Time to Write

Childhoods of the great authors: George Orwell (Eric Blair)

                                     copyright 2012 Jurgen Wolff

(The great writers also left behind advice for fellow writers. Find it in my newest book, "Your Creative Writing Masterclass," available now from Amazon, Waterstones, B & N,or your other favorite bookseller)

How to write novels even if you have no ideas!

I just got an email offering to sell me an app that takes all the work out of writing romance novels. It’s the “Kindle Romance Idea Generator.”

Yes, I’m serious. The sales page tells me “Writing a Romance Novel Can Mean a Lot of Cash!” It helpfully points out that “Ideas are the lifeblood of any good book,” but the problem is “ideas are hard to come by.”

This app “Generates Endless Heroine’s (sic) for Romance Books.” Hey, what’s an apostrophe between friends?

With one press of a button, you get a full description of a heroine for your romance novel. The sample profile gives such useful information as, “she can not stand the smell of mustard,” and “her favorite hobbies include crafts and pinochle.”

For a small extra fee you also get a profile of the hero and his characteristics.  The sample description includes the fact that"his eyes are chocolate and his hair is light ash brown and his favorite hobbies include pinochle and bmx.”

Who knew that pinochle was so popular these days? Maybe if it’s a saucy romance novel they can play strip pinochle.

 The upgraded app also gives you a clue as to what keeps the hero and heroine apart. One example is that the heroine went to a trendy night club and had a one-night stand with a man she met on the dance floor. She didn’t expect to meet him again, but it turns out he’s the loan officer handling the refinancing of her home. I don’t see how that would keep them apart. In fact, probably it would get her a lower interest rate. 

If I were writing this novel, I’d make him the owner of a mustard factory. She loves him but she can’t stand the smell of mustard and breaks up with him. He opens a ketchup factory to try to win her back but loses everything due to a world-wide ketchup glut. I’d pitch it as a modern-day Romeo and Juliet…two lovers torn apart by condiments.

 See, this thing works!

 (Or you could buy my book, “Your Writing Coach,” but it assumes you have some ideas of your own.)

 

Childhoods of the great authors: Hemingway (Sunday Funnies)

How can a writer be in the right place at the right time?

Can guidelines for young artists apply to young (and not so young) writers as well? A recent post features a short video about artist John Baldessari, narrated by Tom Waits. It end with three things Baldessari thinks young artists should know. Let’s look how at the third applies to writers:

"Being at the right place at the right time"

Maybe in the 20’s, Paris was the right place for a writer. Most of the rest of the time, perhaps New York and London.

Since the advent of the internet, geography doesn’t matter as much, although having a supportive and challenging local community still counts for a lot. It’s hard to go drinking with an avatar.

The art world is small, the actions of one or two collectors can suddenly propel you into the stratosphere. If the right rich collector or the right influential gallery decides your dots or your pickled shark or your unmade bad is great art, your life changes the next day.

Certainly the right endorsement (e.g. Oprah, until recently) could propel a book onto the best-seller list but there is also the possibility of a more organic success such as Harry Potter and there isn’t one writing world but many.

So what’s the right place at the right time for a writer? My guess is that the writers who land there have several characteristics:

• Being open to, and early to adopt, new ways to tell and deliver stories
• Telling the stories which matter to them, rather than trying to copy current trends or anticipate future ones
• Having a personal story to tell, something dramatic in some way (but also true)
• Having a champion
• Not being discouraged by setbacks
• Writing, lots of writing

The rest may be down to luck.

(It can be illuminating to learn how the greatest writers went about their work and you can do that by reading "Your Creative Writing Masterclass," published by Nichoals Brealey and available from Amazon and ohter booksellers now.)

 

Do you have to be possessed to be a writer?

Can guidelines for young artists apply to young (and not so young) writers as well? A recent post features a short video about artist John Baldessari, narrated by Tom Waits. It end with three things Baldessari thinks young artists should know. Let’s look at how the second applies to writers:

"You have to be possessed, which you can’t will"

I think this is what some writers mean when they say they have to write, that if a day goes by on which they don’t write, they feel uncomfortable.

I’m sure that’s true for some writers, but I also believe there are different levels of this kind of possession. I don’t write every day, although I guess I think about it, either in terms of a current project or a new idea, just about every day.

Maybe I have “Possession Lite.”

Perhaps if I had a higher grade of possession I’d be better known or be a better writer, but it’s been enough to allow me to be a professional writer for a long time, and I’m happy with that. So if you don’t have that total drive, don’t think that means you’re not a writer, but you have to have at least some of it.

I also think while you can’t will it, you can create the conditions that make it more likely that you’ll have it. Sometimes you have to go through a period of uncertainty before the possession comes on. Maybe it’s better not to worry about it. Just get on with writing something. 

(How did the great writers of all time--Conrad, Austen, Twain, Kafka--do it? They reveal many of their secrets in my new book, Your Creative Writing Masterclass, published by Nicholas Brealey and available from Amazon or your other favorite bookseller.)

Why so many writers with talent fail

Can guidelines for young artists apply to young (and not so young) writers as well? The previous post features a short video about artist John Baldessari, narrated by Tom Waits. It end with three things Baldessari thinks young artists should know. Let’s look at how the first of these applies to writers:

"Talent is cheap"

Yep. If you’re creative and have lots of ideas, congratulations, you’ve taken the first step. But it’s only the first step. 

I’ve known lots of writers with talent but no discipline.

They talk entertainingly about what they are going to write someday.

When they hear about a new book or film sometimes they tell you, truthfully, that they had that idea, too.

Most likely they have part of a novel or screenplay in a drawer. If they show it to you, you will be impressed by their talent.

Often they affect the current version of a bohemian style. Black predominates in their wardrobe.

The only thing missing is action. Writing the book or the screenplay. Or at least finishing it—there’s always a bit of work left to do on it before they send it out.

It can be a pleasant lifestyle—some of the perks of being a writer but none of the stress and risk, plus you don't have to wash black clothes so often. No impact, though, and not much creative satisfaction.

People sometimes ask me what the definition is of a writer—that is, do you have to be published to call yourself a writer? I don’t think so. A writer is somebody who writes….and finishes what they write. And then starts on the next thing. 

(Why not listen to the writing advice of writers who had both talent and discipline--people like Dickens, Twain and Austen? You'll find it in my newest book, Your Creative Writing Masterclass, published by Nicholas Brealey and available now from Amazon or your other favorite bookseller.)

Portrait of an artist, narrated by Tom Waits

I have to admit I’d never heard of the artist John Baldessari, but I found this video, “A Brief History of John Baldessary, Narrated by Tom Waits,” interesting both for content and as a way of presenting information.

 Frankly, I mourn the passing of the idea that a “talking head”-- an interesting person talking to camera -- can be a suitable format if the person is saying interesting things. This little film is the opposite of that format, with frantic music in the background, fast editing, zooming, etc. but it embraces it so well that it works. 

 

 

A look inside the unique and bizarre world of an obsession

Below is a fascinating video about artist John Frame. After being ready to give up his artistic career as a sculptor, he woke up one night and had a vision. Ever since, he has been working to make that vision real. If you like tim Burton's animated films you'll find this of interest (the video was made to go with an exhibition at the Portland Art Museum and is about five minutes long):

52 Tips for Writing Success - 8: Don't fear research

If you are writing something that requires a lot of research, don't let that put you off. Here are some common misconceptions:

1: You have to know everything about your topic. 

Actually you just have to know the basics and then some specialized details. Details are what makes a scene, a book, a movie come alive.

2: You have to go there.

Sure, it's great to go to the locations you plan to use in your projects, but it's not absolutely necessary. These days you can find a wealth of information on just about any location in the world, on the internet. Check Flicker for photos, search for blogs about that location, etc. Also check to see whether there are relevant documentaries you can watch. 

3: It's hard to get help

Actually, experts (such as professors, doctors, lawyers, etc.) usually are flattered to be asked for their help. Ask them specific questions. Ask if they are willing to read one chapter or section--not too much, they're busy people. But if they say yes, send themthe whole manuscript or script, they may read it all. 

4: You have to do all the research before you start.

In fact you can do some general research and then dig up the rest as you encounter things you need to know.

Don't let the need for research stand in the way of telling the story you want to tell!

(For friendliy guidance in writing your book or script, get a copy of Your Writing Coach, published by Nicholas Brealey and available from Amazon and other booksellers--the new edition is now available!)

Childhoods of the great authors: Melville (Sunday Funnies)

Red alert: Undead Press? Keep Walking!

Thanks the excellent Writer Beware Blog for a heads-up about Undead Press. Writer Mandy DeGuit submitted a story to an anthology published by Undead Press and when she got her copy she was astonished to find they had made big changes including giving the main character a memory of animal abuse and adding a suggestion of rape at the end.

When she wrote to the publisher to complain, here is what he answered:

"it clearly says publisher has the right to EDIT work. you signed it. are you saying you are a dishonest and immoral person and will now try to deny you signed the contract? well i have a copy right here and as for the story. the editor had a hard time with it, it was very rough and he did alot (sic) to make it readable. despite what you think, your writing has a long way to go before its worthy of being printed professionally. we did what we had to do to make the story printable. you should be thankful, not complaining. ah, the ungrateful writer, gotta love it"

Hmm, if a story is not ready to be printed, how about rejecting it?

Apparently other authors have had similar issues.

I wouldn't be caught dead submitting anything to a publisher with the attitude of Anthony Giangregorio of Undead Presss. How about you?

(What does Chekhov advise about showing rather than telling? You'll find out in my newest book, "Your Creative Writing Masterclass," published by Nicholas Brealey and available now from Amazon or your other favorite bookseller.)

If you want the reader to identify with your character, do this

In the previous post I referred to research done at Ohio State University on how and why readers identify with characters in fiction. Another finding of that research was that if the character is different in some major way from the reader, not surprisingly the reader identified less with the character if that difference was revealed early on vs. being revealed after the story covered several aspects where the reader and the character were similar.  

For the fiction author there is a practical implication--if you want your reader to identify with your protagonist, first emphasize the elements with which the reader probably can identify, then reveal the ones that are less likely to apply.

Of course this doesn't apply across the board--otherwise Kafka would have been wise to let us identify with Gregor before he turns into a bug. 

(Kafka is one of the great writers quoted in my newest book, "Your Creative Writing Masterclass," published by Nicholas Brealey and available now form Amazon and other booksellers. Why not learn from great writers like Kafka, Dickens, Fitzgerald, Hemingway and 100 more?)

If you are what your read...what about what you write?

A team of researchers at Ohio State University have found that readers of literature "begin spontaneiously assuming the thoughts, behaviours, goals and traits of fictional characters as if they are their own." This is especially true of reading material written in the first person. 

Let's look at the specifics. One group of university students read a short story about a person who attended the same university as the group voting despite a number of obstacles. Another group read a similar short story but about someone not at their university. The accounts also varied as to whether they were written in the first person or the third person.

There was an election at the participants' university not long after this. The group who read the first person account of a character who attended their university had a much higher turnout on election day than the others (65% vs. 29%).

I wonder how this applies to writers who immerse themselves in a character as they write a novel or a screenplay. Are there "method" writers who feel the influence of their characters even when they're not writing?

I once was asked whether I wanted to write a screenplay based on the story of a woman who had been held captive and tortured. I turned it down because I didn't want to spend a lot of time immersed in that world--the job would have involved lengthy interviews with the victim who herself had a criminal past, and a number of her associates. 

Actually, the producer could tell this wasn't my cup of tea and wouldn't have hired me anyway, he told me after I'd said no. I think his statement was, "These people would eat you alive." 

It's not that I can't or don't want to write parts for villains; in fact it's a pleasure because they do tend to be the juiciest characters. However, they've been just one part of the story and I've always been more interested in how they are similar to the "hero" rather than how they are different. 

I've also had the opposite effect--that is, I've really enjoyedj spending time with characters I liked and was sad when I finished the screenplay.

Anyway, it's something to watch out for when you immerse yourself in a story. There may be times when you need to consciously leave the characters behind when you get up from your writing desk.

(How did the great writers like Dickens, Austen, Chekvhov, Hemingway and others approach creating vivid characters? You'll find their advice on this in my newest book, "Your Creative Writing Masterclass," published by Nichoals Brealey and available now from Amazon and other booksellers.)

Stuck on the story of your novel or screenplay? Play possible futures.

If you have the start of a story but things have ground to a halt and you're not sure where to take your protagonist next, try playing a game I call Possible Futures. 

Think of three very different paths your protagonist might take. Project each one forward one or two big steps.

For instance, let's see I've set up a story opening in which Ian, my protagonist, is a widower nearing retirement age. He hasn't managed to save much money and his pension plan just collapsed. I have a sympathetic character and a situation to which (unfortunately) a lot of people can relate. But where to go with the story?

Scenario One: When he's approached by a younger friend who says there's a way Ian could earn $50,000 for one week of work, Ian knows it  has to be something fishy. But he needs the money and decides it would be foolish not to at least hear what it's all about.

Scenario Two: Looking for an inexpensive way to have an evening out leads him to a senior citizens' social club where he turns out to be one of the very few men among a lot of widows. One quickly falls for him. She's rich and nice and would love to marry him. It would mean a comfortable retirement. He likes her but he doesn't really love her…does that still matter?

Scenario Three: Desperate for money, Ian signs up to be a subject of medical trials. When one of them goes terribly wrong due to negligence by the pharmaceuticals company, he has only one year to live. They offer him ten million dollars to shut up. He can have a dream life and money to leave to the grandchildren of his struggling son and daughter in law,  but it will mean being complicit in the coverup of the company's practices which may go on to hurt others.  

You can use the same strategy further along in the story. Let's say that you decided that Ian should go ahead and marry the widow--after all he does like her and has no intention of cheating her; he will be a good companion. But then…then we can think of three more options for what happens next:

1. She dies and he realises the rich thing was all an act. She had nothing but debts for which he is now responsible.

2. He meets another woman, and this time it IS love. But now he's spoken for…

3. He does marry her but the more he begins to actually love her the more suspicious she gets that he was after her money.

If you pay attention you'll get the sense that one of the options you generate is more right for you or your understanding of the character than the others. 

(There are some writers who have tips for you on how to create great characters and plots. Who are they? Well, they include Dostoyevsky, Dumas, and Dickens. Also Calvino, Carver, and Cather. Their advice and how to apply it to your project are in my newest book, Your Creative Writing Masterclass. It's published by Nicholas Brealey and available from Amazon or your other favorite bookseller.)

 

 

Why you don't need to suffer to write

It's kind of a romantic notion that writers must suffer. I ran across a different perspective on that at Caroline Leavittville's blog, from author Frances Greenslade:

"I remember when I gave up the idea that writers had to live on the brink of disaster in order to be creative. Hardship, the idea goes, keeps you on your toes creatively, doesn’t allow you to grow complacent…The year my son was born was, for me, the beginning of the end of the romantic notion of the suffering artist…And once I achieved some stability, I recognized how good it was for my writing life. I could relax enough to go deeply into the world of whatever story I was working on."

So what does her non-suffering schedule look like?

"I began a writing routine that I still follow. Once I get my son off to school, I write through the morning, avoiding email and putting off telephone calls that can lead me off on day-long tangents that leave me feeling that I’ve accomplished nothing."

I suspect that the writers who actually do work better under a lot of pressure are a small minority. If you think you are one, consider the wear and tear it puts on you and consider trying to write one project under less stressful conditions and see how it goes.

(You'll find lots of tips for getting loads done with minimal stress in my book, "Focus: use the power of targeted thinking to get more done," published by Pearson and available from Amazon or your other favorite bookseller.)

 

 

52 Tips to Writing Success - 8: Take Your Inspiration from the Best

Often when I ask newer writers whose work they admire or study, they mention books on the best-seller lists or the currently most popular movies. That's fine, it's good to be aware of what's working in today's marketplace. But it's not enough. 

I think we need to draw our inspiration from deeper wells. These include:

* The novels that have stood the test of time, by the great authors like Dickens, Austen, Twain, Dostoevsky, and more recently, Hemingway, Fitzgerald, Faulkner.

* Short stories by masters of the form like Chekhov, Someset Maugham, Gorki.

* The mythology of various cultures

* Folk Tales

* Fairy Tales

* Classic movies like Citizen Kane, Gone With the Wind, The Godfather, Rashomon, Ran, Lawrence of Arabia, Shane, High Noon.

Whether you agree with my choices doesn't matter, what does matter is that you keep feeding your brain with material that has stood the test of time. 

ACTION: Consider taking a couple of hours a week or more to expose yourself to the work of the greats of the past and the recent past. 

(Would you also like to learn how to write from the masters? I have collected their writing advice in my newest book, "Your Creative Writing Masterclass." It also helps you apply that advice to what you are writing. You can get the book from Amazon or your other favorite bookseller.)

Childhoods of the great authors: Kafka (Sunday Funnies)

The Before and After quick method for plotting

Trying to get the basics of your story worked out? In a previous post I mentioned that for detective stories it can be useful to work backward from the murder or other crime.

Another approach that works for stories in general is to take one major dramatic moment that you know you want to have in the story and work both forward and backward from it.

If you have several scenes or moments like that in mind, they can become the cornerstones of your story.

Usually these are scenes of major conflict. Those happen when things have built up, so when you work backward you can think about what are the elements that led to the confrontation.

Such conflict always has consequences, too, and those will determine the scenes that come afterward.

The first outline you generate using this method may be too linear and predictable but they will be the raw materials for a more sophisticated version. You can decide which of these scenes to show, which just to suggest and which to hide from the audience or reader. Sometimes it also makes sense to mix up the time frame; for instance, you can start with a dramatic moment and then go back and show what led up to it.

However, before you can play around with the order, it really helps to have the events in mind in chronological order and that’s where the “before and after” method is a big help.

 (for advince on plotting from some of the world's greatest writers, including Mark Twain, Anton Chekhov and many more, see my lastest book, "Your Creative Writing Masterclass." It's published by Nicholas Brealey and available from Amazon or your other favorite bookseller.)

 

Self-publishers, beware!

If you’re thinking of self-publishing, beware! You are the new target of a lot of scamsters and people offering overpriced or unnecessary services. Over the past six months I’ve seen these people come out of the woodwork. They’ll milk writers until there’s not much left and then they’ll ride some other trend to make more money from unsuspecting folks.

The excellent Writer Beware Blog pointed to e-Publishing Revo, which promises 100% royalties (which actually is 70% for books you price between $2.99 and $9.99, and 45% of list price for books costing more or less than that range. How is that 100%?).

The company behind e-Publishing is Bookwhirl, which Writer Beware describes as a “notorious Internet spammer.” WB also points out that are various inconsistencies in the description of what you get for the sums e-Pubishinging Revo asks for helping you self-publish, and in the fine print it mentions that if you buy their package you’re also agreeing to be contacted by email, mail, and telephone about other products and services they want to sell you.

 Sounds like one to stay away from.

Although you can do all of the tasks that go with self-publishing, some people don't have time or don't like dealing with technology, so I'm not saying all companies that offer to provide these services for you are bad. However, before you hand over any money do a Google search, see what others are saying, and be sure that the terms and conditions are absolutly clear before you sign anything.

 

Consider implementing an exclusion zone to get your writing done

What is the one thing that most interferes with your managing to spend enough time writing?

(Think of this before reading further.)

At the ad agency Grey New York, the boss started the Thursday morning No-Meeting Zone from 9am to noon. One of the people working there, Gina Sclafani, says, "This is officially sanctioned time for us to expand our minds and devote time to ideas that kept getting pushed to the side, using whatever methods worked for us. And not just for the writers and art directors. This was a never-before-seen, agency-wide missive."

Her article is about the creative benefits of moving out of your comfort zone, but at the moment i'm nore interested in that three hour exclusion zone. 

Could you schedule a similar zone during which you banish the thing that most gets in your way? Three hours during which you will not:

* check your email

* go onto Facebook, Twitter, or other social media sites

* watch TV

* or whatever else is your biggest source of distraction

Give it a try. If three hours is too much, start with one. Then expand the number of days and, if possible, the number of hours.

(Want more time tips? See my book FOCUS: use the power of targeted thinking to get more done. You can get it from Amazon or your other favorite bookseller.)