Plotters and Pantsers

There are all kinds of writers. I'm not talking about the difference in the books, or articles, they write, nor about the style of the product. I'm talking about the way they go about the process of writing. Some wake up in the middle of the night with an idea and hit the keyboard, writing fast and furiously. Others with the same idea may sit on the couch with a notebook and develope that idea into a full novel. Some start with a character, while others start with a scene, or a premise, or a setting.

The two major divisions of writing styles are plotters and pantsers. Plotters create the skeleton of the book before writing. There are those whose plots are so complete they could be considered first drafts, and those who have bare skeletons that scarcely indicate beginnings, middles and endings. Pansters write by the seat of their pants. They get an idea and run with it. Plotters know where they're going before they sit down to write. There's no right way to write. Everyone has to create their own writing style.

I started out as a pantser. And truth be told, I still am. But I'm really trying hard to develop my plotting skills. Here's why. When I first started writing, I wrote a story about several women in the eighteen hundreds. I wrote and wrote and wrote, and before I knew it I had written twelve hundred pages. Don't laugh. Okay...laugh. That is funny. The sad part was that, in no way could it be identified as a novel. It didn't have enough conflict. It didn't have an ending. The middle was slow. There were too many characters, too many sub-plots, too much detail in the description.

I thought it was wonderful, but it wasn't a novel. And I never really turned it into one, though I revised it several times. Every writer has to develop his or her own style. And it will change as your writing matures. Don't be afraid to experiement until you find a comfortable and prolific style. You can learn through discussions with other writers, reading 'How To' books, joining groups, practicing different things you hear or read about. But there are three very important ingredients to doing this: write; write; and write. You will never be a writer, let alone a good one, unless you write.

Preparation: Writing and Life Crises

I've been gone for quite some time, ill, and haven't added any new posts. I know a lot of writers who have had to take off for a while--for family crisis, illness, natural disasters, and just plain writer's blahs. I think I'm back now, and ready to get back to work.

But let's address this subject of time off first. Stuff happens. Writers are subject to all the failings and life experiences of the general population. I've known many a person who had to quit their jobs to take care of some unforseen problem. Now, with the Family Leave Act, many can take months off while their jobs wait for them. With successful writing, that can be a problem.

Fans are wonderful people. They love our little babies. They buy them, read them, share them, promote them, and stand in lines to get them autographed. And when they love the writer, the characters, the stories, they expect more of the same. I once started reading a series of books. There were four when I started. Waiting for the fifth one was filled with curiosity, and sometimes annoyance. I found other writers while I waited. Mind you, as years passed, I never gave up on book five. And finally, it came out! And it really sucked. It was longer than the others, and ran on and on with pages of description about the setting. The actual story was scant and not up to par. This writer lost me. She could write another hundred books and I wouldn't buy one. I forgive her for making me wait. I even forgive her for feeling so full of her research that she decided it must be shared with all readers. But I won't fall for that again. I'm a reader. And I'm a fan. And I'm just as fickle as the rest of you.

I'm hoping that I don't make the same mistake with this blog that the writer made with her book. Maybe you have been anticipating my return. Hoping I would share something you could actually use. I plan to do that.

Let's start with this: Since we know that stuff happens, we need to be prepared for the worst. Whether its cheap spiral notebooks or computer files, use something to keep track of ideas for books, articles, short stories, etc. There will be days when you just don't feel like you can write. If you sit in front of the computer for two hours and nothing happens, if you've found every excuse you can to avoid bichak (Butt In Chair--Hands On Keys), stop wasting your time. There will be times when you feel like you just can't write. Some call it writer's block. Some call it writer's blah. Pull out your notebook and daydream about different stories you might write some day; about characters you'd love to write about; about places you'd like to visit, or write a scene on. These are things you can use later. And they may stimulate your brain right now.

Don't do this just when you feel blocked, tired, sick, lazy, stressed, etc. Try to work this in regularly. Have a story idea? Can you stretch it into a trilogy? Love a character who's floating around in your head? Can you place him in a crisis? If you intend to sell your work, you need to be prepared to go on--to write another book, and another. You can't do that without ideas.

When you've sold your first book, another will be expected. Sometimes another is expected before the editor agrees to buy the first one. Editors aren't looking for a one book wonder. Prepare yourself for the day you may have to take some time away from writing, for whatever reason. When you're sitting around watching tv, put a notebook in your lap. Absorb the stories and characters, the descriptions and details. Keep a pen and paper/index card/SOMETHING to write on, where ever you go. And prepare for the lean days, when you have emergencies and can't take time to put in hours writing.

I once developed a whole novel from the last name of a casting director I saw scrolling on the screen at the end of a tv show. I haven't written the book, but if things get bad and someone is waiting for another book, I have a skeleton to work with. I have dozens of character sheets filled with fully developed characters to be used where I need them.

I know there isn't a lot of meat in this first post for the year. But it's a start. Please be patient and return for more and I'll try to make sure you learn something new with every visit.

I'm Not Smart Enough To Write

Most people think of writers as scholarly. They may believe that writing is best left to those who have a graduate degree in Literature, or English. They envision James Patterson, John Grisham, Toni Anderson and Maya Angelou and figure a career in writing is far beyond their grasp. They worry about grammar, spelling and punctuation.

Well, I'm here to tell you that it ain't so. Novel writing is not about the proper use of colons and semi-colons, nor is it about dangling participles. If it were, I wouldn't be a writer. Novel writing is about telling a story. I'm not saying writing is easy. In fact, sometimes it can be really hard, if you want to be a success. But it's no more difficult than digging ditches, building houses, being a secretary or a driving instructor.

If you can tell a joke, you can write a novel. A joke is a story. It has a beginning a middle and an end. It has a 'set up' and a 'punch line'. It may or may not have a conflict, which is the core of a novel. If you can tell a story about how aunt Ida fell off her chair at Thanksgiving, you have what it takes to write a novel. You can learn the basics of English, punctuation, and spelling, or you can use a computer that helps with that. Learning to write a novel is time consuming. There are a lot of required elements. But you don't have to have a college degree. And to prove that, I'm going to provide everything you need right here.

So if you'd like to build a career that requires daydreaming, something you can do in your spare time, something that could lead to a 'work at home' career, stay tuned. There are several articles on this site that are meant to stir the imagination, to let people know about writers and what they do in their 'spare time'. Take a look around, and then get yourself a notebook and pencil. And come back every week for a new lesson.

We will discuss:
genres and literature
beginnings, middles and endings
characterization
description
settings
dialogue
goals, motivation and conflict
first draft and polishing
formatting
critiquing
story ideas
daydreaming and brainstorming
online groups
friends and family
and much, much more.
suggested reading
movies to watch

Also, I intend to interview published writers in the future. So if you've ever thought about writing, come visit. Introduce yourself with an email. Ask questions. Now is the time to take the first step and it's an easy one. Just come back and I'll show you.

A Favorite Learning Tool: Critiquing

No matter what kind of writer you are, or how experienced, one of the most profitable things you can do for yourself is to critique the work of other writers.

I know. It's time consuming, and scary. What if you hurt someone's feelings? What if you make a suggestion to a writer and your advice was all wrong? What if you get a bad reputation? What if your're not good enough? Well, everything we do is time consuming. But think of it this way: critiquing the works of others is like taking a mini-writing course while networking in the writing world.

If you're a writer, you know a lot more than you think. All writers are readers. It just comes with the territory. And if you've been reading for a good portion of your life, you know what good writing looks like. You don't have to know bonehead English to know when a sentence sounds right or wrong. You don't have to be a published author to know what you like.

Start by meeting someone, online or otherwise, who writes in a genre you like to read. If you're new at critiquing, don't try critiquing the middle chapter of a book. Instead, start with chapter one, or a prologue if there is one. Begin by looking at the first page. Is it pleasing to look at? Is there a one inch margin all around? Does it look neet and clean? Are your eyes drawn to a group of sentences that all start with the same word?

Now, read a little. Does the first sentence make you want to read the second one? Does the first page make you want to read the next? Are all the nouns and verbs in the right place? Are the characters interesting? Are their actions consistent with their words? Does the dialogue sound natural? Watch for spelling errors and misuse of punctuation.

When you've read the chapter through, think about it for a moment. You should be left with some unanswered questions. If not, the writer hasn't done his or her job correctly. You should be eager to read the next chapter. If not, why not? Look over the chapter again. Does it have a good balance of dialogue and narrative? Does it have some action? Is it enough? When you think you've said all there is to say about the chapter, you still have one more job to do. Look over it again. What is right about it? Did something make you laugh? Cry? Cringe? What parts did you enjoy? Put a happy face there, or an encouraging word. Never critique anyone's work unless you're willing to dig out the gems and polish them before handing them back. Remember, this writer has handed over his or her baby, and entrusted you with its care. How would you like it if someone said to you, 'That's one ugly baby. Not one redeeming value. You might want to kill that one and try again.'

Now after critiquing, what did you learn? Was the story about a subject you always wanted to know about but didn't research? Did the author do something consistently that you see as an error that you don't want to make? Did the author do something you'd never thought of? Something you could use?

When you give it back to the author, do it with grace. Always offer to clarify if your comments are not clear. Always remind the author that your comments are your opinion only. And always remind the author to maintain his or her voice, no mater what else they may change.

When this process is over, you'll look at your own work with a fresh eye. And every time you critique, you'll see something different. Make sure to keep in touch with the author. Write down his or her name and email addy or phone number, so when your book is published you can send a note or make a phone call to share the good news.

And when someone critiques your work, bear in mind that he or she may not have the skills you have developed. Don't be hurt by a tough critique. Use what you can. Ignore the rest. Thank the critter. And keep in touch so when your book is published you can make send an email or make a call and thank that wonderful critter for helping make your work something worth reading.

Stories in the News

I would imagine that the average person watches the world news, or reads the front page of the newspaper with some interest, and maybe a little fear. I used to do that. As I said in the last post, I really hated the news for the longest time. It made me have nightmares.
Now, it provides fodder for the muse in me.
I see stories on the news about families in Iraq who are afraid to walk down the street, children who sit in classrooms while bombs explode closely enough to shake the building, people crying in the streets over their dead. First I see the people. Their pain, anger, fear, and bewilderment. Then I see the big picture, how the whole country is suffering, the factions are killing, and our troops are there, trying to appease everyone, and stay alive. But it doesn't take long for Dweidl to get involved in my thoughts. Could I write a book about a young girl living under those circumstances? A love story about an Iraqi woman in love with an American soldier? How about two men from different factions who end up the only ones alive from their separate cells, becoming friends in order to survive some disaster they have in common?
No matter what else writers are, we are people who see stories in the everyday lives of those around us and those we hear about.
Recently, on the news, there was a story about the fact there there are only 26 veterans still alive from WW1. Could I write a story about one of them? Could I create that world, and live in it? Would I be able to do it justice, and if I did, would I then have nightmares for the rest of my life? A sort of Post Traumatic Stress Syndrome by proxy?
On the Oprah show, I saw women who confronted killers of their loved ones. Would I be able to write a story about that? Would it be good enough to sell? And if it was, could I ever forgive the character who did it?
Of course, I can't speak for all writers. Only the ones I've met and discussed things with, which by the way is well over a hundred. It's not that we are disrespectful of those who have suffered tragedy. On the contrary. We admire those who have survived. If we write stories based on something we've read or seen on television, it is out of a great desire to show the world the raw emotions of those people who have suffered so much, and still carried on. We love courage. We love rooting for the underdog. We love seeing the strong survive against all odds.
And when we begin such a story--I'm talking fiction here--we often end up with something so different from the original idea, as to be unrecognizable.
And we know that if we cried as we wrote it, it will bring the reader to tears. If we feel satisfied at the end, the reader will feel satisfied when she closes the book for the last time. We think and dream. We imagine and plan. We write and re-write. And then we do it again.
We keep notebooks of ideas, so many that there will not be enough time in our lives to write them all. And all of us have our own personal Dweidls who filter what we watch and read and hear, searching for yet another idea to put in our notebooks and ponder.

Pay Attention To Your Local News!

Back in the '80's, I hated watching the news, or reading the newspaper. Nothing good ever happened and being bombarded by bad news mad me feel depressed and helpless. It made me nervous to know that the economy was bad, gas prices were rising, unemployment was getting worse, and everywhere you looked, people were being shot, stabbed, burned, car-jacked, robbed...
So I quit. No nightly news. No newspapers. I lived in my own little world filled with fifty hours a week of working, raising three kids, struggling to pay the bills. The normal life.
Back then I worked third shift in a factory: in at four-thirty in the afternoon, out sometime after midnight. I had a thirty mile commute, one way and drove a 1968 sedan with more than 300k miles on it. As long as I didn't drive over 45mph, all was good. Faster than that and I risked blowing it up.
One night on the way home, I was the only car on Interstate 15, between Riverside and Pomona. One-thirty in the morning, I was tired and hot--it was mid-summer in Riverside, California. Of course, driving that slow, I always stayed in the slow lane of the freeway. I looked in my rearview and noticed a light waaaaay back behind me. A minute or two later I checked the mirror again. The one light had become two. Headlights. A few minutes later they were closer and I could tell the vehicle was really coming fast. But I had nothing to worry about. My taillights worked and every fifty feet or so there was giant light along the freeway shoulder. Surely he would see me and change lanes.
Another look scared me. The vehicle was coming at me fast, in my lane. I started paying more attention to what was behind me than what was ahead. Closer and closer it came. I could see the driver, at least the outline of the driver. A man I thought, with short hair, kinda fuzzy.
And then it hit me. No, I mean really! The vehicle hit me! It was a mini-truck. White. With a white male driving. He pulled up beside me, looked me in the eye, then moved ahead and pulled over--you know, to exchange insurance info. When I didn't move right over behind him, he eased up the nearest off-ramp.
My foot hit the gas and I pushed old Betsy to the limit. My car was lurching and shaking and I thought it was going to fall apart right under me, until I realized that my right leg was jerking so hard on the gas petal that I was losing speed. I willed my leg to settle down and looked in the mirror.
The little white truck was coming down the on-ramp, staying behind me. The only thing I could think was that I had to get to the nearest sheriff's dept or Highway Patrol station. He passed me again, slowed again, went up another off-ramp and came back down the on-ramp.
Then, at the next off-ramp, he got off the freeway and disappeared.
Everything after that was a blur. I arrived home--somehow--rushed inside and locked the door. Then I grabbed a glass and poured myself a glass of wine. I was shaking so bad it was hard to drink without spilling.
My husband woke and saw my condition. He sat up and asked what was wrong. I explained, in between gulps.
"Call the cops. Right now."
I didn't want to. But I did. I called the police department and explained to the nice lady what happened. Halfway through my description of the incident, the lady asked, "Was it a truck?"
"Yes."
"A little white truck?"
That scared me more. "Yes."
"Did you see the driver?"
I described what I'd seen.
"I need you to call the sheriff's department. Here's the number."
So I did. And went through the same scenario.
And again, "Was it a truck?"
"Yes."
"A mini-truck?"
"Yes."
"Did you see the driver?"
Again, I described the man.
"Are you okay? Are you safe?"
"Yes."
"I need you to call the Highway Patrol. Here's the number."
She hung up.
"What the hell is going on here?" I asked my husband.
"There's been a serial killer attacking women late at night on Interstate 15, between Riverside and Pomona. He's killed three women. The fourth managed to live, and give a description. I've been telling you to pay attention to the news. I've told you about this man. Make the call."
So I did. The Highway Patrol was very interested in my call.
And from that point on, I was very interested in the local news.
They never caught the man. He killed a couple more times and then disappeared, no doubt to some other area. I finally came to terms with how I knew. God had to have been whispering in my ear. Go! Don't stop!
So when you read my books about serial killers and wonder how I come up with such wicked, twisted characters, read the local news. You'll see them there. And I hope that's the only place you see them.

How Do They Get Away With That?

I was reading a novel by a prominent author yesterday and noticed some habits that made me a little crazy. First, there were several sections where the author started several sentences with the word, 'She'. I mean, six or seven times in a couple of paragraphs. And then there's the overuse of 'has', 'had', 'was', and 'that', words that writing teachers will tell students to eliminate where ever possible. And how about when published authors don't transition between points of view? Or when they use four pages to describe the scenery, before writing the scene?
How do they get away with that? Why is it that if an unpubbed writer submits a piece to a contest, they get low scores for these kinds of writing habits?
Have you noticed that after a writer is popular, they can write really horribly, and their editors let them get away with it, and their public still buys? Yet there are scores of writers who have been taught not to be lazy in their writing, to revise a hundred times if necessary, so that all those little irritating habits are culled from their writing.
Well, here's my two cents. Hundreds of thousands of manuscripts are sent to publishers every years and only a fraction of them are accepted. If you want your work to stand out, it has to be good, really good. Publishers don't really want to read thousands of full manuscripts every year. When they read that first page, it has to have a good hook, interesting characters, and above all excellent writing skills. The editor is looking for any reason to toss your manuscript aside and start another. Sure, the big name authors can get away with little nit-picking problems. But newbies can't.
So the next time you submit something to a contest, or put your work out there for someone to critique, remember that your work needs to be as close to perfect as possible. And think about this: Do you want someone like me to be writing about how sloppy and uninteresting your best-seller is on their blog? I mean, we all want to write a best seller, but I don't think anyone wants readers to be saying, "Did you notice how many sentences started with 'she' in that book? Man, I got tired of hearing it. After a while, I just put the book down and forgot about it. Remind me not to buy any more books by her."
Every time you read a 'How To' book, or get your work critiqued, make note of the things mentioned. Keep a notepad of info on writing techniques. Check your work against the list. Don't let anyone change your voice. I'll be back soon with an article on that. But for now: revise, revise, revise, until all those things are fixed. Don't worry about how long it takes to revise. Or how much work it is. Anyone can write crap. If you're really a writer, you'll want people to actually enjoy your work and come back for more. Who knows. Yours may be the next great American Novel!