I don't believe in writer's block. I've said that many times. However, I'm not naive, and I know that we sometimes come to a screeching halt with whatever story we're writing. The question is, what do we do?
I've discovered a few things that keep me writing, keep me moving forward. When I get to chapter nine and find I'm not sure how to begin chapter ten, I think about those scenes that have played out in my head, but fit further along in the story. Then I write them. Sure, there's a gap between where I stopped the story and the scene that may or may not appear in chapter fifteen. But--I'm writing. I'm creating. I'm not sitting and staring at a blank computer screen.
Some of my colleagues write flash fiction, short stories and poetry. I've written short stories, and I have a flash fiction piece recently accepted for publication next year. Flash fiction is particularly a great exercise to hone our skills for being concise and using an economy of words to describe our characters and their situations. It's a story of less than 1,000 words that has a beginning, a middle, an end and, ususally, an unexpected twist. There is an art to this form of writing. And it can be fun.
A third tactic for keeping my story alive and moving forward is brainstorming--talking the story out with another writer or critique partner. This opens your mind to new possibilities in your story. And it's not always what the other person suggests, but what you hear yourself say aloud about your story as you talk it through that energizes you to continue.
We all stall out at times, uncertain about the next line, the next scene, or how to get from where we are to the story's end. The most important thing is to not remain stuck. Write something, anything. Keep the creative juices flowing, even if you have to write a short essay about the frustration of being stuck.
Trust me. The next word will come to you -- in a flash.
Now, go. Write something.
Linda
Monday, June 30, 2008
Wednesday, May 28, 2008
My Muse Has Attention Deficit Disorder
I don't know about you, but I can't seem to work on only one book at a time. But I just took inventory of my flash drive and realize I have five--FIVE--books in process. In all fairness, the first draft of one is complete, but needs to be trimmed by about 3,000 words. The others are anywhere from two to seven chapters in length, so far.
Coming up with ideas is not my problem. Keeping those ideas straight and on track is becoming an issue. It's like trying to walk five leashed, and poorly trained, puppies at one time.
When faced with multiple story ideas, how do you decide which one to run with first? And, once you do, how do you set those other tempting little nuggets aside for the future?
It's been my practice to work on two books at the same time. I find that it keeps my imagination flowing and staves off writer's block. But five works in progress seem to be a bit much. It can lead to a different type of writer's block, when you become so immersed in several stories that you can't focus on any one of them.
So, what do you do when your muse develops ADD and drags you in five directions at once?
Linda (who is covering her ears and singing, "la, la, la, la" while she works on ONE book.) :)
Friday, April 25, 2008
Lose Your Mind!
The Year I Lost My Mind will be released May 1 by Wings ePress, Inc. www.wings-press.com
Here is a brief excerpt:
My name is Beth Rutledge. Today is my birthday. I am fifty-one years old. I have a thriving interior decorating business, a son in college, a daughter who just made me a grandmother and a husband whom I love very much. My mother will tell you I have been having a midlife crisis. My best friend will tell you I am courageous. My husband will tell you that, on my last birthday and for just a little while, I lost my mind.
I will tell you this: Sometimes you have to lose something in order to reclaim it. Sometimes you have to trust the love that holds the seams of your life together and stretch it to a new limit. Sometimes you just have to lose your mind…and follow your heart.
~ * ~
Lose your mind, and follow your heart with me on May 1 at Wings ePress, Inc.
Thanks to those of you faithful readers who enjoyed And the Truth Will Set You Free and Pieces, also available from Wings ePress.
Happy reading!
Linda
Thursday, April 24, 2008
Start Your Engines, and Write Your Way Home
When I was in high school and taking a driver's education class, the instructor looked at me one day and said, "You know, I think you drive better in reverse." It was the day we learned three-point turns, and I took his comment to be a compliment.
In writing, I've learned that some of the same principles apply as in driving a car. You have to start your engine (listen to your muse), have plenty of fuel (possess a command of language), and recognize the important signs that control traffic (know how to use punctuation).
You have to know when to turn up the heat and the time to cool things down. And you must be willing to take adventurous detours. But you also have to be able to make a neat three-point turn in narrow spaces.
I've often thought about my driving instructor's comment and considered how I apply that same skill to others areas of my life, writing included. Yes, I sometimes write in reverse. I often find that I have to justify my personal assertion that writer's block does not exist--or that it doesn't have to exist. So, if I hit a roadblock, reach one of those 'no thru traffic beyond this point' signs in my story, I must choose an alternative. I either have to find a detour, or I jump ahead in the story, then write my way back.
And I have to say it works. Every single time. I may not know where I'm going next, but I know where I want to end up. So, I jump a plane (so to speak) and get to the destination. Then I figure out my way back to where I left off.
Is this the ideal way to write a novel? Nope. Is it a way to write past the roadblocks? Absolutely.
You're skeptical, I can tell. Go ahead, give it a try.
Go, now, and write something.
-or
.gnihtemos etirw dna ,won ,oG.
Whichever way works best for you.
Linda
In writing, I've learned that some of the same principles apply as in driving a car. You have to start your engine (listen to your muse), have plenty of fuel (possess a command of language), and recognize the important signs that control traffic (know how to use punctuation).
You have to know when to turn up the heat and the time to cool things down. And you must be willing to take adventurous detours. But you also have to be able to make a neat three-point turn in narrow spaces.
I've often thought about my driving instructor's comment and considered how I apply that same skill to others areas of my life, writing included. Yes, I sometimes write in reverse. I often find that I have to justify my personal assertion that writer's block does not exist--or that it doesn't have to exist. So, if I hit a roadblock, reach one of those 'no thru traffic beyond this point' signs in my story, I must choose an alternative. I either have to find a detour, or I jump ahead in the story, then write my way back.
And I have to say it works. Every single time. I may not know where I'm going next, but I know where I want to end up. So, I jump a plane (so to speak) and get to the destination. Then I figure out my way back to where I left off.
Is this the ideal way to write a novel? Nope. Is it a way to write past the roadblocks? Absolutely.
You're skeptical, I can tell. Go ahead, give it a try.
Go, now, and write something.
-or
.gnihtemos etirw dna ,won ,oG.
Whichever way works best for you.
Linda
Friday, April 4, 2008
Extra! Extra! Read all about it!
Reviews--either a writer's dream come true, or your worst nightmare. Some writers consider reviews a necessary evil of writing. Of course, your viewpoint depends upon whether the review is 'good' or 'bad'.
What constitutes a 'good' review? Most of us think a good review offers undending praise for our work, recommends it as a 'must read' and gives fifteen stars out of the ten available. Of course we love those reviews.
Then there are the 'bad' reviews--the ones that, while reading, you can see the reviewer sneer, shrug and make an 'oh, well' gesture. And, of course, you may encounter the nightmare review--the one that says, in essence, 'this book is a piece of meaningless garbage and not worth the time or money you'll spend standing in line at the cashier.' I don't personally believe this kind of review is necessary, no matter how poor the reviewer considers the manuscript to be.
Here is the challenge posed to us writers. When we request a review and it's less than positive, do we include the review in our promotional material, post it to our web site or post the link to the reviewer's site? Do we thank the reviewer for his/her time, even though we're not thrilled with the review?
What is the proper etiquette here?
In discussions among authors, I've heard opinions fall on both sides of the fence--gracefully accept the review, thank the reviewer and move on, or ignore the review and the reviewer (and make a note to never request a review from that person again). Some post a scathing retort to the reviewer.
Writing is a business, albeit a very personal business. Not all reviewers seem to keep that in mind, to remember that an author's words hold more than letters from the alphabet, set into a particular arrangement to tell a story. Our writing holds our hearts and souls, along with hours of blood, sweat and tears. It behooves reviewers, I believe, to be both honest and kind.
I don't post every review I receive on my web pages. After all common sense and good marketing practices would dictate otherwise if a review does not paint a positive picture of a book. It is, in the end, about attracting readers and selling books. Is this dishonest? No. I do, however, thank the reviewer for their time and for their honest review. They've done their job, even if we don't agree with the outcome.
I have read of authors who received scathing reviews that slammed their work and their skills. And they've taken the review site or the individual reviewer to task, gotten the review pulled from the web and received an apology.
Tact. Some people lack it. As writers and reviewers, we have to strike a balance between honesty and tact. I've reviewed work for several authors. Have I thoroughly enjoyed each and every book equally? No. Have I ever told an author they should hang it up and go back to their day job? No. Cruelty and personal affronts are not warranted.
If, as a reviewer, I encountered a book upon which I could find nothing positive to comment, I would return the manuscript to the author with a note about my reasons for declining the review.
For whom are reviews written? For the reader. Yep. Reviews are not intended to provide the author with marketing and PR material. Although they can serve as a barometer for our writing. They are intended to give the reader either an enticement or a warning. But--every review is one person's opinion. We need to remember this, both as writers and as readers. Some of the best movies I've seen were panned by the critics.
My advice?
Writers--employ good judgment about how you use reviews of your work. Respond professionally to your reviewers.
Readers--consider reviews, but trust your own instincts. Look at the book, read the blurb, visit the writer's web site and read an excerpt.
Reviewers--maintain professional integrity, but also remember that there's a person on the other end of that novel.
Linda
What constitutes a 'good' review? Most of us think a good review offers undending praise for our work, recommends it as a 'must read' and gives fifteen stars out of the ten available. Of course we love those reviews.
Then there are the 'bad' reviews--the ones that, while reading, you can see the reviewer sneer, shrug and make an 'oh, well' gesture. And, of course, you may encounter the nightmare review--the one that says, in essence, 'this book is a piece of meaningless garbage and not worth the time or money you'll spend standing in line at the cashier.' I don't personally believe this kind of review is necessary, no matter how poor the reviewer considers the manuscript to be.
Here is the challenge posed to us writers. When we request a review and it's less than positive, do we include the review in our promotional material, post it to our web site or post the link to the reviewer's site? Do we thank the reviewer for his/her time, even though we're not thrilled with the review?
What is the proper etiquette here?
In discussions among authors, I've heard opinions fall on both sides of the fence--gracefully accept the review, thank the reviewer and move on, or ignore the review and the reviewer (and make a note to never request a review from that person again). Some post a scathing retort to the reviewer.
Writing is a business, albeit a very personal business. Not all reviewers seem to keep that in mind, to remember that an author's words hold more than letters from the alphabet, set into a particular arrangement to tell a story. Our writing holds our hearts and souls, along with hours of blood, sweat and tears. It behooves reviewers, I believe, to be both honest and kind.
I don't post every review I receive on my web pages. After all common sense and good marketing practices would dictate otherwise if a review does not paint a positive picture of a book. It is, in the end, about attracting readers and selling books. Is this dishonest? No. I do, however, thank the reviewer for their time and for their honest review. They've done their job, even if we don't agree with the outcome.
I have read of authors who received scathing reviews that slammed their work and their skills. And they've taken the review site or the individual reviewer to task, gotten the review pulled from the web and received an apology.
Tact. Some people lack it. As writers and reviewers, we have to strike a balance between honesty and tact. I've reviewed work for several authors. Have I thoroughly enjoyed each and every book equally? No. Have I ever told an author they should hang it up and go back to their day job? No. Cruelty and personal affronts are not warranted.
If, as a reviewer, I encountered a book upon which I could find nothing positive to comment, I would return the manuscript to the author with a note about my reasons for declining the review.
For whom are reviews written? For the reader. Yep. Reviews are not intended to provide the author with marketing and PR material. Although they can serve as a barometer for our writing. They are intended to give the reader either an enticement or a warning. But--every review is one person's opinion. We need to remember this, both as writers and as readers. Some of the best movies I've seen were panned by the critics.
My advice?
Writers--employ good judgment about how you use reviews of your work. Respond professionally to your reviewers.
Readers--consider reviews, but trust your own instincts. Look at the book, read the blurb, visit the writer's web site and read an excerpt.
Reviewers--maintain professional integrity, but also remember that there's a person on the other end of that novel.
Linda
Saturday, March 22, 2008
Where do you get your ideas?
This is a question I'm often asked. But it usually comes out as: How do you think this stuff up?
I visited an injured co-worker yesterday, along with the rest of the staff from our small office. Being the new kid on the block, I wasn't tuned into some of the discussion. They talked about a couple who had dated in high school, then been separated because of family disputes, but who reunited later in life. One of my co-workers looked at me and said, "There's a book in there somewhere." And, indeed, there is.
I returned to the office and, having a quiet afternoon, sat at my computer and considered the story that could be told. Half an hour later I had an outline for a new novel following the theme of two young lovers, separated by family and by life events, but reunited later in life after both have married and raised families, endured divorce and widowhood. In that instant, The Hope Chest began its journey into print.
So, where do I get my ideas? From life. The makings of great story lines are all around us. We have but to observe, listen, and take good notes.
Where do you get your ideas? Or, to quote my friends, "How do you think this stuff up?"
Linda
I visited an injured co-worker yesterday, along with the rest of the staff from our small office. Being the new kid on the block, I wasn't tuned into some of the discussion. They talked about a couple who had dated in high school, then been separated because of family disputes, but who reunited later in life. One of my co-workers looked at me and said, "There's a book in there somewhere." And, indeed, there is.
I returned to the office and, having a quiet afternoon, sat at my computer and considered the story that could be told. Half an hour later I had an outline for a new novel following the theme of two young lovers, separated by family and by life events, but reunited later in life after both have married and raised families, endured divorce and widowhood. In that instant, The Hope Chest began its journey into print.
So, where do I get my ideas? From life. The makings of great story lines are all around us. We have but to observe, listen, and take good notes.
Where do you get your ideas? Or, to quote my friends, "How do you think this stuff up?"
Linda
Tuesday, February 19, 2008
I Love Your Writing, But...
Most writers have received numerous rejections that read something like this: Thank you for your recent submission, _______. Although your writing shows talent and I found your story to be interesting, I'm afraid it is not for me at this time.
You read and re-read these words, and your mind takes off on a run, with your heart in close tow. Oh, sure. What they're really saying is, 'You can't write worth a damn and your story sucked, big time. You're a LOSER!'
Then you get the old, "you've gotta have a thick skin" lecture from well-meaning friends (or from that chastising voice in your own head.) You search your manuscript, looking for that one word, or line, or paragraph that sabotaged your otherwise brilliant career. Maybe if I change my heroine, her crisis, her background--her underwear! Maybe, then, they'll like me...er...my book.
You can make yourself crazy, trying to figure out what that somewhat cryptic rejection meant. I'm talented and you liked my story---but it's not for you? It begs the question: Are you looking for a no-talent writer to produce a crappy story?
But what if you take the agent, editor or publisher at his/her word? What if you take to heart what has been said? You are talented. You have an interesting story. It's just not what this particular agent or publisher is seeking at the moment.
Who needs a thick skin, when you have an open mind? Think about it. What does this person, who has in all likelihood never met you, stand to gain by lying to you? Do you think they really want to let you down easy by cushioning the fall with false praise?
I'm not asking these questions to challenge you but, rather, to challenge myself. To change the way I view the dreaded rejection letter (which has become a two-line rejection email--even more impersonal).
I received just such an email yesterday, after the publisher held onto the manuscript for eleven months with the note that it "showed potential for their market." I had a choice: I could become angry, frustrated, cynical--let it take me down. Or I could take it in stride, smile at the fact that this particular editor saw something positive in my writing and in my story, and I can reason that I was offering beef when she was hungry for chicken. (Okay, really bad analogy, but you get the point.)
Learning to deal with the rejection that comes with this business can be challenging. Most of us don't write only from our heads. We write from our hearts and souls. And, so, when our work is rejected, it hits us on a personal level. It is personal.
If I believe this editor who said she liked my writing style and found my story to be interesting, and if I take that personally, I should be feeling pretty good about myself about now.
Shouldn't I?
Now go, shake off the dust and re-submit something!
Linda
You read and re-read these words, and your mind takes off on a run, with your heart in close tow. Oh, sure. What they're really saying is, 'You can't write worth a damn and your story sucked, big time. You're a LOSER!'
Then you get the old, "you've gotta have a thick skin" lecture from well-meaning friends (or from that chastising voice in your own head.) You search your manuscript, looking for that one word, or line, or paragraph that sabotaged your otherwise brilliant career. Maybe if I change my heroine, her crisis, her background--her underwear! Maybe, then, they'll like me...er...my book.
You can make yourself crazy, trying to figure out what that somewhat cryptic rejection meant. I'm talented and you liked my story---but it's not for you? It begs the question: Are you looking for a no-talent writer to produce a crappy story?
But what if you take the agent, editor or publisher at his/her word? What if you take to heart what has been said? You are talented. You have an interesting story. It's just not what this particular agent or publisher is seeking at the moment.
Who needs a thick skin, when you have an open mind? Think about it. What does this person, who has in all likelihood never met you, stand to gain by lying to you? Do you think they really want to let you down easy by cushioning the fall with false praise?
I'm not asking these questions to challenge you but, rather, to challenge myself. To change the way I view the dreaded rejection letter (which has become a two-line rejection email--even more impersonal).
I received just such an email yesterday, after the publisher held onto the manuscript for eleven months with the note that it "showed potential for their market." I had a choice: I could become angry, frustrated, cynical--let it take me down. Or I could take it in stride, smile at the fact that this particular editor saw something positive in my writing and in my story, and I can reason that I was offering beef when she was hungry for chicken. (Okay, really bad analogy, but you get the point.)
Learning to deal with the rejection that comes with this business can be challenging. Most of us don't write only from our heads. We write from our hearts and souls. And, so, when our work is rejected, it hits us on a personal level. It is personal.
If I believe this editor who said she liked my writing style and found my story to be interesting, and if I take that personally, I should be feeling pretty good about myself about now.
Shouldn't I?
Now go, shake off the dust and re-submit something!
Linda
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