wide and six feet tall. She was just standing there, looking a bit dumbfounded. I went up to her and asked her if she was okay. She turned to me, her eyebrows furrowed.

“Why do you need so many different kinds of butter?”

Too Much Butter

I realized that, in having literally no path for my writing, I had way too much butter to choose from. There was too much I could do. Too many paths I could take. And having that much choice, having to make that many decisions (this, but not that; those, but not these) froze me up more than it freed me.

I had so many places I could go, I had no idea where I should go.

Several years ago, I started playing with other ways to write, other processes. I tried out different methods that other people use. Some are pretty well-know, like the Snowflake Method. Others are just systems that writers have devised for themselves. I’m still exploring, but I feel like I’ve found a method that works for me. Not only does it keep me focused on where I need to go for the story, but it also greatly speeds up my actual writing, so I get things done much more quickly. (When I, yknow, actually focus on my writing.)

Writing Like a Hybrid

To give credit where it’s due, I completely ganked this method from Sterling & Stone, which is a trio of writers who not only publish books, but also produce a great podcast on self-publishing that I recommend to anyone interested in that avenue (among many other podcasts).

The method involves creating “beats” for the story as a method of pre-writing. It’s not outlining, so much as it’s note-taking for the story.

How It Works for Me

First, before I do anything else, I make character sketches. For each major character, I fill out a worksheet which details what the character looks like, their background, etc. I don’t necessarily know all the things about them at this point. I leave a lot of stuff blank to be filled in later, as I write. But I get the major stuff down now, early.

Once I’ve got the sheet filled out, then I write a page or so about the character in relation to the story. What is their goal in the story? How do they change? What is their overall attitude to what is happening? How do they feel about the other characters? How do they connect?

I don’t get into details about the story itself here, just the general implications on and attitudes of the character I’m working on. I’ll also note down how the character’s background might affect their reactions to the general plot or other characters. For example, if a character had an abusive girlfriend, maybe that character is wary of women, in general, and so holds the main character at arm’s length and doesn’t trust her.

I do this worksheet and write-up for all the major characters. For minor characters, I will do a more sparse version of the worksheet and maybe write a few lines about who they are within the story and why they are in the story. (I find it’s important for supporting characters to be in the story for their own reasons, rather than my needing them in the story.)

That done, I’ll do something similar for any major settings. I’ll write a few paragraphs with the description of the place, any general significance, and then significance to soecific characters and/or plot.

Westminster Abbey ~ London
An awesome setting 🙂 Photo by Aja.

These worksheets and write-ups are important to do ahead of time for a couple reasons. First, it allows me not to have to worry about figuring out what someone or something looks like when I’m in the flow of writing. I’ve already worked out how they look.

Second, it brings me closer to the characters (and the settings) before I’m actually writing. I get to learn about them as separate entities from the story itself, which, I think, helps make them more realistic. I don’t want characters who didn’t exist before the story and only exist now because of the story. If I connect with the before-story characters, then I will convey them much more richly within the story itself.

Okay! That might seem like a lot of pre-writing, and it is! But it’s not the main pre-writing. This was the pre-pre-writing. But don’t be intimidated. It seems like a lot of work on the front end and putting off the fun of the writing itself. But what I’ve found is that when I do this (and the beats, which I’ll talk about next week), the writing is much easier and goes faster. Honestly, the writing comes 3x+ quicker if I do this stuff first.

And even besides those good outcomes, I’ve also found that because I don’t have to focus on creating all these details when I’m writing, my first draft comes out much more polished. This is because I’m able to focus on the writing itself — the scenes, the plots — rather than the details of the characters or deciding what a place looks like. It cuts down on the decision fatigue happening during the actual creation process.

Next week, I’ll talk a lot more about writing the actual beats: how and why.

What do you think of the pre-pre- writing so far? Do you do something similar? Entirely different?

 

 

 

Unless attributed otherwise, all images are CC0 licensed.

BackSpacing: Pulling myself up by my bra straps

Life Stuff, Writing

No Tool Time Tuesday this week. We’ll get back into it next week!

BackSpacing posts will be personal posts, just as a warning. Consider it me going, “Whoa. Backspace. Let’s figure some stuff out.”

I have been very bad about writing lately. I keep putting it off or finding other things to do that are “more important.” They’re not really more important, of course. They’re just a convenient excuse. But this is also why the blog has gotten off track.

Last year, I spent most of the year in a different state being one of the primary caregivers for my grandmother, who’d broken her neck the November before. Being a caregiver is a lot harder than you realize when you sign up. Not necessarily physically harder (though sometimes that), but definitely psychologically harder.

I spent two to three weeks of every month with her. I wouldn’t change that decision if I had to do it again. I would make the exact same choice. It was absolutely worth it. But the consequence of being away that long is that much of my life at home fell away. Drifted. My relationship with my husband is rock solid, so it wasn’t that. But it was more that my socialness suffered while I was away. And my ability to be social, the energy it takes for me to do that, suffered.

Generally, I’m a very outgoing and social person. But after last year, I found I had fewer spoons for socialness. (If you’re unfamiliar with Spoon Theory, check it out. It’s a very clever way of explaining energy.) My grandmother passed away just before Christmas and so this year has been about rebuilding my life here at home.

What does this have to do with my writing? Well, I’ve found that in times of high stress, I have a lot of trouble focusing on getting words on the page. I have little motivation to do it. And that makes getting anything done very difficult.

National Novel Writing Month is coming up. (We’re prepping at The Writing Tribe, if you want to join us!) So I need to get my crap together. This year I’ve decided that I’m going to be doing short stories, rather than a novel. My reasoning is that I need some quick wins. I have a number of novel projects in varying stages of completeness; I don’t need another novel right now.

What I do need is something that gives me a sense of accomplishment. Writing a series of short stories totally 50,000 words will also give me several pieces that I can submit to markets right away. I can get some wins under my belt. Because forward progress always creates motivation. I am in dire need of both right now.

So I’m planning my stories for NaNo and hoping for a few wins! How are you getting ready for Nano?

Quick Edits: Pronouns

Craft of Writing, Quick Edits, Writing

Quick Edits is a short feature where I give quick editing advice on how to handle common problems in fiction writing.

Pronouns

If you have two or more people of the same gender in the same scene, it’s easy to use pronouns in a confusing way. (I’ll be using male/female pronouns in these examples, but neutral and non-gendered pronouns are also subject to this issue.)

Say Tina enters a room and sees her sister, Marcy, who has been missing since the day before.

She ran over and gripped her in a bear hug, and her bag fell onto the floor.

We might assume that the subject (she) is Tina herself. And that the first “her” is Marcy. But think for a moment. Couldn’t the subject (she) also be Marcy? The sentence works that way too. And then the first “her” would be Tina. And we have no idea, either way, which of them dropped their bag. See how that can be confusing?

I generally advise, at the very least on the sentence level, but it’s probably even more effective on the paragraph level, to choose one character for whom you’ll substitute pronouns.

So pick either Tina or Marcy as being the one that can have the pronouns. And the other, you’ll use her name. This doesn’t mean you can only use pronouns for that character.  You can still use the pronoun character’s name. Just don’t use pronouns for the non-pronoun character.

So the sentence could be changed to look something like this:

Marcy ran over and gripped her in a bear hug, and Tina’s bag fell onto the floor.

Or this:

Tina ran over and gripped her in a bear hug, and Tina’s bag fell onto the floor.

Or this:

Tina ran over and gripped her in a bear hug, and Marcy’s bag fell onto the floor.

See how the same sentence with ambiguous pronouns could be clarified to mean a lot of different things? We should shoot for clarity in our writing, and this is one that is really easy to flub up! But it’s a pretty simple fix, as you can see.

Are there any editing issues you run into that you’d like covered in the Quick Edits series? Drop a comment below!

Keep writing,

No, Virginia, There’s No Such Thing as Writer’s Block

Craft of Writing, Writing

Ten years ago, I’d have fought you if you’d told me writer’s block didn’t exist. I would have told you that you were crazy, that of course it existed! Because I experienced it and how dare you tell me I’m a literary hypochondriac!

Now, I realize that people who told me that then — and lit fires of guilt in my heart — were right. Writer’s block doesn’t exist. Now, that isn’t to say that a writer won’t have trouble getting words on a page. Of course, some days are worse (sometimes a lot worse) than others. But there is no real block. There’s not some outside force that is taking away our ability to write. It’s not like there is poison on our keyboards that will kill us when we sit down to type.

I’ve found that “block” is generally one of two things: avoidance or apathy. They can show up together, but it’s usually at least one or the other.

Avoidance

I find that this usually happens when I feel pressured or when I feel guilty or sometimes when I’m afraid I’m going to write crap.

Often the pressure and the guilt are tied together and both relate to when I’ve slacked off or dropped the ball on my writing goals. I feel pressure, mostly internally, but sometimes a perceived external pressure too, because I’m “behind.” It’s like I feel that other people are judging me for being a writer who doesn’t write.

And then there’s the overcompensating for the guilt: I didn’t write yesterday, for whatever reason, and now I have to write twice as much today to get “caught up.”

And, of course, then I feel crappy, because obviously I’m failing as a writer, so guilt starts really eating at me.

Now, I don’t know about you, but I handle guilt and procrastination pressure in the most efficient way.

I stop doing everything.

Because I’ve found that helps with “feeling behind.” *nods* Really. It does. *cough*

As I’m sure you know, it doesn’t help at all. But that stopping is the writer’s block. It’s the avoidance of doing what I need to be doing because of emotions — guilt, fear, pressure.

Apathy

Apathy often goes hand-in-hand with avoidance, but rather than being about my emotions, this one is about the work itself.

Apathy happens when I have absolutely no interest in or excitement for what I’m writing. Have you had that happen? You just put off doing your writing because you’re just not that into it. “It’s not you,” I tell the story. “It’s me. I’m just not that into you.”

Apathy can also happen as a result of outside things. Perhaps you got a rejection letter, or someone close to you gave you bad criticism on something you wrote, an idea you had, or even just the thought that you could possibly be a writer (I hate it when writers have people like this in their families 🙁 ).

So it becomes infinitely easier to not write.

How to get out of the “writer’s block” rut

We all hate this answer, but the best way to get out of the rut is to write. Even if you just open a screen and start writing about how you don’t feel like writing or about how you feel you have writer’s block. The act of actually writing will get you going. Eventually, you’ll be able to shift to something you’re supposed to be working on. But even if you don’t shift today, getting into the habit of doing the writing is a good portion of the writer’s block battle in itself.

Here’s the other important bit here: When you’re writing, give yourself permission to suck.

Go into the writing with the idea that whatever comes out at the other end could very well be the most awful, horrendous, gross piece of writing to ever exist in the history of humanity.

And that that’s perfectly okay.

I find that once I’ve given myself permission not to write the Great American Novel in the first draft, my words come much more easily.

When you're #amwriting, give yourself permission to suck. #writetip #writerslife Click To Tweet

Strike apathy out by throwing a curve ball

Basically, be mean to your characters. Here are two questions that are great at getting you out of a boring story:

What is the worst thing that can happen to your character, from their perspective?

And I mean the worst, barring death (unless that’s a thing that characters can come back from in your story 🙂 ). Is it the death of their partner? Is it losing their job? Is it finding that the treasure at the end of their quest is really just a stone?

Whatever it is, from the character’s persepective, that is the worst thing that can happen, make it happen. Then see how exciting the story becomes!

What is something that your character would never do or want to do?

Perhaps betraying their best friend is something they’d never want to do. Maybe stealing or lying is outside their moral code. Maybe it’s something as simple as going on an adventure that’s completely outside of the character’s normal mindset.

Once you’ve got the thing they’d most likely never do, figure out a way to make them have to do it. Put them between a rock and a hard place such that they must choose to do that thing that is abhorrent to them. You’ll be amazed at how more interested in your story you’ll be (and, of course, you’re reader will be once it’s published!).

In the end, I’ve discovered that writer’s block is really the act of avoiding writing. Writing is simply putting words on paper (or a screen). And I don’t need a muse or brilliant words in order to do that. It’s okay if I write utter tripe. So instead of just staring at the screen or, worse, avoiding the screen altogether, I’ll put tripe on the screen.

Remember: You can fix anything you write. But you can’t fix a blank page.

Remember: You can fix anything you write. But you can't fix a blank page. #amwriting Click To Tweet

How do you handle the urge to avoid your screen? Any tips on battling that thing that people call “writer’s block”? Drop them in the comments below!

 

 

 

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