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In the spirit of NaNoWriMo

Thirty days, 50,000 words, one first draft. That’s a sure-fire way to jump-start a novel.

In a few weeks, writers from every walk of life will crack their knuckles and punch out that dreamy first line of a story that will carry them through a mass, online write-in. Coffee shops will break out the extension cords. Families will go ignored. Stories will get written, dammit, no matter what.

National Novel Writing Month.

I’m not participating this year. Several other projects demand my attention, one of those being the rewrite of a novel draft born during my first NaNo experience. Though, I won’t be a slave to the purple word-count bar this November, you will find me hunched over my laptop – crazy – this October.

That’s right. I’m doing all my mad writing this month.

I joined up with a group of authors on an anthology project, and I have it easy. I just have to write a 10,000 word story.

Just.

I’ve been sweating over this story.

So, in an effort to accentuate the “fun” part of this project, one of the authors spearheading the anthology suggested our own mini-NaNo: 10,000 words in thirty-one days. And, in true NaNo form, someone sent out a rally cry from the discussion board. I’m holding fast to that cry each time I sit down and open my file: No looking back.

. . .

Okay, that’s not entirely true. I’m sort of looking back. But only to recall the spirit of my first NaNoWriMo experience, in which I made it all the way to the 50,000 mark. If I could do that then, I can do this now. Here’s my plan (tips that apply, really, to any first-draft writing spree):

1. Start once, and stick with that beginning.

I’ve restarted this short story three times, and each restart kills my confidence. Restructuring the beginning can come later. When I get to that point, I know exactly what resource I’ll turn to: the October 2011 issue of Writer’s Digest, page 52, where Les Edgerton, Nancy Kress, and James Scott Bell talk about the first 50 pages. Their articles mainly address the novel writing process, but successful short stories and novels have a lot in common, one being powerful beginnings.

2. Write a scene at a time.

If the scene I know should come next  absolutely won’t come forth, from my mind to the screen, I’ll write whatever scene is formulated in my mind. Reordering can also come later. . . . I’ll be honest here. Practicing this tip is more difficult than it sounds; I want desperately to write in a linear way. But, I also want to reach the end of the story.

3. Don’t worry about where the story is going.

Not yet. There’s plenty that must be written in order to discover the roots in a story, which keep all the characters bound together. Will Boast said it in his essay for Glimmer Train (the link to which I found on Jane Friedman’s site):

Give yourself a good deal of raw material to work with before you begin to edit.

My friend, E. Victoria Flynn, spoke of a similar idea in her comment on my most recent post, where we talked about the amount of writing we put down on paper in relation to the writing we send out into the world:

My stories wouldn’t exist…if it weren’t for [all] the chaff.

Write the chaff. Trust the process. No looking back.

I’m not kidding.

Scroll down, not up.

Forge ahead. Whether you’re about to embark on a 50,000 word journey, or are in the middle of a 700 word blog post that’s choking your muse, remember a first draft isn’t the be-all-end-all of your writing career (…this I will repeat to myself in the mirror tomorrow morning, you know).

If it’s the 50,000 journey you’re on, leave your Twitter handle. I’ll cheer for you. I have pom-poms.

Now, get moving. Get to writing.

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In Bits and Pieces: Writing My Way to Understanding

The world doesn’t fully make sense until the writer has secured his version of it on the page.
~ from The Forest for the Trees, by Betsy Lerner

PuzzleThere it is, my reason for writing. So much of what I scratch down on paper stays hidden within the pages of my journals, becomes buried in early drafts, or gets lost in multiple files of stories. I could beat myself up about wasted paper and ink, or hot air, that pours out before anything good comes to fruition, but all that writing is of value.

Put numbers to it, and I can see writing and math in a similar light. Your formula begins with a mess of numbers, all splayed out on the chalkboard. The numbers are figured and re-configured, compared and cancelled out until, finally, down in the corner of the board, just before you run out of space, the numbers fall into place. The answer becomes clear, so you circle it. Twice. Because man, it feels good when you get to the end of the problem.

We write to make sense of our world. And, as Pam Parker says in an essay she wrote this week, everything we do, feel, learn, shoulder – whether we like it or not – works its way from the folds of our minds into the details on the page. Sometimes those experiences fall as a whole onto the paper, sometimes they appear in bits and pieces.

The same could be said for any artist, whether he matches colors with emotion or sets the lighting in a photograph or smooths pieces of clay into place. However it happens (in whatever form) when something new is created, another view of the world comes into focus.

Why do you write or paint or create?

* Photo credit: liza31337 on Flickr.com

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Revealing Secrets & Plot Twists in Storytelling: Guest Post by Laurel Mayer

When I first set out to write a novel, I had no idea of the intricacies and strategies involved in getting the story onto the page — in a way that would hook readers and hold their attention. Since my head-first dive into NaNoWriMo a few years ago, when I cranked out a first draft in linear form, I’ve read several books on story structure, considered the balance of narrative and dialogue, and played with writing devices like tension and pace.

Today, Laurel Mayer, debut author of Pushover, talks to us about one important device in storytelling: revealing the secret. As with most things writing, several factors come into play at once to create a successful experience for the reader.

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The Art of Revealing Big Secrets in a Novel

Secrets, plot twists, and conflict are the basis of many novels, and for good reason. The unknown is a powerful source of imagination and curiosity for writer and reader alike, creating suspense, wonder and surprise that make for a page-turner. But, plot twist is a tricky writing device. The slow, steady, subtle unveiling is as important as the secret itself. Revealing too much too soon can leave the reader deflated and make a dud out of what could have been a bombshell. It takes careful crafting and patience to create a convincing plot twist that captivates readers.

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