Tag: Wiley Wednesday

  • Motivation + Reinforcement = Dedication


    A while back, I posted an entry on Balance Point and promised I would follow up with a post on goals. I thought it would work good for a Wiley Wednesday, so here it is. I apologize in advance for its length. I’ve split it up, but it keeps getting longer. Apparently, I have a lot to say on this . . . lol.

    Just a quick review on Balance Point – the main idea of that post was: know your limits. This is crucial to goal-setting, as you’ll see.

    Usual disclaimer: I have no sorts of letters after my name to assure you this is right. I’m just a goal-oriented person, sharing a little about what works for me in a way I hope you can custom-tailor to help you.

    When I started thinking about this more in-depth, it morphed and became larger than I expected. So, it will actually be broken up into two parts and I’ll post the second the next time I’m up for Wiley Wednesday.

    I made up a neat little formula to help me keep things straight, and it goes like this:

    Goals x Dedication = Positive Action,

    I further define:

    Dedication = (Motivation + Reinforcement)

    For those of you who don’t like math, here it is restated:

    Goals multiplied by dedication (motivation plus reinforcement) leads to positive action.

    So, what does that mean: positive action? It’s relative; it means taking steps in the direction of your ultimate dream/aspiration. That leaves us lots of comfortable wiggle room.

    A quick note on the difference between dreams and goals. Hopefully, as a writer, dreaming comes pretty naturally to you. Dreams are the stuff that fiction is made of. And if you’re a dreamer, aspiration surely follows. We all aspire to be better writers, better friends, better people. How about this one: “I want to be a NYT best-selling author.”

    Sound familiar? But this is a dream, an aspiration, not a goal. Dreams are insubstantial – usually so far off in the distance that they’re misted over, the actual path to reaching them is obscured. They are literally up in the clouds.

    That doesn’t mean you can’t make them a reality. Your dreams are the pinnacle of your ‘pyramid-o-happiness’, which you are hopefully always building. Your goals are the bricks that, when stacked with care, will get you to the top. Sometimes they’re gritty and heavy, sometimes they’re fun and ornate. Positive action is the act of stacking your bricks.

    We’ll talk about goals more next time and I’ll show you a ‘goal pyramid’ method that I like to use, complete with exercises. But this time, I want to talk about the other part of the formula: dedication (motivation + reinforcement).

    As I said in my Balance Point post, writing can be a lonely pursuit. Sometimes it feels like everything in the world is working against you becoming the writer you want to be. At times like these, only your own dedication keeps you writing. It might be continually put to the test, but if your dedication is strong enough, nothing can hold you back from stacking those bricks.

    Let’s face it – writing can make us feel vulnerable, elated or extremely frustrated; fill us with hope, or with doubt. At any of those times, it is only dedication to the craft, to the muse, or to our own dreams that makes us pick up that How To book, open that document, or write those pages despite the uncertainty we may be feeling.

    To me, dedication is made out of (at least) two different components: motivation and reinforcement.

    Motivation can be internal or external. It can come from us, or from other sources. It can also be positive (desire), or negative (fear). I will focus on the positive kind (just cuz) but I do want to make it clear that negative in this case doesn’t necessarily mean bad. A lot of people might disagree with me, but if fear is your strongest motivator, if you’re just wired that way, don’t feel like you shouldn’t be. You don’t have to fight to re-wire yourself, just learn to use it as a tool.

    Think about this:
    What initially motivated you to start writing? What kept you motivated after you got your first taste? Was it internal or external, positive or negative? Which of these really works for you? Everyone is different. When you have to motivate yourself to do something – how do you do it? Through rewarding yourself? Or is it the threat of bad consequences that gets your butt in gear?

    The reason it’s important to ask yourself these questions is to figure out how your internal motivator works, and if it’s not working, how to change it so that it does. Even the most powerful engine still needs a spark to ignite it. No matter what you’re packing under the hood in terms of capability, talent, or determination, you need motivation to get things running.

    Try this:
    Draw a square with a cross in the middle, making four stacked squares. Along the top, write positive and negative. Along one side, write internal and external. In each box, try to think of an example (real or hypothetical) of a type of motivation you’ve used or encountered for each. Now, be honest with yourself – which one works for you?

    Once you’ve identified your best type of motivation, make a list of different ways you could use it. For example, if you’re internal/positive, positive self-talk and rewards might work. If you’re external/negative, then maybe you need to design consequences that would keep you motivated, or find someone to hold you accountable. It’s all very personal, and there is no right answer.

    So, now that we’re motivated, we’ve started our engine and we’re rolling. But dedication is more than just that initial burst. Dedication has to keep us going even when we encounter a three-foot deep pothole. Or a cliff.

    What we need is reinforcement. And I will venture to say that whether negative or positive motivators work for you, we all need positive reinforcement, so let’s focus on that.

    Just like motivation, reinforcement can be internal or external, or hopefully both.

    First things first: Eliminate outside influences that drain your energy or have the opposite effect – quashing your motivation and dwindling your dedication down to nothing.

    These can be abstract things (fear, doubt, exhaustion) or very specific (a person who brings you down, or something on your to-do list that won’t leave you alone). I could write a whole post on how to recognize and purge these negative influences. I’m only touching on the idea here, but still want to underscore its importance.

    Surrounding yourself with people, things and circumstances that reinforce your dedication will yield the best results. The internal component of that positive reinforcement cannot be over-emphasized.

    If motivation is the spark that starts our engine, positive affirmation is the fuel that keeps it running.

    Our sub-conscious is a tricky little bugger. Sometimes it can set us up for failure before we’ve ever begun. It can stall our engine in multiple ways and for multiple reasons. Using positive affirmation, you’re telling your sub-conscious that you are in charge, you know what you want, and you are not going to get in your own way.

    We all have dreams and aspirations (which we will translate into concrete goal-bricks next time) that we want accomplish. We have the motivation to go after them, and we’ve eliminated the obvious road blocks. Now we just need steady fuel – affirmation. For me, it’s probably the largest thing that keeps me on track, and I’ve developed a few different habits and tools to keep the fuel pumping.

    To an extent, this sort of thing is very personal, but here are several ideas:

    1. Find a positive environment, surrounded by people who feed into your dedication.
    2. Keep a file, written or computer, that holds all of your favorite positive feedback from others. When you’re feeling down, re-read them.
    3. Learn to hone in on your own doubts and fears. Don’t ignore them. Listen to them, and then reason them out. Face them, and then disengage them. Once they’re not a threat any more, you can move on to the positive.
    4. Find someone inspirational to follow – a blog to read, a person to study, someone you know – anything. Emulate what you like about how they operate, or make a note of the traits you admire and those you have in common – they are probably very similar.
    5. Write a review of your WIP, or a story you haven’t yet written. Type it up, print it out, and paste it somewhere visible.
    6. Surround yourself with inspirational quotes, pictures, etc.
    7. Interview yourself – either alone in your car, in the tub, or on paper. Tell the story of how you became a writer, what writing is to you, how you got that amazing idea and what your plans are for the future. (Yes, I really do this. Unorthodox, but hey – my dedication hasn’t faltered yet!)

    One more quick thing – going back to the subconscious. There is power in every thought you have, and every word you speak. When you think about your dream, or when you mention it. Don’t say “If I ever get published . . .” In the words of Yoda – “Do, or do not. There is no try.” There is no IF. It’s a WHEN. “When I sell my first novel . . .” You have to believe that to be true. And you have to get your subconscious on board.

    Never underestimate the power of constant positive affirmation – written, spoken and thought. Maybe you want to repeat the same set of affirmations before you go to bed each night, or first thing when you wake up, or several times a day. Say them in your head like a mantra, like a prayer. Each time you do, you are reinforcing your own dedication. Once you have your goals in order, you’ll be on the road to positive action.

    Courtesy of author Robyn Amos, here are some great affirmations for writers:

    I am a talented writer.

    Creativity flows through me easily and effortlessly.

    I am my own expert, and I am not affected by the negative attitudes and opinions of others.

    I easily balance the needs of my family with my own need to write.

    I have a positive expectancy of big success, and I take temporary setbacks easily.

    I am a creative person and develop my plots with confidence and imagination.

    Images and words come easily when I sit down to write.

    I write daily with excitement, enthusiasm, and confidence.

    I don’t wait for inspiration. Work inspires inspiration.

    If I succeed, I keep working. If I fail, I keep working. Whether I feel interested or bored, energized or tired, encouraged or discouraged, I keep working.

    Everyday, in every way, I’m getting better and better.

    I have the craftsmanship and creativity to successfully finish this book.

    Remember, GOALS + DEDICATION = POSITIVE ACTION.

    We’ve got half of the formula covered! Next time I’m up for Wiley Wednesday, I’ll talk about turning those faraway dreams into solid, stackable goals using a ‘pyramid’ method. Hope you take something worthwhile away from this, and I’ll be happy to answer questions, via email, or in the comments.

    ~Gwen

  • Wiley Wednesday: By Hand vs. The Keyboard

    By Hand vs. The Keyboard
    by A. Catherine Noon

    There’s an old debate in writers’ circles between those who compose with a keyboard and those who compose with a pen. I suppose in today’s internet era it might seem like a moot point, but I figured I’d speak up for those of us Luddites out here. (Yes, well, Neo-Neo-Luddites. But I digress.) Despite the ascendancy of blogging and texting and all the mobile foufera of today’s computer-literate society (say, for example, the Gentle Reader who is reading this on our blog), the pen has not given up its place in the sun just yet.

    Who composes with a pen? Some writers admit to writing entire manuscripts by hand in their first draft. Some even use that most ancient implement, the typewriter, to create their masterpieces – the sound of the clickety-clack soothing to their inner artist, the keys like candy to their Muse. Some insist they must only use the computer and a word processing program, “because of automatic spell-check, you see.”

    Interesting. All worthy ideas, all from writers not just sharing private thoughts with an intimate audience, but august personages for whose work the public will pay good money. So who’s right? Is the pen mightier than the sword? Or is ink and paper destined to go the way of the horse and cart, used only by zealots and those who haven’t yet heard technology’s siren-call?

    My honest answer as a writer is that I use both. Perhaps how I use them will be enlightening to other writers so I share them here, in the hopes that others might be inspired, as I have been, to try different methods of coaxing words onto paper, the ultimate bent of any writer (at least until eBooks changes the whole industry and books go the way of the horse and cart, used only by… or did I say that already?).

    The Pen

    I use my pen and paper for many tasks. First and foremost are my Morning Pages. Written about by Julia Cameron in her books, most notably The Artist’s Way, Morning Pages are three pages of longhand writing, written in the morning (perhaps, some wag might wonder, giving rise to the name “Morning” Pages?). Since the pen and size of the paper (standard letter size) are specified, it might be of note to share what form my pages take. I’ve used all sorts of things – cheap, spiral-bound notebooks from the dollar store; bound journals blank and unlined (which I liked because I could add sketches); regular college-ruled notebooks like what I used in, well, college. What I have learned surprised me: first, use something UNfancy. Fancy journals lead us to want to write fancy thoughts. Morning pages aren’t meant to be fancy, they’re meant to be three pages of longhand writing, written in the morning. Nope, don’t see fancy in those instructions, do you? Second, I learned that I liked UNlined books. Sure, I’ll use lined notebooks because they’re cheap and easy to find. But when I was forced for economy to use something I found in the giveaway box, the resultant blank journal without lines lead me to realize I like to sketch. I also realized that the very size and direction of my writing changed based on my mood. Some days, my letters were neat and orderly. Others, they were large and untidy. One day, I wrote in a spiral from the outside corner to the center. It gave me freedom to explore.

    You might want to try it yourself, one day.

    Another thing I use my handwritten journal for is, well, what I call “Journal Work.” By this, I mean answering questions and tasks for the Artist’s Way, Walking In This World, (both books by Julia Cameron), and other like-minded material. I’ll use it to talk to myself on the train to and from work, to catch hold of ideas. I’ll write down poems and fragments of thoughts, knitting design ideas and dinner plans.

    A third thing I use it for is to tell myself stories. Many first drafts of stories I’ve written are to be found in my journals. I’ve written a continuous journal since 1995 and before that I have many journals, split up by time, back to the age of nine. I have story fragments and poetry all through them. I find it enjoyable to sit on a train, or at lunch, and tell myself stories – almost as enjoyable as reading a book, in fact. I just do it for the fun of it, because I enjoy the worlds I see in my mind’s eye, the theater of the imagination. Some of these stories I’ve later published, some just stay in my journal waiting. Waiting for what? Not sure yet. But at least they’re written.

    You might want to try it yourself, one day.

    The Keyboard

    I use my keyboard for many tasks. In fact, I recently purchased a used AlphaSmart, a portable keyboard. It doesn’t have automatic spell-check the way my MS Word does, but it allows me to type on the train. I discovered two things by this method – one, I write a helluva lot in the hour I’m forced to sit there; and two, carpal tunnel syndrome isn’t just for secretaries. So if you get one, make sure you do your hand exercises, or you’ll be hurtin’.

    I use my computer for a number of tasks. First, a word as to platform – I am a dual-platform user, and have been since I learned to use the computer. I own both a Mac and a PC and have equal facility on both. I make my living by the computer, and in my industry the computer of choice is and always has been the PC. I like the Mac better, which is why I own one. But honestly, there’s not a whole lot of difference in the interface in terms of the word processing program of MS Word. I am an MS Office power user, so I don’t fiddle with the other programs available, but if you use or want to check out the other ones available to you, go for it. The creation is in the writer, not the software, no matter what ads in writing magazines say.

    I love to write stories on the computer. Once I have a specific story in mind, I find it easy to use the computer to compose. I like being able to have headings for my chapters that will build an automatic table of contents. I like being able to use that table of contents to bounce around my story by hyperlink. Since I’m a novelist, my stories are long. Being able to move through them quickly is very helpful.

    Synthesis

    I suppose that is a good distinction, for me anyway – I use the computer for specific ideas (i.e. left brain approach). I use my journal for noodling, fiddling with story ideas, and directionless dreaming (i.e. right brain approach). While I can force a computer to think like me, it’s still much easier to do it by hand. I can just write a stream of consciousness in a continuous line, making catch-notes in the margin if necessary (like, “Work in Progress,” or “To-Do List”) for things I need to be sure to come back to. Writing by hand lets me just get what’s in my head out where I can look at it. Composing by computer lets me go from point A to point B, J, and Z fairly quickly and efficiently. If I want to skip to Chapter Ten and write that, then come back to Chapters Five through Eight, I can do that easily. I can keep track of what chapters I’ve done by updating the table of contents. That sort of functions like an outline as I’m writing, so I know where I’ve been and where I’m trying to go.

    You might want to try it yourself, one day. Or come up with a method that works for you. I suppose that’s the most important moral of the story – not what I do, but what you as a writer might do.

    And that, boys and girls, is a project worth working on.

  • A character’s astrological personality

    Have you ever searched the phone book, your book shelf, or read movie credits in search of a perfect character name? Or maybe the Kabalarian Philosophy and other sites like this?

    I have and I’m not ashamed to admit it.

    stomps foot

    When I was a teenybopper hunched over my kiddie tea table and making hen tracks across college-ruled notebook paper, I relied on the force of a name to reveal personality. It was enough for me back then–when I was fourteen. I had such fun before the rules of writing began feeling like a wedgie.

    I miss those days. I really do.

    Now I know a name isn’t a personality–I need more than just a name. Character worksheets don’t help. Statistics don’t help. Cutting out actor’s faces and taping them to the corner of my computer monitor kind of helps.

    Writing flashes help.

    But.

    But before I start considering eye color, hair length or body weight, I consult my 1978 dog-eared copy of Linda Goodman’s LOVE SIGNS and page number 13: The Twelve Initiations of Love. I am a romance writer, but I’m sure this could work for any genre. Whether you’re writing fantasy, sci-fi or mystery, generally people want the same thing. Linda Goodman wrote it like this:

    “Love is man’s and woman’s deepest need. It’s not the threat of illness or poverty that crushes the human spirit, but the fear that there is no one who truly cares–no one who really understands.”

    Based on her The Twelve Initiations of Love, I’ll use my heroine, Shaine, as an example.

    I knew enough about the story I wanted to write to know how certain life experiences caused Shaine to grow up distrustful, guarded and reticent–but that she’s more than a wallflower. Still, she had a lesson to learn and a lesson to teach (as we all do), which helped define her character for me.

    After careful consideration of page 12, which is an astrological basic definition of mystery/love nature, I decided Shaine is a Virgo. She was born knowing love is pure, she feels it, demonstrates it easily, but she needs to learn that love is also fulfillment. However, I imagined her life as being an unconscious struggle with this.

    Deciding she was a Virgo was easy–the words damn near leaped off the page in boldface type at me. Not to mention, her Virgo-ness should help me enrich the rest of her characterization, especially when I’m unsure about how she’d react to someone, or in a certain unsavory situation.

    Once I decide on an astrological sign for my heroine, I go after my hero. Capricorns are experienced, mature and know that love is wisdom. Well, that was Daren all over, I thought.

    Imagine my surprise when I looked up the love component of these two sign’s compatibility. It was coincidence, but I’ll take it as a sign, oh yeah.

    According to Linda Goodman:

    …Both Virgo and Capricorn are emotionally guided in their love relationship by the 5-9 Sun Sign Pattern, the most basically compatible vibration the planets see fit to bestow upon mortals.

    And there I go, almost without trying. I’ve got oodles of examples and reasons for those examples in my trusty dog-eared book.

    ~*~*~*~

    To recap: I had a glimmer of an idea of who my two main characters are, chose an astrological sign based on my ideas, the better to refer to Linda Goodman’s SUN SIGNS when in doubt about their actions or reactions with each other and in life. Simplistic? Maybe. But whatever works for me, in my opinion.

    Linda Goodman covers all the basics, almost anything you need to know about the interaction between a female Virgo and a male Capricorn–as co-workers, relatives, or lovers. And in a wonderfully engaging voice, as if she’s sitting across from you at the table, trading smiles and confidences over Bailey’s laced coffee.

    Since the early 1980s, I’ve been referring to Linda Goodman’s LOVE SIGNS.

    Dreaming.

    Imagining.

    Admiring her lyrical writer’s voice.

    You should see this book. It’s absolutely fascinating.

    But don’t take my word for it.

    ~*~*~*~

    Andi (Unhinged) is an Aries who was born to teach that love is innocence, and to learn that love is trust.

  • Tips from The Artist’s Way

    Happy Wednesday! Today is my turn to do the Wiley Wednesday post, and I’ve decided to share a bit about Julia Cameron’s The Artist’s Way. I’m part of an online cluster going through this book. Basically, Ms. Cameron takes us on a journey to unblock our creativity. I want to point out that this is my first time with the journey, and I’m not through. However, there were some important lessons I thought I’d like to share with everyone. So here we go!

    Morning Pages. These are 3 pages written longhand every morning. It’s a way to unleash all the negative so you can let loose the creativity and get the day rolling. I’ll be honest and say I’ve had a hard time getting used to it. I don’t write a lot at once, so three pages a day is quite a feat for me! I can tell that it’s getting the job done though. There are days were I sit at my journal and whine and complain for three pages. Other days I make lists of lists of lists. If you do morning pages long enough though, you’ll eventually let loose something you’ve been holding back. To me, it’s like cleaning a wound. We all have bad thoughts/feeling/experiences that have festered. Maybe you think you’ve dealt with it and moved on, and maybe you actually have. Most of the time though, we’ve just buried it. I’ve found that if I turn on my music, sit down with my journal and just feel, these thoughts and memories come pouring out in my Morning Pages. It’s cleansing getting all that bad stuff out.

    Anger. Anger is not a bad emotion, it’s actually your friend. Ms. Cameron says that anger is our fuel. It shows us our boundaries and where we want to go. It shows just how far we can be pushed. She says that anger propels us out of our old lives and into the new life we create for our self . It’s not the action, but the actions invitation. If we can harness this anger and channel it into our creativity, great things can happen.

    The last thing I’ll talk about is criticism. We’ve all had criticism before, good and bad. These are her rules for dealing with it.

    1. Receive the criticism all the way through and get it over with.

    2. Jot down notes to yourself on what concepts or phrases bother you.

    3. Jot down notes to yourself on what concepts or phrases seem useful.

    4. Do something very nurturing for yourself-read an old good review or recall a compliment.

    5. Remember that even if you have made a truly rotten piece of art, it may be necessary stepping-stone to your next work. Art matures spasmodically and requires ugly-duckling growth stages.

    6. Look at the criticism again. Does it remind you of any criticism of your past-particularly shaming childhood criticism? Acknowledge to yourself that the current criticism is triggering grief over a long-standing wound.

    7. Write a letter to the critic-not to be mailed, most probably. Defend your work and acknowledge what was helpful, if anything, in the criticism proffered.

    8. Get back on the horse. Make an immediate commitment to do something creative.

    9. Do it. Creativity is the only cure for criticism!

    I want to once again say that these are not my ideas. This is from the incredible Julia Cameron’s book The Artist’s Way. I would suggest that any struggling artist, or maybe one like me, that’s just starting out, needs to go find a copy of the book.

    I’m sending out hugs to all! I hope everyone has a happy and creative day! 🙂

    ~Dawn

  • Wiley Wednesday – Death, Taxes & Rejection

    So, yesterday was tax day – I’m sure it didn’t go unnoticed by most of us. They say death and taxes are the only certainties. For most of us aspiring to be published, we can add to that list, rejection.

    No, it’s not a guarantee. But, it’s highly likely that through our pursuit of subbing out manuscripts or sending in stories to contests, we’re going to face rejection.

    In his 1947 essay “On the Writing of Speculative Fiction,” Robert A. Heinlein listed the following rules for writing:

    1. You must write.
    2. You must finish what you write.
    3. You must refrain from rewriting, except to editorial order.
    4. You must put the work on the market.
    5. You must keep the work on the market until it is sold.

    Sounds simple, right? But, how hard is it to send that story back out once it’s been rejected? Particularly, without making edits/changes to it? Pretty hard, in my own experience.

    Writers seem to be plagued with self-doubt and insecurity. And, it’s no wonder. What we’re putting out there is a little piece of ourselves that we’ve often put blood, sweat and tears into. It doesn’t get more personal than that.

    But, I believe this simple list of rules is very pertinent to each of us, and is something we should all keep in mind. I plan to keep this list handy, and to try to follow it in the future. However difficult that may be.

    How about you? Do you think you can follow this list? Are there other “rules” or suggestions that have suited you along your path to publication? I’d love to hear them – please leave a comment with any that you want to share!

  • Wiley Wednesday – Musing About the Muse

    The writers of the Writer’s Retreat Blog have agreed to contribute essays to our series called, “Wiley Wednesday,” in which we will share our thoughts and opinions about the craft of writing. While we’ve all agreed to this, I’m not entirely sure that I’m qualified to be any sort of authority on the subject. I am, however, full of opinions. So let this be my disclaimer. These are my thoughts and musings only. They may not bear any relevance to the real world. I’m not really a writer (yet), I just play one on the internet.

    Musing About the Muse
    by Elizabeth Anne

    It’s already been established that if you want to be a writer, you need to sit down and physically write. Period. End of sentence. There’s no way around that, no magic formula to somehow put your words onto paper without you doing the work. I think most writers understand that premise. We may whine, cry, and procrastinate about it, but we understand – at least at an intellectual level. The stumbling block that prevents many of us from actually putting pen to paper is a bit less clear. While we want to be writers, we also want something a bit less tangible, a bit more artistic. We want to connect with our readers. We want to evoke emotion. We want to be story tellers. But where do the stories come from? Just what is that elusive muse?

    Several years ago, I saw the play, All I Really Need to Know I Learned in Kindergarten. I remember being struck by the power of one of the first scenes. In it, the narrator asks a room full of kindergartners, “Who knows how to dance? Who knows how to paint? Who knows how to tell stories?” After each question, the entire group has their hands in the air, excitedly trying to share their artistic talents with the world. The scene switches to a group of adolescents and adults who are asked the same questions. None of them admit to these abilities. Instead they offer embarrassment and excuses about the idea of even trying.

    So if this play has accurately portrayed our society, and I believe it has, what happened to our artistic side as we grew up? Where did the stories go?

    I believe that we are all born with an innate ability to tell stories. I look at my own children, and they were making things up and “playing pretend” even before they were able to talk. Their imaginations are in overdrive so much of the time that they can get confused about reality and have nightmares about the monsters they’ve made up. They tell anyone who will listen about their princesses and talking animals, their heroes and villains. I can also remember being the child who constantly made up stories and begged people to sit down and listen. Those stories don’t just magically disappear as we grow up, do they?

    Maybe all these questions shouldn’t be about the stories. Perhaps we need to take a look at ourselves instead. Bear with me as I play amateur psychologist for just a moment. Erik Erikson, a famed psychoanalyst known for his theory of social development, asserts that as small children we strive to achieve autonomy and initiative. In other words, we are striving to be who we are for ourselves. Through the school and teenage years though, Erikson states that we struggle with inferiority and role confusion. At this point, we are concerned about where we fit into our world and what our peers think of us. Is it coincidence that when we start trying to fit into “the real world,” we lose touch with a bit of our creative side?

    So, if we have trained ourselves to hide our creativity as a way of fitting in with society, how do we get our stories back? It seems to me that we need to turn back the developmental clock a bit, and rediscover who we are when we’re not trying to be what we think the world is telling us to be. Precisely how do we do that? Well, if I had an easy answer, I’d be more than happy to share it. Unfortunately, I think every person has to find their own solution, and I’m still struggling to find mine.

    But all is not lost. Even if we never complete that quest to find our inner child, I believe we all see glimpses of our creative self, often when we least expect them. If we can learn how to listen, perhaps we can find those elusive stories again. No one can do this for us, and it is a step that seems essential if we want to really write. Even famous, prolific, bestselling authors have to start with an idea, and they all seem to find those ideas in different places.

    J. K. Rowling states that she tries to put herself in a place where the ideas “can come out of my head.” She goes on to say, “For me, the most idea-producing situation is to be sitting in a fairly quiet corner of a café, looking down at a nice blank sheet of paper, with a big mug of tea slightly to the left and a new pen clutched in my right hand.”

    Sara Douglass, arguably the best selling Australian author of all time, offers this advice. “I take a bath. To access your subconscious you need to be warm, relaxed and generally, utterly mindless. I find taking a bath works nicely for me.”

    Stephen King has a different take on finding his muse. He has been asked these questions so many times, that he now quips that he gets his ideas from “a small, bloodthirsty elf who lives in a hole under my desk.” But he goes on to say that you can find ideas anywhere, if you’re willing to look at something that seems ordinary and ask, “What if?” He says that to write you must often seek out your ideas, rather than waiting for them to come to you. “Waiting for inspiration can become a long wait.”

    I’m certainly not in the same category as any of these people. I hesitate to even call myself a writer, but I am learning to get more in touch with my inner muse. For me, ideas tend to strike when I am doing a mindless, routine task that keeps my hands busy. Washing dishes, folding laundry, and crocheting are a few of the tasks that seem to work. I have a friend who comes up with all of his writing ideas while running on a treadmill. I believe everyone must go through a bit of trial and error to see what works for them.

    So, it seems that the stories may not be so elusive after all. Instead waiting for ideas to miraculously sprout from some outside source of inspiration, we must learn to pay attention to what we already have. We are all born to be storytellers. The stories haven’t gone away since we were children; they’re still inside us, waiting to be heard. If we pay attention, we may find that our muse is actually speaking to us all the time, we just need to listen.

    ~~~~

    Here are links to the websites of the authors quoted in this blog.
    Stephen King, Sara Douglass, and J. K. Rowling

  • Wiley Wednesday: “In Search of Prolific”

    The writers of the Writer’s Retreat Blog have agreed to contribute essays to our series called, “Wiley Wednesday,” in which we will share our thoughts and opinions about the craft of writing. This is my essay for this week. I hope you enjoy!

    In Search of Prolific
    by A. Catherine Noon

    Writing is a lonely pursuit. We can work with each other to an extent, but it ultimately comes down to applying oneself to the page or the keyboard. In order to do this, we have to suspend disbelief in our right to communicate, and trust that we have something worthwhile to say. Even if we are our own audience through a journal, we need to be able to let ourselves put thoughts down long enough to capture them, even if later we might decide they’re silly or unworthy. But in order to have written something, it’s axiomatic that we must, well, write it.

    There are many reasons why we have trouble with writing. There are just as many theories as to how to overcome it. I have found many of them to be silly or, worse, damaging. Applying a left-brain, ‘you must do this,’ approach does not work long-term. Writing, like the practice of any art, is an art, not a science. In science, we have the Scientific Method to tell us how to proceed. (Top scientists in their field will tell you that those who advance a field are just as much artists and I believe that. I speak here of the work of science, the general day-to-day experiments and theses that must be done in the course of a scientist’s day.) First, we have a theory. We test that theory. We record the results. We see if the successful results can be duplicated. These are standardized rules that have been agreed upon for decades.

    Writing, sadly, has no such mantra. There is no bank of writerly ideas that one can plumb and then write an automatically good story, not to mention a commercially viable one (which is not necessarily the same thing, though many times it is). In order to sustain any long-term creative endeavor, we need to have something to say. And therein lies the rub.

    How does one come up with something to say? First, one needs to believe that whatever one wants to say is worth saying. Worth writing down. This is a surprisingly tough hurdle for us to surmount. When we’re young, first and second grade, we are, by and large, blabbermouths. We have opinions on everything (those of you with that age of child will know what I mean). Even comparatively “quiet” kids can go on at length (dare I say, “ad nauseum?”) about a topic that interests them. Then what happens? My personal theory is institutional schooling happens, where we’re critiqued and only good, nice, well-lined up little soldier thoughts are appropriate. Messy, creative and goofy thoughts are discouraged. Whether or not I’m right, something happens and we muzzle ourselves. We need to learn how to prize that muzzle off ourselves and begin, slowly at first but with gaining momentum, to start communicating again.

    One tool I have found enormously useful here is Morning Pages, an idea talked about by Julia Cameron in her book, The Artist’s Way. The idea is that you roll out of bed and onto the page, thereby evading the Censor. You write three pages. Why three? I saw Ms. Cameron speak recently, and she answered this question from the audience. She said that three seems like a good number, not too much, and not too little. People in her classes seem to be able to do them regularly. As a student of her work, I agree. Three pages doesn’t seem like too much, and it’s enough for me to get the “gunk” out of my head and onto the page. Sometimes I get diamonds in the process, sometimes just mud. But it’s on the page and, suddenly, I have something I’ve – gasp – written.

    Another tool I like is from Natalie Goldberg in her book, Writing Down the Bones. She suggests setting a goal for oneself, like fill up one notebook a month. She then goes on to point out, if it’s Day 27 and you’ve got nothing, then you have a lot to do between the 27th and the 31st. Gulp. What a way to trick the procrastinator! It’s okay to put it off all month (and believe me, I’ve done that on occasion!), but by the end of the month, look out! Caffeine and Denny’s, here I come. I once wrote, fueled by two mochas and dreadful coffee, until about 2:30 in the morning at my local Denny’s. The service staff is surprisingly accommodating to the lonely writer. And man! You see the weirdest people at that hour of the morning. Why, I could tell you stories!

    Exactly!

    That’s yet another tool. Josip Novakovich, in his book The Fiction Writer’s Workshop, suggests going out to a café or restaurant and just observing the people there. Then write down what you see. You don’t even have to have a story to tell. Just, “there’s a blonde at the table next to me, eating cherry pie.” You might wonder why she’s eating pie. Maybe she just left her husband. She’s an alcoholic out late. She’s a spy. She’s an alien. Or, she’s a blonde eating cherry pie, and it’s the business man in the table near her who’s the spy. Poof. You have a page or two or more of observations, peppered with speculation and silliness. But that’s what makes the story.

    A word about “mood.” A lot of writers have told me they don’t “feel like” writing. But my argument is, writing is a verb. An action verb. “To write.” Means, put pencil or pen to paper, or fingers to keyboard, and put down words. It is not, “to emote.” “To wait until inspiration strikes.” “To sit, staring, drooling even, until the words come.” It’s “to write.” That’s all. It’s that simple. All the drama and foo-foo about the rest of it, is drama and foo-foo. Not pertinent. In fact, it’s a good idea to put all that stuff down on the page. Perfect fodder for the morning pages, as a matter of fact. “I feel poopy today. I don’t want to write.” Then write three pages about why you don’t want to write.

    Someone once asked me, a little desperately, is that all? Three pages is what makes you so prolific? I told them that there’s more to it than that, that it’s all about the exercises in the Artist’s Way and other things, but after having an opportunity to think about it I think the answer is a little bit that the three pages are a secret. Not “the” secret, because I don’t think any one thing we do is it, it’s the combined influence of all we do that alchemizes within us. But I do think that three pages is a magical elixir that, over the course of days and months, can alter your experience of your creativity. I can tell you that I have done them since 1995 and they have completely overhauled my life, not just my writing. Other things have helped too, but when I am stuck and haven’t written my pages, I can feel it. If I sit down and write them, something subtle happens and I feel better. I may not get THE ANSWER, boom!, but something does begin to shift and move around and flow.

    There’s a great prayer that Julia Cameron shares with us in The Artist’s Way: You take care of the quality, I’ll take care of the quantity. Regardless of your concept of deity, this is a potent affirmation. If you disconnect yourself from needing to do it well, or perfect, or right, or grammatically correct, you are able to just do it. “It” doesn’t need to “be” anything other than what it is. Is every word I’ve written since 1995 gold? Of course not. But I’ve written a huge amount, and some of it is gold. I average 100 pages a month in journal work. In March, 2008, I wrote over 30 short stories and two novellas, as well as did a structural overhaul on my novel. I am positive that this work could not have been done without the Morning Pages and other groundwork that I’ve done. There’s no secret to it, but there is work. No drama, but story.

    Trust yourself, and write. Or, don’t trust yourself. But write.

    That’s the secret.

  • The Voices in Your Head

    Voice. It’s the Holy Grail of creative writing. In fact, it’s a rather poor word for something that cannot really be put into words. I say that because there are many different uses of the term voice. There’s the technical – active vs. passive voice, and then there’s the narrative voice/character voice. There’s also the writer’s voice, and another term that is often used interchangeably – tone.

    The voice I am searching for is that one that defies definition. Really, as you’ll see if you read on – I’m talking about voice as a state of mind. Oh, by the way – let me just state for the record now that I am not an expert, or a professor, or even a published author (yet) and this is just my opinion – take it or leave it.

    So, what is this mysterious ‘voice’ thingy?

    I’m as befuddled as anyone. The voice in writing is something that cannot be defined. It cannot be learned. It cannot be taught. You either have it, or you have yet to find it. Sometimes even after you’ve found it, it comes and goes, seemingly at will. My favorite definition (of many) that I’ve run across in my personal quest is this one:

    Voice is the “force that drives a piece of writing forward.”

    Right. That makes so much more sense now. Thanks.

    Basically, voice is the lubricant between the words you are shooting at them, and your readers’ minds. Voice will either make what you are trying to communicate flow smoothly, or falter. Sure, there are MANY other factors that can hinder information flow – but voice, when used correctly, is what engages your reader. Think about it in terms of acting: You could have someone recite the lines in the script dry and monotone, or you could have someone play the part – add a personality to it, make it real. The difference is in the ‘delivery’ of the line. That’s exactly what you’re trying to capture with voice – a unique delivery. Voice, just like any other writing tool, will enhance the packaging of your story.

    I’m sold. How do I get me some?

    Before discussing some ways to bring voice to your writing, let’s take a look at a few of the different types of voice, just so we’re clear:

    Narrative Voice
    This is the voice of the narrator of your story, and is thus tied directly to point of view. This voice establishes the position the narrator (and hence, the reader) will have in relation to the events of the story. A story could be told that happened long before the narrator lived, or it could be something the narrator witnessed first hand, or the narrator could be omniscient (know everything). Narrators can also be more(close/deep POV) or less(objective POV) involved in the events and the characters’ thoughts and feelings.

    A third-person narrator tells us who, what and why something is important, and how it relates to us. We have to trust our narrator to tell us the truth, and to give us all of the important facts. But more than that, the narrator has to make us care, to convince us to invest in the characters and their struggle. Anyone can tell a story. Making someone want to hear it is what narrative voice does.

    The perfect example of a strong narrative voice:

    “It is a truth universally acknowledged that a single man in possession of a good fortune must be in want of a wife.” – Jane Austen, Pride and Prejudice

    Even though this narrator stands at the edge of the opening scene like an observer, we have an instant feel for who this person is(someone educated, unafraid of making such a bold statement), what sort of a situation they are heralding from(a time/place where rich men were expected to marry), and exactly what they think of those circumstances(can you say sarcasm?).

    Character Voice
    This can be present in both first and third person narrative, though it’s trickier in the third person. Unless you’re in the first person, character voice is slightly distinct from the narrative voice. You find this technique used when the story is told from multiple points of view. The difference in character voice serves to distinguish one from the next. The ‘deeper’ or ‘closer’ the third person narration is, the more ‘wrapped’ in voice it can be.

    Let’s take an over-simplified example. I’ll try to wrap the sentence “You never know when your luck is gonna change,” in different voices, just for kicks:

    “You never know when your luck is gonna change.” Charlotte smiled and closed her eyes as she threw the shiny new penny over her shoulder. It landed in the fountain with a soft plink.

    Agent Sorenson pressed the still-hot muzzle of his pistol against Johnny Fresco’s temple. “You never know when your luck is gonna change,” he whispered, low, deadly.

    Now, what’s different? Sure, each of them is in a different scenario. One’s a man, one’s a woman. One is hopeful and light, one is not good news. But how? Why? There’s nothing fundamentally different about the line in either case. It’s the delivery that has changed – the wrapping.

    The Writer’s Voice
    I can’t find any clear definition for what constitutes the writer’s/author’s voice. I believe it is a mix of narrative and character voice (as I’ve described them here) as well as another element, called tone, or mood. Tone, mood, and voice are often used interchangeably. But for my purposes, I’ll say that the tone sets the mood and determines the voice. By tone, I mean the ‘overall feel’ of the writing. Is it formal or casual? Acedemic/informative, or strictly entertaining/light? Is it down and gritty erotic, or is it wistfully romantic? The tone you use to write in will set the mood for the reader. It also determines what voice will be used.

    I’d like to throw in another term, and call it message. I believe that this is the soul of the writer’s voice. What is the deeper message you want your story to carry? Is it that we all end up down on our luck, and it’s what we make of those times that determines our value? Is it that you should never wear white shoes after Labor Day? Whatever it is, it all starts there. What is your message – what tone, mood and voice do you need to get that message across?

    And what am I supposed to do with all this mumbo-jumbo?

    Now that I’ve gone in a great big circle, we can talk about the elements of voice. This, I promise, is less confusing. There are basically two things that determine voice: word choices and pacing. How long are your sentences, and what are they made of? It really is that simple. Is it a short, clipped delivery of sharp, cutting words? Or is it long, flowy and descriptive? (And yes, I meant to type flowy. Flow-y. It’s not a word, but it should be.)

    Once you’ve discovered what your voice IS, all you have to do is stick to it by asking yourself, “How would ‘so and so’ say this?” That ‘so and so’ is either a character, your narrator, or you. All of them reside in your own head (hopefully). So, the first step on your quest for voice is to get to know the voices in your own head and start to distinguish them from each other. What makes them unique? Or, if you can’t quite manage that – pick up a book, and start hunting for the voice – look at the word choices, and the pacing and try to find patterns. I wish I had more concrete stuff to give you, but it’s still sort of a mystery to me.

    If you figure it out, will you let me know?