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I completely forgot to post this yesterday. What a wonderful start to my new updating schedule. No pretty picture to make this post look nicer because I’m at work.

I can’t remember my final word count for last week, but I know it’s low. Much lower than where I ‘should’ be according to my word count goal. However, I’m still in the Couch to 80k Writing Boot Camp, so I’m okay with that. 

Week 8 has been going…mixed, really. It’s focusing completely on our current novel – the novel that I have fallen out of love with. All I can see are problems and issues and I’m very tempted to scrap the whole things. Thankfully, the combination of having good friends and being extremely stubborn is working for me and I’m going to push through it. Even if it ends up crap, it’s my crap.

I definitely haven’t been focusing time to writing, so that’s a problem too. I have to figure out where best to build it into my routine and go from there.

Reading

Promises Linger was exactly what I expected it to be and I absolutely loved it. Something about McCarty’s way of writing as spoken to me since I first read her eleven years ago. Absolutely loved it, but take my view with a grain of salt because I am definitely biased. 

Also (re)read Dark Prince by Christine Feehan. I read this book in high school and remembered thinking it was a good story, but the style of writing was far too flowery for my taste. Put it back on my to-read list because I wanted to take a second look at it, seeing as it is the first book of a largely successful paranormal romance series. I still stand by what I thought in high school: flowery. Way too flowery. Far too mushy for me to be able to deal with and while it was very frustrating, I’m glad I looked at it again.

Third book I read was an anthology, Legally Hot. You can read my review of it here, but TL;DR – On the scale of ‘kill it in a fire’ to ‘LOVE’, it was a solid ‘meh’. 

Not really sure what I’m going to read next. I want to binge on a few things, but I need to break up books that are by the same author, else I overindulge and then get sick of them. Thinking about hopping genres and reading Storm Front, as it’s been sitting on my sofa table for two months now. However, the person who said I need to read the series has also said that it starts slow, so I don’t know about that. 

Other options are The Name of the Wind, Cover Me, or The Chronicles of Chrestomanci. Watch me not read any of them. 

In case you’re teetering on the idea of giving the Couch to 80k Writing Boot Camp a shot, here’s an actual quote from an episode:

“Keep the fantasy within the limits of known science please, even if the idea of having a whole day free to do what you like currently feels about as feasible as mid-morning consensual buttplay with an emotionally intelligent xenomorph.”

So I mean, the question shouldn’t be if you’re going to do it, it’s really a matter of when.

🙂

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I officially started Week 7 of the Couch to 80k workshop I’ve been doing. Definitely a little late, but I took two weeks off for the holidays. It’s been a little bit more difficult to get back into the routine again of sitting down everyday to listen to the podcast, but I need to do it. Once I get it going, it’ll be easier to translate toward writing.

I’ve made the goal of writing 240,000 words this year. I have no idea if this is doable. I don’t know how many words I wrote last year, but at least 120,000. Doubling that should be interesting. In an amusing and rare misstep in mental math, I for some reason convinced myself this equaled 2000 words a month. It wasn’t until I sat down and realized why this seemed wrong that I was missing a zero.

20,000 words a month is definitely a challenge from what I’ve been writing, but much easier than the Nano months I did twice. If I look at it by week, it’s 4616 words each week. By day, it’s 658. I’ll get there. I’ll have to push myself, but I’ll get there.

I haven’t officially written anything yet so far, which will come to bite me in the ass later this month. It’s surprisingly hard to write outside of the workshop, so I’m going to wait until I’m completely done with Couch to 80k before writing separately. I haven’t yet decided if I’ll count the words written during those exercises, but I probably will. They might not be words toward a novel, but they’re words I’ve written. They still count.

Reading

My reading goal this year is 90 books. According to what I accounted for on Goodreads, I read 65 last year, but there were many I didn’t count. My actual goal was 70, but I was sucked into a manga series that has 19 volumes. In order to count each volume as a book, but still keep my original goal for novels, I upped the number to account for those volumes. As of right now, I’m at 21% of the total goal. 

The manga series I read over the last week was Banana Fish. The next book I’m going to read is Promises Linger by Sarah McCarty. I’ve been hunting for this book for years and finally bit the bullet and purchased it for my Kindle. I can’t wait.

I’m hoping to post writing and reading updates once a week. It’ll help me keep this blog current and hold myself accountable for my goals. Now, to finally create that WIP page…

Photo by Clint McKoy on Unsplash.

The Five Things I’ve Learned About Writing Romance from TV

novelwritingtrash:

Lesson 1: Your lovers spark because they’re opposites on the surface, but they love because they’re twin souls at heart. Peel back the surface and find where they connect, and your reader will believe your romance really is forever.

Lesson 2: Cut those romantic declarations you’ve been slaving over, the ones that sound long-winded and dorky no matter how hard you try. Go for the action; the telling gesture is infinitely more effective than telling dialogue.

Lesson 3: Use your metaphors; chances are they’re already in your book. What do your heroine and hero do for a living? What gifts do they give? What things do they prize? What objects or actions characterize their relationship with each other? Find those concrete things, figure out their deeper meaning, and enhance them in your final draft to add power and depth to your lovers’ relationship.

Lesson 4: Before you send that manuscript out, take out all the on-the-nose dialogue (and internal monologue) you can. Then look for places where your characters can briefly say what they don’t mean and mean what they don’t say.

Lesson 5: If your conflict is “they can’t have sex”, your story is too weak to play. Recast it so that when your lovers do connect, things get more complicated for them. You know, like in real life.

Jennifer Crusie

What to do when your novel starts to feel stagnant

thatwritergirlsblog:

Because novels take so long to perfect and take up so much space in our minds, the story can start to feel stagnant after a while. Maybe you have less faith in your manuscript than you did at the start. Here are some tips for adding some oomph to your wip:

1. Make one of your primary/secondary characters an undercover villain

  • I recently decided to do this with my wip and I honestly think that it has elevated the plot so much.
  • This will help to complicate the conflict in the novel, as well as the relationships between the characters
  • A plot twist (especially one that is introduced during the climax) can be a great way to take your work to the next level.
  • Leaving little Easter eggs throughout the novel, but still being subtle will have the reader engaged, and will help get you excited about your project again.
  • This is merely a suggestion. Any well-written plot twist can apply.

2. Introduce a romantic subplot

  • If your wip doesn’t have a romantic subplot, I would suggest adding one if it suits the type of novel and if you feel that you’d want to write a bit of romance.
  • A romantic subplot adds an extra layer of tension, anticipation and immersion to a novel. Oftentimes, it will be this story line that keeps the reader hooked.
  • If you already have a romantic subplot (or perhaps you’re writing a romance novel), but it seems a bit flat, try building up the tension for longer. Premature gratification may leave readers unexcited for the rest of the book. You could also try to add more external conflict or have your couple face a struggle that is unique to them.

3. Employ additional styles of writing

  • Add diary entries, letters, newspaper articles, stream-of-consciousness passages or even a scene that consists solely of dialogue. Add a small passage at the end of every chapter from the villain’s point of view. Go crazy.
  • Interesting forms of writing can be used to convey deeper aspects of your novel and can add extra intensity. These additions could be used to give the reader clues as to an approaching plot twist or can be used to convey the history/social environment of your world. It can also provide insight into characters’ thoughts and feelings.
  • If you would like me to do a post based on these types of texts and how you can use them in creative writing, comment on this post.

4. Write in the present tense

  • Most novels are written in the past tense and this can work very well. However, if your manuscript starts to feel stagnant, it might be time to switch to present tense. I know that rewriting what you have in a different tense sounds like hell, but it could mean the difference between a good novel and a great one.
  • Present tense creates a sense of immediacy. The stakes seem higher, the conflict more immersive and the characters closer to the reader. This is because it doesn’t feel like the reader is being told a story that happened in a far-removed time, but rather like the reader is seeing everything as it happens.
  • This is especially good for thrillers, apocalyptic works, action, horror or any other genre that is fast-paced and full of tension.

5. Complicate your main character’s background

  • I recently decided to turn my protagonist into an ex-cage fighter and it has really brought back my excitement for working on this project.
  • By adding depth to your character’s back story, you add layers to their personality. This will make the way they interact with other characters more interesting, as well as open up new plot avenues.
  • This is especially useful when you feel that your main character is not developed/complex enough. 
  • So, bring in interesting family relationships, past occupations, secret hobbies, bad relationships, problems with the law, encounters with life-changing individuals etc. It will make your main character all the more engaging.

That’s all I have for now. I hope this is helpful. If you would like a Part 2, please comment. If you have any questions regarding reviving a stagnant manuscript (or any other aspect of creative writing), please do not hesitate to ask. My ask box and DMs are always open for fellow writers!

Reblog if you found any of this useful!

Do you have any tips of your own? Comment!

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Rehab for writing injuries

wrex-writes:

You’ve heard of “making writing a habit,” and you’ve tried, but the pressure to write fills you with horrible pain and dread. You spend all your time wishing you could write but somehow never writing. The “make it a habit” approach doesn’t work for you. But you still want to write, maybe even regularly. Is there nothing you can do?

Here is an alternative approach to try. A rehab program, as it were, for writers with a psychological “writing injury” that has destroyed their desire to write and replaced it with shame, anxiety and dread.


If you have a writing injury, you probably acquired it by being cruel to yourself, by internalizing some intensely critical voice or set of rules that crushes your will to write under the boot-heel of “you should.” “You should be writing better after all the years of experience you’ve had.” “You should be writing more hours a day, you’ll never get published at this rate.” “You should write more like [Hilton Als/Jeffrey Eugenides/Octavia Butler/Terry Pratchett/etc.].” “You should write faster/more/better/etc./etc.”

You know what, though? Fuck all that. Self-abuse may have featured heavily in the cool twentieth-century writer’s lifestyle, but we are going to treat ourselves differently. Because 1) it’s nicer, and 2) frankly, it gets better results. My plan here is to help you take the radical step of caring for yourself.


1) First of all: ask yourself why you aren’t writing. 

Not with the goal of fixing the problem, but…just to understand. For a moment, dial down all of the “goddammit, why can’t I just write? blaring in your head and be curious about yourself. Clearly, you have a reason for not writing. Humans don’t do anything for no reason. Try to discover what it is. And be compassionate; don’t reject anything you discover as “not a good enough excuse.” Your reasons are your reasons.

For me, writing was painful because I wanted it to solve all my problems. I wanted it to make me happy and whole. I hated myself and hoped writing would transform me into a totally different person. When it failed to do that, as it always did, I felt like shit.

Maybe writing hurts because you’ve loaded it with similarly unfair expectations. Or maybe you’re a victim of low expectations. Maybe people have told you you’re stupid or untalented or not fluent enough in the language you write in. Maybe writing has become associated with painful events in your life. Maybe you’ve just been forced to write so many times that you can no longer write without feeling like someone’s making you do it. Writing-related pain and anxiety can come from so many different places.

2) Once you have some idea of why you’re not writing…just sit with that.

Don’t go into problem-solving mode. Just nod to yourself and say, “yes, that’s a good reason. If I were me, I wouldn’t want to write either.” Have some sympathy for yourself and the pain you’re in.

3) Now…keep sitting with it. That’s it, for the moment. No clever solutions. Just sympathize. And, most importantly, grant yourself permission to not write, for a while.

It’s okay. You are good and valuable and worthy of love, even when you aren’t writing. There are still beautiful, true things inside of you.

Here’s the thing: it’s very hard for humans to do things if they don’t have permission not to do them. It’s especially hard if those things are also painful. We hate feeling trapped or compelled, and we hate having our feelings disregarded. It shuts us down in every possible way. You will feel more desire to write, therefore, if you believe you are free not to write, and if you believe it’s okay not to do what causes you pain.

(By the way: not having permission isn’t the same as knowing there will be negative consequences. “If I don’t write, I won’t make my deadline” is different from “I’m not allowed not to write, even if it hurts.” One is just awareness of cause and effect; the other is a kind of slavery.)

4) For at least a week, take an enforced vacation from writing, and from any demands that you write. During this time, you are not permitted to write or give yourself grief for not writing. 

This may or may not be reverse psychology. But it’s more than that.

Think of it as a period of convalescence. You’re keeping your weight off an injury so it can heal, and what’s broken is your desire to write. Pitilessly forcing yourself to write when it’s painful, plus the shame you feel when you don’t write, is what broke that desire. So, for a week (or a month, or a year, or however long you need) tell yourself you are taking a doctor-prescribed break from writing.

This will feel scary for some folks. You might feel like you’re giving up. You might worry that this break from writing feels too good, that your desire to write might never return. All I can say is, I’ve been there. I’ve had all those fears and feelings. And the desire to write did return. But you gotta treat it like a tiny crocus shoot and not stomp on it the second it pokes its little head up. Like so:

5) Once you feel an itch to write again—once you start to chafe against the doctor’s orders—you can write a tiny bit. Only five or ten minutes a day. 

That’s it. I’m serious: set a timer, and stop writing when the time’s up. No cheating. (Well…maybe you can take an extra minute to finish your thought, if necessary.)

Remember: these rules are not like the old rules, the ones that said, “you must write or you suck.” These rules are a form of self-care. You are not imposing a cruel, arbitrary law, you are being gentle with yourself. Not “easy” or “soft”—any Olympic athlete will tell you that hard exercise when you’ve got an injury is stupid and pointless, not tough or virtuous. If you need an excuse to take care of yourself, that’s it: if you’re injured, you can’t perform well, and aggravating the injury could take you out of the competition permanently.

For the first few days, all of the writing you do should be freewriting. Later, you can do some tiny writing exercises. Don’t jump into an old project you stalled out on. Think small and exploratory, not big and goal-oriented. And whatever you do, don’t judge the output. If you have to, don’t even read what you write. This is exercise, not performance; this is you stretching your atrophied writing muscles, not you trying to write something good. At this stage, it literally doesn’t matter what you write, as long as you generate words. (Frankly, it would be kind of weird and unfair if your writing at this point was good.)

6) After a week, you can increase your time limit if you want. But only a little! 

Spend a week limiting yourself to, say, twenty minutes a day instead of ten. When in doubt, set your limit for less than you think you’ll need. You want to end each writing session feeling like you could keep going, not like you’re crawling across the finish line.

Should you write every day? That’s up to you. Some people will find it helpful to put writing on their calendar at the same time each day. Others will be horribly stifled by that. You get to decide when and how often you write, but two things: 1) think about what you, personally, need when you make that decision, and 2) allow that decision to be flexible.

Remember, the only rule is, don’t go over your daily limit. You always have permission to write less.

And keep checking in with yourself. Remember how this program began? If something hurts, if your brain is sending you “I don’t wanna” signals, respect them. Investigate them, find out what their deal is. You might decide to (gently) encourage yourself to write in spite of them, but don’t ignore your pain. You are an athlete, and athletes listen to their bodies, especially when they’re recovering from an injury. If writing feels shitty one day, give yourself a reward for doing it. If working on a particular project ties your brain in knots, do a little freewriting to loosen up. And always be willing to take a break. You always have permission not to write.

7) Slowly increase your limit over time, but always have a limit. 

And when you’re not writing, you’re not writing. You don’t get to berate yourself for not writing. If you find yourself regularly blazing past your limit, then increase your limit, but don’t set large aspirational limits in an effort to make yourself write more. In fact, be ready to adjust your limit lower.

When it comes to mental labor, after all, more is not always better. Apparently, the average human brain can only concentrate for about 45 minutes at a time, and it only has about four or so high-quality 45-minute sessions a day in it. That’s three hours. So if you set your daily limit for more than three hours, you may be working at reduced efficiency, when you’d be better off saving up your ideas and motivation for the next day. (Plus, health and other factors may in fact give you less than 3 good hours a day. That’s okay!)

Of course, if you’re a professional writer or a student, external pressures may force you to write when your brain is tired, but my point is more about attitude: constant work is not necessarily better work. So don’t make it into a moral ideal. We tend to think that working less is morally weak or wrong, and that’s bullshit. Taking care of yourself is practical. Pushing yourself too hard will just hurt you and your writing. Also, your feelings are real and they matter. If you ignore or abuse them, you’ll be like a runner trying to run on a broken ankle.

I know I’m going to get someone who says, “if you’re a pro, sometimes you gotta ignore your feelings and just get the work done!” 

NO. 

You can, of course, choose to work in spite of any pain you’re feeling. But ignore that pain at your peril. Instead, acknowledge the pain and be compassionate. Forgive yourself if pain slows you down. You are human, so don’t hold your feet to the fire for having human limitations. Maybe a deadline is forcing you to work anyway. But make yourself a cup of hot chocolate to get you through it, literally or metaphorically. Help yourself, don’t force yourself. If you’ve had a serious writing injury, that shift in attitude will make all the difference. 

In short: treat yourself as someone whose feelings matter.


Try it out! And let me know how it goes!

Ask a question or send me feedback!

anon from post 178388059366 // by potential i mean that i have a rough idea of the direction i want the story to go, any overarching themes that may appear, and what i want to accomplish with it. i have it all mapped out in my head, but i always seem to lose interest in it before i can actually write it. any sort of enthusiasm i had when i first got the idea just vanishes.

wrex-writes:

wrex-writes:

Okay, some thoughts on what might be going on for you:

  1. It sounds like these ideas might be too intimidating. It often happens to me where I’ll get an idea for an ambitious story, I’ll plan out complicated themes and character arcs and intersecting subplots…but once I’ve done that, the task of writing the story itself looks so big that my desire to write it evaporates. The more architecture your initial idea has, the harder it will feel to execute, cuz with each word you write, you’ll see all the plates you’ve got to keep spinning – “I’ve gotta establish this character motivation, lay the groundwork for that theme, set up this subplot” etc. Your brain can’t handle all that stuff at once, so it shuts down.
  2. Dovetailing with that: it also sounds like your ideas are too abstract to hook you in emotionally. In my experience, the desire to write a story has to come from a very specific source: you’ve got an image in your mind, or a conversation you want two characters to have, or you want to see how a character reacts to a specific event. Something very concrete and kind of…simple. As I said above, the sooner you jump ahead to larger structures, the more likely you are to get overwhelmed, and many of us react to that by losing interest.
  3. So what I’m saying is: try starting smaller. Pick one postage-stamp-sized piece of an idea, one that only implicates a single story element – I find a relationship works best, because they’re my emotional way into a story – and just write one little scene focusing on that. Allow yourself to write a scene without the noise from all the story’s other moving parts. Once you’ve done that, try another scene that way.
  4. Oh, and go straight to the scenes that interest you the most. I find that when I start a long story, I’m tempted to write boring set-up first, as if I have to earn my chance to write the fun scenes, and it totally kills my excitement. Don’t do that. Write the fun scenes immediately. Don’t worry that you haven’t set them up sufficiently; you can rewrite. (Also, guess what? You can skip the boring scenes. That’s right – just skip them. If they’re boring to you, they’ll be boring to us.)

Does any of that strike a chord?

Addendum, now that I’ve thought more about it:

When I recall the stories I’ve abandoned because I lost interest, they all have a common element: every scene I wrote felt like set-up for a future scene. I was forever putting something off, an emotional satisfaction that was coming in the future but wasn’t present now, in the scene I was actually writing. Naturally I gave up, because there was nothing satisfying about chasing a future pleasure I was never, let’s be honest, going to reach.

I think a good way to write, if you have this problem, is to – this will sound corny, but – treat each scene as if it’s the only scene in your story. Yeah, I know, that’s not practical because every scene besides the first requires knowledge of prior scenes and every scene except the last implicitly points toward something. But let’s say you had to give someone a short excerpt as a writing sample and you wanted that fragment, despite its clear incompleteness, to be satisfying in itself as a reading experience. Treat every scene as if it’s that excerpt.

Anon, I know you’re not me, but maybe this will resonate with you? I’m…actually going to try this myself.