This idea came to me in early spring, and so far it has worked well for making sure my writing projects get face time at least once a week, if not (ideally) daily.
Have you ever been sitting with seven to fifteen minutes to kill before work/yoga/meeting/store opens/bedtime and asked yourself, what could I be doing right now?
I propose to you, that you create a list of answers to this question; an inventory of quick-fixes you need to make in a take-your-pick fashion. I call them Quickies.
Say that you realized at the end of your last big writing chunk (however long ago it was) that there was a conflict in description, or you realized what a better line would have been for your furious character on her warpath, or thought of something else to add/change that begged the resigned after-thought, I'll do it later.
These tiny tasks can add up, and leave a lot of work and edits to be done that feel heavy and are easily procrastinated. But what is important to remember is that they are little things, Quickies, and keeping an inventory of them will give you small ways to feed and water your novel/memoir/epic poem, even when the universe is being a time Nazi.
Depending on your level of organizational needs, you could estimate time needed for each Quickie under columns. For example, you could have a <1 minute, 5ish minutes, and 10+ minutes space to identify each fix or addition you have, so you have more time (when the time comes) to pick one from the appropriate space and go!
The other great thing about a list taped to your cabinet/television/fridge/bathroom mirror, is that not only are you slowly chipping marble from the big masterpiece, but you are preventing your project from collecting dust, from sinking between the metal spirals of the back burner and creating a funny smell inside your life goals that sets off unhappiness smoke alarms. It keeps your characters and messages with you even when time isn't, and that way when you do have a larger chunk of time, your writing endeavors are likely to have more visible frantic hands waving over the top of Netflix/Pinterest/buying more jalapeno pretzels.
They don't have to make sense to anyone but you. Some items on my Quickie list:
Adventure rustling
The binoculars are red!
Lee's bedroom?
Marvin needs a face!
Make use of your time-holes! Make your Quickie lists and tell me all about them!
Showing posts with label Writing. Show all posts
Showing posts with label Writing. Show all posts
Monday, June 4, 2012
Friday, October 14, 2011
Writers for Writers: Alexander Chee's Writing Advice
Alexander Chee is author of the novels Edinburgh and Queen of the Night. He came to UMF in Spring of 2011 to give a reading and to meet with senior writing majors and gave us a lot of refreshing ideas about editing and self-doubt. Here are some of his insights.
For more about Chee, see:
http://alexanderchee.net/home.html
Chee's Thoughts on Editing
1. Return to where you left off to go on
This sounds simple, but there's an explanation. Chee explained an interesting theory about the difference between writing by hand/typewriter, and writing on a computer. In the days of old when one had a paper copy of their novel on hand at all times, a writer would just press on from where the last line left off. But on a word processor, the electronic document always opens to the beginning, and you have to scroll to find where to go next. "I've seen writers murder their openings with these revisits," Chee told us, and it makes sense. We should be careful not to doubt what we have each time we go back to our work. If one isn't careful, their self-doubt could talk them into starting all over, or worse, into quitting, if they judge a first draft too harshly while trying to finish it. Best to zip immediately to the blinking cursor and write as if you hadn't just seen your beginning and its inevitable flaws.
2. Don't start to edit until you've drafted to the end
Have you ever embarked on a first paragraph, and then halfway through a second or third, gone back to read over what you have? Then, while re-reading, have you starting changing words around, and becoming frustrated with how unpolished your beginning looks? No one will find value in a perfect beginning if a beginning is all you have. Soldier through (on your intuition) and then edit the entire thing. This will also help to keep a consistent voice and to look at the big picture as you polish.
3. Let the story be your editor, not your fears
This is something I know that we all know, but have not necessarily taken time to think about. The stories and characters we're working on normally have a logical procession, and to allow this to develop without worrying about judgement usually allows for a fuller piece we are happier for in the end. Are your doubts interfering with where your story needs to go?
4. "Intellect is for edits, intuition is for drafting"
This is somewhat of an elaboration of the above bullet. Once you get a sense for how much or little control you've been inflicting on your storyline, Chee's line is a useful motto to remember. When beginning a story, its good to just allow things to unfold without trying to mold them too much. Worry about what makes sense once everything has filled out, and you'll be able to progress much faster.
5. Save EVERYTHING that you cut
I normally do this out of paranoia, and was happy to hear it endorsed by another writer. Its a good idea to keep up a notepad document alongside your draft as you're editing, and to copy/paste paragraphs or pages into it as you're removing them from your story. This way if pieces were sliced out in a self-loathing rampage, this can be discerned and remedied later with little harm done. Also, you never know when a side-tracked idea that doesn't fit where it began, could become a useful seed for another endeavor. I could go on for a while about why you should save what you remove and perhaps this will be a larger post in the future, but let the base fact stand that it is rare where an idea created and then not needed in one place, would not be useful on a future date.
6. Keep a writer diary
This may sound silly. In fact, some of my writer friends have raised eyebrows at me when I've told them that I do this. In the same way that talking about a conflict can untangle it better than thinking alone, writing not just your story, but about your story can help you realize a lot about your characters' motives or situation that you may not have actualized before. Chee also pointed out that it's handy for reminding you how you felt during your last writing session: "This way, I'm not so far away when I come back. Page 37, still horrible!" It's also a good place to keep a to-do list of things you meant to get back to, like moments where you meant to add research or tension.
7. Changing font and text sizes
Although all of Chee's advice was intuitive and helpful, I found this piece to be the most clever. We are all painfully aware, I'm sure, of how easily a typo or awkward sentence can be overlooked. The reason for this, Chee suggests, is because the text, as an image, becomes familiar to us. If we change the font or the sizing of our test to rearrange the way we've come to look at the lines and body shape, it will snap us out of skimming because everything will look new. Then once you've polished away all the rough pieces, feel free to return the text of your writing to your original graphic presence.
For more about Chee, see:
http://alexanderchee.net/home.html
Chee's Thoughts on Editing
1. Return to where you left off to go on
This sounds simple, but there's an explanation. Chee explained an interesting theory about the difference between writing by hand/typewriter, and writing on a computer. In the days of old when one had a paper copy of their novel on hand at all times, a writer would just press on from where the last line left off. But on a word processor, the electronic document always opens to the beginning, and you have to scroll to find where to go next. "I've seen writers murder their openings with these revisits," Chee told us, and it makes sense. We should be careful not to doubt what we have each time we go back to our work. If one isn't careful, their self-doubt could talk them into starting all over, or worse, into quitting, if they judge a first draft too harshly while trying to finish it. Best to zip immediately to the blinking cursor and write as if you hadn't just seen your beginning and its inevitable flaws.
2. Don't start to edit until you've drafted to the end
Have you ever embarked on a first paragraph, and then halfway through a second or third, gone back to read over what you have? Then, while re-reading, have you starting changing words around, and becoming frustrated with how unpolished your beginning looks? No one will find value in a perfect beginning if a beginning is all you have. Soldier through (on your intuition) and then edit the entire thing. This will also help to keep a consistent voice and to look at the big picture as you polish.
3. Let the story be your editor, not your fears
This is something I know that we all know, but have not necessarily taken time to think about. The stories and characters we're working on normally have a logical procession, and to allow this to develop without worrying about judgement usually allows for a fuller piece we are happier for in the end. Are your doubts interfering with where your story needs to go?
4. "Intellect is for edits, intuition is for drafting"
This is somewhat of an elaboration of the above bullet. Once you get a sense for how much or little control you've been inflicting on your storyline, Chee's line is a useful motto to remember. When beginning a story, its good to just allow things to unfold without trying to mold them too much. Worry about what makes sense once everything has filled out, and you'll be able to progress much faster.
5. Save EVERYTHING that you cut
I normally do this out of paranoia, and was happy to hear it endorsed by another writer. Its a good idea to keep up a notepad document alongside your draft as you're editing, and to copy/paste paragraphs or pages into it as you're removing them from your story. This way if pieces were sliced out in a self-loathing rampage, this can be discerned and remedied later with little harm done. Also, you never know when a side-tracked idea that doesn't fit where it began, could become a useful seed for another endeavor. I could go on for a while about why you should save what you remove and perhaps this will be a larger post in the future, but let the base fact stand that it is rare where an idea created and then not needed in one place, would not be useful on a future date.
6. Keep a writer diary
This may sound silly. In fact, some of my writer friends have raised eyebrows at me when I've told them that I do this. In the same way that talking about a conflict can untangle it better than thinking alone, writing not just your story, but about your story can help you realize a lot about your characters' motives or situation that you may not have actualized before. Chee also pointed out that it's handy for reminding you how you felt during your last writing session: "This way, I'm not so far away when I come back. Page 37, still horrible!" It's also a good place to keep a to-do list of things you meant to get back to, like moments where you meant to add research or tension.
7. Changing font and text sizes
Although all of Chee's advice was intuitive and helpful, I found this piece to be the most clever. We are all painfully aware, I'm sure, of how easily a typo or awkward sentence can be overlooked. The reason for this, Chee suggests, is because the text, as an image, becomes familiar to us. If we change the font or the sizing of our test to rearrange the way we've come to look at the lines and body shape, it will snap us out of skimming because everything will look new. Then once you've polished away all the rough pieces, feel free to return the text of your writing to your original graphic presence.
Wednesday, July 20, 2011
Writers for Writers: Wes McNair's Rules for Poetry Line Breaks
Recently crowned with the title of Maine's Poet Laureate (What some argue is the only good decision made by governor Lepage), and who is also the founder of UMaine Farmington's BFA creative writing program, Wes Mcnair often meets with UMF students in his retired years in a workshop or one-shot lecture format to offer his sage advice.
This semester, Wes visited to discuss his new thinking, among other things, about why and how to select one's poetic line breaks. He eluded to having a longer list, but please enjoy the ten thoughts he shared with us.
For more about Wes McNair, see: http://blackwidow.umf.maine.edu/~wesmcnair/
Rules for Line Breaking
1. Break to suggest central action and its unfolding, to create anticipation
Let words stick out of your lines that connect to the poem's heart. Also, let the lines create tension, as professor Jeff Thompson would put it. Make the reader chase you to the next line to find out what fell, or who chased her, or whatever have you.
2. Break for interplay between line and sentence; This is free verse's rhyme & meter equivalent
In other words, as Wes was once advised: The line is Buddha, the sentence is Socrates
Buddha is content to be were he is, as he is, the way a line, on its own, its simple, perhaps pretty or cryptic, but calm. Socrates is always asking, wanting, and hungry. You follow the entire sentence line to line to find out what, who, or why, jumping from Buddha to Buddha until your questions are answered. When line breaking, be aware of how you answer Socrates's questions effectively, but also create graceful pauses in your lines, to enjoy the moment.
3. To create a graph of feeling
Playing with jagged margins, or waves, or open space to illustrate a reflection of the poem's feeling. Using shorter lines for riddles and unknowns also plays with what isn't said.
4. Break to emphasize related sounds
Is there a song to your poem? Find the music. See if there is a sense of metronome, or words you can link together at the poem's pauses to create a resonance. This can be done with or without rhyme.
5. The word at the end of the line is most important.
Use Nouns, verbs, and their describers. All sentences have and, the, or but. They are less important, only connectors. End on the words that need to stand out of the poem, let them linger with the reader on the end of the line before they continue through your poem, or follow them through their day after they put your poem down.
6. Break to show the stresses of meditation
Listen to people around you as they speak. It was Wes Mcnair's observation that people speak in line breaks as well as can write in them. People pause for thought, for continued meditation, at places in their sentences that are their own, and make their voice. He advises to play with this in our poetry.
7. When breaking, be aware of stanza form: Do you use regular, or irregular stanzas?
You'd better know, and have done it on purpose.
8. "Let me learn the rules so I can break them"
In the days of rhyme and meter, rhythm would be broken in choice places in order to bring attention to a message. This rule was not abandoned in the days of free verse. Create a theme, pattern, or message, and then obscure it. Play with capital letters or punctuation at the end of lines in a way that brings focus to a contrary feeling or ironic concept.
9. Find the second story
It isn't really a secret of the trade that poems about waltzes, or red wheelbarrows, or horses at night, rarely stop at just creating those everyday images. There is always a "second story," or rather, a reason for why the initial object was worth writing about, a discovery that is made along the way.
Additionally, putting this much though into how one writes their poetry makes you a stronger reader. You will pay more attention to these choices as they are made by other poets, and take this play into consideration when you absorb their work.
This semester, Wes visited to discuss his new thinking, among other things, about why and how to select one's poetic line breaks. He eluded to having a longer list, but please enjoy the ten thoughts he shared with us.
For more about Wes McNair, see: http://blackwidow.umf.maine.edu/~wesmcnair/
Rules for Line Breaking
1. Break to suggest central action and its unfolding, to create anticipation
Let words stick out of your lines that connect to the poem's heart. Also, let the lines create tension, as professor Jeff Thompson would put it. Make the reader chase you to the next line to find out what fell, or who chased her, or whatever have you.
2. Break for interplay between line and sentence; This is free verse's rhyme & meter equivalent
In other words, as Wes was once advised: The line is Buddha, the sentence is Socrates
Buddha is content to be were he is, as he is, the way a line, on its own, its simple, perhaps pretty or cryptic, but calm. Socrates is always asking, wanting, and hungry. You follow the entire sentence line to line to find out what, who, or why, jumping from Buddha to Buddha until your questions are answered. When line breaking, be aware of how you answer Socrates's questions effectively, but also create graceful pauses in your lines, to enjoy the moment.
3. To create a graph of feeling
Playing with jagged margins, or waves, or open space to illustrate a reflection of the poem's feeling. Using shorter lines for riddles and unknowns also plays with what isn't said.
4. Break to emphasize related sounds
Is there a song to your poem? Find the music. See if there is a sense of metronome, or words you can link together at the poem's pauses to create a resonance. This can be done with or without rhyme.
5. The word at the end of the line is most important.
Use Nouns, verbs, and their describers. All sentences have and, the, or but. They are less important, only connectors. End on the words that need to stand out of the poem, let them linger with the reader on the end of the line before they continue through your poem, or follow them through their day after they put your poem down.
6. Break to show the stresses of meditation
Listen to people around you as they speak. It was Wes Mcnair's observation that people speak in line breaks as well as can write in them. People pause for thought, for continued meditation, at places in their sentences that are their own, and make their voice. He advises to play with this in our poetry.
7. When breaking, be aware of stanza form: Do you use regular, or irregular stanzas?
You'd better know, and have done it on purpose.
8. "Let me learn the rules so I can break them"
In the days of rhyme and meter, rhythm would be broken in choice places in order to bring attention to a message. This rule was not abandoned in the days of free verse. Create a theme, pattern, or message, and then obscure it. Play with capital letters or punctuation at the end of lines in a way that brings focus to a contrary feeling or ironic concept.
9. Find the second story
It isn't really a secret of the trade that poems about waltzes, or red wheelbarrows, or horses at night, rarely stop at just creating those everyday images. There is always a "second story," or rather, a reason for why the initial object was worth writing about, a discovery that is made along the way.
Additionally, putting this much though into how one writes their poetry makes you a stronger reader. You will pay more attention to these choices as they are made by other poets, and take this play into consideration when you absorb their work.
Wednesday, March 23, 2011
Tameri Guide for Writers' Latin Phrases
This is is taken from:
http://www.tameri.com/write/coollatin.html
It is not mine, but I'm sharing their knowledge for its value. =)
Latin Phrases
http://www.tameri.com/write/coollatin.html
It is not mine, but I'm sharing their knowledge for its value. =)
Latin Phrases
It’s a matter of taste and style, but not long ago American writers attempted to demonstrate their credentials to the world by including Latin and French phrases within works. A dash of Latin was expected of the moderately educated throughout the Western world.
annus mirabilis - wonderful year
arbiter elegantiae - judge of the elegant; one who knows the good things in life
bona fides - good faith; credentials
carpe diem - sieze the day; enjoy the present
casus belli - cause justifying a war
caveat emptor - buyer beware
cui bono? - for whose advantage?
de facto - of fact; it is
de gustibus non est disputandum - no disputing tastes; there is no accounting for taste
Dei gratia - by the grace of God
Deo gratias - thanks to God
Deo volente - God willing
dis aliter visum - it seemed otherwise to the gods
Dominus vobiscum - Lord be with you
dulce et decorum est pro patria mori - sweet and seemly it is to die for one’s country
ecce homo - behold man
ex cathedra - with authority
ex more - with or according to customs
exempli gratia - for example (e.g.)
genius loci - spirit of the location
hic et ubique - here and everywhere
hinc illae lacrimae - hence, those tears
humanum est errare - to err is human; human is to err
id est - that is (i.e.)
in extremis - at death
in hoc signo vinces - by this sign, you conquer
in loco parentis - in place of the parent
in medias res - into the middle of things; the heart of the matter
in omnia paratus - prepared for all; ready for anything
in perpetuum - forever; perpetually
in propia persona - in person; in one’s own life or words
in statu quo - as things were
in toto - entirely; in total
ipso jure - the law itself
jure divino - Divine law
labor omnia vincit - labor conquers all things; effort results in victory
laborare est orare - to work is to pray
laus Deo - praise God
loco citato - in the location cited
loquitur - he speaks
mens sana in corpore sano - of sound mind in a healthy body
meum et tuum - mine and yours
modus operandi - mode of operating
morituri te salutamus - we who are about to die, salute you
motu proprio - of one’s own accord; on your own
multum in parvo - there is much in little
nemo me impune lacessit - no one attacks me with impunity
nil admirari - wondering at nothing
nolens volens - willing or not
Nota Bene - note well; pay special attention to
omnia vincit amor - love conquers all
opere citato - in the volume cited; in the book cited
otium cum dignitate - leisure with dignity
passim - here and there
pater patriae - father of his country
pax vobiscum - peace be with you
persona non grata - unwelcome person
primus inter pares - first among equals
pro bono publico - for the public good
pro Deo et ecclesia - for God and the Church
pro forma - as a matter of form; standard
quod erat demonstrandum - which was demonstrated; that which was shown
requiescat in pace - rest in peace
sic - thus; so it was
sic passim - so throughout
sic semper tyrannis - thus always to tyrants
sine die - some day; not a particular time
sine quo non - without which, nothing; it is essential
tempus fugit - time flies
timeo Danaos et dona ferentes - I fear the Greeks, even when they bear gifts
verbatim et literatim - word for word, letter for letter
Sunday, March 20, 2011
Elegy Update
I heard back form my professor about the pet elegy I wrote in response to his challenge that no one has ever written a good one. I, of course, did not manage to wow him off his feet, but his comments were, for once, not entirely discouraging. He referred to my ending as "Very elegiac," and even though he had suggestions for my freshly drafted poem, I felt them to be helpful, and they had more to do with clarity than an overall message of "make better." Perhaps after heeding some of his advice, I'll offer the poem here, and see what you think?
Friday, March 18, 2011
Quotes on Writing
An extraction from my collection, correlating distinctly with this blog: Quotes and advice pertaining directly to the writing world:
"A book must be the axe for the frozen sea inside us." ~Franz Kafka
"You know you have read a good book when you turn the last page and feel a little as though you have lost a friend." ~Paul Sweeney
"Writing is an exploration. You start form nothing and learn as you go." ~E.L. Doctorow
"Do not come lightly to the blank page." ~Stephen King
"Without words, without writing and without books there would be no history, there could be no concept of humanity." ~Hermann Hesse
"Creativity is making the complicated simple." ~Charles Mingus
"The two most engaging powers of an author are to make new things familiar, and familar things new." ~Sam Johnson
"I only know one story. But oftentimes small pieces end up being stories themselves." ~Patrick Rothfuss
"Talent is helpful in writing, but guts are absolutely essential." ~Jessamyn West
"All words are pegs to hang ideas on." ~Henry Ward Beecher
"Sometimes, if there's a book you really want to read, you have to write it yourself." ~ Ann Patchett
"Fantasy is hardly an escape from reality--Its a way of understanding it." ~Lloyd Alexander
"The skill of writing is to create a context in which other people can think." ~Edwin Schlossberg
"We are cups, constantly and quietly being filled. The trick is, knowing how to tip ourselves over and let the beautiful stuff out." ~Ray Bradbury
"The difference between the almost right word and the right word is really a large matter--it is the difference between the lightning bug and the lightning." ~Mark Twain
"I write because I have women living inside me who lay alone on their deathbeds." ~Natasha Nelson
"Every great and original writer, in proportion as he is great and original, must himself create the taste by which he is to be relished." ~William Wordsworth
"If you go into a room...full of books--even without taking them from the shelves they seem to speak to you" ~William Ewart Gladstone
"A book must be the axe for the frozen sea inside us." ~Franz Kafka
"You know you have read a good book when you turn the last page and feel a little as though you have lost a friend." ~Paul Sweeney
"Writing is an exploration. You start form nothing and learn as you go." ~E.L. Doctorow
"Do not come lightly to the blank page." ~Stephen King
"Without words, without writing and without books there would be no history, there could be no concept of humanity." ~Hermann Hesse
"Creativity is making the complicated simple." ~Charles Mingus
"The two most engaging powers of an author are to make new things familiar, and familar things new." ~Sam Johnson
"I only know one story. But oftentimes small pieces end up being stories themselves." ~Patrick Rothfuss
"Talent is helpful in writing, but guts are absolutely essential." ~Jessamyn West
"All words are pegs to hang ideas on." ~Henry Ward Beecher
"Sometimes, if there's a book you really want to read, you have to write it yourself." ~ Ann Patchett
"Fantasy is hardly an escape from reality--Its a way of understanding it." ~Lloyd Alexander
"The skill of writing is to create a context in which other people can think." ~Edwin Schlossberg
"We are cups, constantly and quietly being filled. The trick is, knowing how to tip ourselves over and let the beautiful stuff out." ~Ray Bradbury
"The difference between the almost right word and the right word is really a large matter--it is the difference between the lightning bug and the lightning." ~Mark Twain
"I write because I have women living inside me who lay alone on their deathbeds." ~Natasha Nelson
"Every great and original writer, in proportion as he is great and original, must himself create the taste by which he is to be relished." ~William Wordsworth
"If you go into a room...full of books--even without taking them from the shelves they seem to speak to you" ~William Ewart Gladstone
Monday, March 14, 2011
First Publication!
Very exciting news!
Yesterday, I received an email late at night, informing me that my short story, The Difference, and my poem, Francis Lloyd Marlow, have been accepted for my school's art/literature anthology The Sandy River Review, that's published every semester. This may sound like a small-scale deal, but the last 7 semesters I have been here I have submitted, and it was not until try number eight that my work was accepted! I guess it goes to show I've come a long way. Its pretty cool to know I was accepted for publication before I got my BFA, even if the publication itself won't come out until after. ;p
Still have not heard from my professor about the pet Elegy I sent him. I wrote one for a person later, (My father's mother) to meet the parameters of the assignment, and in looking at them both, I think the second one is better, so at least I have something I like to turn in today for workshop, but I am anxious to know if I continued his theory, or disproved it.
Happy Trails, Internet!
Yesterday, I received an email late at night, informing me that my short story, The Difference, and my poem, Francis Lloyd Marlow, have been accepted for my school's art/literature anthology The Sandy River Review, that's published every semester. This may sound like a small-scale deal, but the last 7 semesters I have been here I have submitted, and it was not until try number eight that my work was accepted! I guess it goes to show I've come a long way. Its pretty cool to know I was accepted for publication before I got my BFA, even if the publication itself won't come out until after. ;p
Still have not heard from my professor about the pet Elegy I sent him. I wrote one for a person later, (My father's mother) to meet the parameters of the assignment, and in looking at them both, I think the second one is better, so at least I have something I like to turn in today for workshop, but I am anxious to know if I continued his theory, or disproved it.
Happy Trails, Internet!
Wednesday, March 9, 2011
So Far, So Good!
I've learned my way around Blogspot fairly well since I made my first post. I'm hoping this will be cozy place to hang out for a while.
Writing news:
~~Poetry professor assigned today that we write an elegy
Elegy: A poem which subtly notes the absence of someone who has passed away in a manner than invokes sorrow without spoon feeding an individual's anguish.
We were told we are permitted to write about someone we know personally, or a historical figure or celebrity, but that we are not permitted to write about a pet. My professor claimed that, in essence, there is no such thing as a good elegy about a pet. There were several students--including me--who challenged that generalization, and he invited us to turn in two if we really wanted to attempt the "feat." I sent him a draft this evening, and am awaiting commentary.
~~Wes McNair, a very valued poet in Maine who once directed the poetry program at UMF, is coming to campus next week to discuss craft and form with six selected students; this list, to my chair-descending astoundment, included me. I've met him before, and heard him read, but I am very excited to work with him in workshop form. ^_^
~~Finally, the artist statement I have to complete for my BFA senior portfolio is very close to being done. I mailed it out to some dear friends for some last tweaks (or what may turn out to be huge tweaks, as editing goes) and whatnot, but once I have it, perhaps I'll display it here. It is coming to resonate with me even more than I expected.
So where are you, all future friends? Here's hoping I meet you all soon. ^_^
Happy Trails,
~Ellen
Monday, February 28, 2011
Defeating Writer's Block: A Tip
This is what I like to do when I'm stuck. I am sharing with you because, because. I'm not an authority on the matter, but where would writers be without other writers to throw rescue ropes into our word pits? =)
Writer’s block, as many of us are anguishly aware, is often when we have the desire or need to write, but nothing is occurring to us. If only the beginning of an idea could show itself, we may know where to go.
One thing we can do rather than leave ourselves to entire sentences, is start with the baby-step of filling in the blank.
Step 1: Look up famous first lines, famous last lines, find a line in a random book near you, get a favorite quote—start somewhere, and take a line out of context entirely.
Step 2: Take the line you’ve chosen, and find a way to fill it with blanks. Take only the first half, or remove all the verbs, or take the end of the line and plan to end up there, or use any other method of diminishing you can think of.
Examples of steps one and two completed:
For the seventh time, …
As he fumbled to ____________, he looked up and saw….
One thing that ___________ never was, so they said, was….
…and lay in a crumpled heap at the feet of his _________.
Her ________ was/were wide, and his was/were __________.
Step 3: Have a field day. Even if lines like these don’t lead you to accomplish your task at hand, they tend to break the embargo that kept dramatic and enticing words from reaching you.
Writer’s block, as many of us are anguishly aware, is often when we have the desire or need to write, but nothing is occurring to us. If only the beginning of an idea could show itself, we may know where to go.
One thing we can do rather than leave ourselves to entire sentences, is start with the baby-step of filling in the blank.
Step 1: Look up famous first lines, famous last lines, find a line in a random book near you, get a favorite quote—start somewhere, and take a line out of context entirely.
Step 2: Take the line you’ve chosen, and find a way to fill it with blanks. Take only the first half, or remove all the verbs, or take the end of the line and plan to end up there, or use any other method of diminishing you can think of.
Examples of steps one and two completed:
For the seventh time, …
As he fumbled to ____________, he looked up and saw….
One thing that ___________ never was, so they said, was….
…and lay in a crumpled heap at the feet of his _________.
Her ________ was/were wide, and his was/were __________.
Step 3: Have a field day. Even if lines like these don’t lead you to accomplish your task at hand, they tend to break the embargo that kept dramatic and enticing words from reaching you.
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