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Step Away from the Internet

Staring at a shelf of books on all things writing, I never know which one to choose. I want the best one. I want the one that will infuse my writing brain with the knowledge and inspiration of all the great authors.

But, there’s so many. Click on author, Jody Hedlund’s Helpful Writing Books page alone, and you’ll find a long list of choices.

Stuck with the funds to buy only one book recently, I gravitated towards a collection of authors’ advice on writing, a book whose cover stood out to me: bright orange and red and yielding the words “Secret” and “Miracle.” I picked it up because, well, I want to know the secret to and the miracle of writing a complete novel.

I’ve mentioned Daniel Alarćon’s book (The Secret Miracle: The Novelist’s Handbook) before when I talked about walking away from a novel in progress, and his book continues to be a great resource.

In Alarćon’s chapter titled “Getting Started,” he asks several published authors, “What is most distracting for you? How do you deal with it?”

About one third of the authors he interviewed answered with the same irresistable pull: the Internet.

This I write, as I work diligently on a post I hope readers will click to, read, and comment on in their own spare time.

While the Internet as a distraction is nothing new – there are plenty of articles by other writers about ways to avoid the Internet when you should be writing – what’s new for me is a glimpse I got, from Alarćon’s interviews, into the reasons why I turn to the Internet instead of my work in progress.

Jennifer Egan (author of The Keep) says:

I find that there is some part of me that is always looking for a way to pull  myself out of a state of deep concentration….The Internet is a naughty accomplice to that desire (p. 118).

Anne Enright (author of The Gathering) says:

I think a lot of distraction is anxiety. If I am too anxious to work on the piece at hand, then I work on something else (p. 119).

For me, that “something else” often turns out to be emails and Twitter. Ouch.

Today, I wrote in my morning pages about how many precious minutes I use up browsing Twitter or reading articles on writing, instead of using that time to write. I will avoid working on a draft if I don’t have a significant amount of time to tackle a big chunk of the project.

Just as soon as I get started, get into the grove, I think to myself, I’ll have to stop. It’s difficult for me to trust that short spurts of writing eventually add up, even as I do trust authors like Becky Levine who can attest to the fact that “baby steps [in writing] can lead to big productivity.”

Of course, I produce better work when I have bigger chunks of time to sit and concentrate. Still, something is better than nothing, and I wonder how much of my quick dips into the Internet don’t stem from a little writer’s anxiety?

Jennifer Egan shares a little more of her experience, which might explain why I cling to the internet, and she offers one strategy for getting back to the work:

A writer friend of mine, Lisa Fugard, once told me that she had a sign next to the door of her office that said, ‘Why are you leaving?’ Many times she found herself walking through that door with no idea of why. Then she made herself sit down again and continue working. I try to have a mental sign that asks why I’m leaving when I find myself suddenly typing something into Google for no particular reason, as if I had nothing else to do (p. 118).

I value Google, email and Twitter. But, on days when I have to ration my writing time, I have to be more vigilant about avoiding their draw and ask myself “What am I looking for?”

If what I’m surfing through isn’t time sensitive or relevant research for the story I want to write, then I can close down the application and open up that draft instead.

What are your biggest distractions and how do you deal with them?

***

Alarćon, Daniel. The Secret Miracle: the Novelist’s Handbook. New York, New York: Henry Hold and Company, LLC, 2010. Print.
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Short Story Techniques for Novel Writing

If you want to be a great writer, you have to learn to write well.

On that advice, beginning writers often spend more of their time studying the craft of writing instead of creating the stories.

Or, at least I do. Still attempting to crank out my first novel, I assume that how-to books on writing (successful) 80,000+ word stories should find permanent space on my bookshelf and time in my hands. But, I’m discovering that techniques for crafting longer works can be found from other sources that don’t focus on the novel specifically.

Back in March, Lydia Sharp (from The Sharp Angle) published a post where she explains that “[a] good way to improve your skills as a novelist is to write short fiction.” Short stories require structure the same as novels — clear plot points and solid character development. And, short stories have less time (and word count) to accomplish these goals.

If you can master the techniques in short fiction, you can master them in novels.

But even with Sharp’s convincing post, it’s easy to minimize the benefits of short story writing, because Oh…a whole novel gives me plenty of word count to fill in plot points and work in characterization. Yet, under the protection of more space to “fill,” each word must have a strong purpose or the reader will lose interest. And, fast.

Tom Bailey’s A Short Story Writer’s Companion* offers plenty of lessons on characterization, dialogue, and voice. But it was Andre Dubus’s essay – filed under the category of Rewriting – that solidified the translation of short story techniques to novels.

Andre Dubus, image from Wikipedia.org

In “The Habit of Writing,” Dubus speaks about character development and draws on a technique he calls “vertical writing.” After pushing through a story and still feeling a strong disconnect from the character, Anna (in his novella, Adultery), Dubus decides to dig deeper into her psyche and to find out exactly what Anna was feeling.

“…[F]or years I had been writing horizontally, trying to move forward (those five pages); now I would try to move down, as deeply as I could. Very slowly, I worked on feeling all of her physical sensations. Following her through her day [thinking]: “Just follow the dots: become the character and follow; there will be a story” p. 137.

I’ve heard of character journals, and there are several great worksheets online that help characters come to life. But, Dubus’s words “vertical writing” and “follow the dots” give me a much better visual. And, it’s a technique that complements my tendency to write a story more organically. For me, character worksheets act like lists, which can be confining (in writing, anyway…everyday life is a different story), and I always stray from outlines.

I know, some writers cringe at the thought of organic writing – No outline, No peace! – but Dubus makes a good case when he talks about his own process:

“I try never to think about where a story will go…I want to know what the story will do and how it will end and whether or not I can write it; but I must not know, or I will kill the story by controlling it; I work to surrender” p. 136.

Larry Brooks, in his essay (posted on WriteToDone), “SOLVED: The Outlining vs. Organic Writing Debate,” also supports organic writing. He says, in comparing premeditated with by-the-seat-of-your-pants, neither process is better than the other. Both can work as long as certain protocol is followed:

“[S]tory architecture is universal. If a writer understands basic story architecture, organic drafting becomes an efficient and joyful process.”

Short story techniques – like Dubus’s ideas of organic and vertical writing – offer me more ideas on how to tackle that novel. If the story is moving forward but feeling flat, I can pause and then write downward instead: follow the dots of the character that alludes me — an organic writing technique that doesn’t ignore the structure of the story, but enhances it.

***

* Bailey, Tom. A Short Story Writer’s Companion. New York: Oxford University Press, 2001. Print. (check citation format)

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Putting a Story to Rest for a While

Recently, I wrote a post on the roller coaster ride of novel writing — about the highs from the little successes and the lows of constant uncertainty.

I battled my self doubts about the novel I’m trying to write (a story about a woman named Millie) by focusing on better character development, reassessing plot points, and scratching out a new outline for chapter one. Still, each writing session ended with a persistent twist in my gut, an uncomfortable feeling that suggested, No. This is not the story you should be writing. Not today.

I ignored my gut, thinking “today” meant not this particular 24 hour period. Really, I was afraid I’d mark myself as a quitter if I put this manuscript down.

All I have to do is finish the draft, I told myself. It doesn’t have to be perfect, it just has to be done.

Continue reading “Putting a Story to Rest for a While”