Writing

This post first appeared in Organic Coffee Haphazardly. You ought to stop by that site and meander on through the literate entries. 

 

writing

He answers the question each time he raises his pen to paper. The story came before the word. It is a rhythm, the storytelling. Each cluster of thoughts breeds opinions on where to go next. Choosing a path, he keeps the flow going. He follows his instinct not worrying about pretty. Just let it flow.

It is his addiction; stringing words together. He has been there many times feeding the craving that defies rules of prose and punctuation, yet appears from nowhere to take up residence on the page. Like a fine piece of art, this first draft is the sketch that defines the composition. It tells the rudimentary story. Countless edits later that story will be the painting he envisions. Not today. Today the story is a new idea. A colt trying to stand on spindly legs, falling but getting up again while gaining strength with each failure.

The coffee gets cold. A refill is not on the horizon for the words have control. No interruption. An element of backstory emerges as he maneuvers a character and wonders why she did that. The pen moves to the margin to jot a quick note and capture the fleeting thought, phrased in a shorthand he hopes he will remember in the weeks to come when he returns to this page. A memory causes a smile as he recalls wondering if this paper with such wide margins was going to be useful or a waste of space. He has created entire worlds in less than ten words in those margins. The depth of his characters lives there. It is a soup of partial memories and unformed plot lines that are the writer’s equivalent of biographical fiction.

Forward. The pen moves him where he needs to go. Ink flows from the nib to the paper providing a tactile feel for each letter with a sound that applauds progress. Pushed forward under his control the pen yields surprising turns. How often, when he feels he has a clear view of the story ahead, does the pen take him in a different direction? A line of site interrupted by an obstacle set there with cruel subconscious intention, reminding him that life is seldom a straight line. And the challenge of the obstacle lets him show his characters in a new light. They are as surprised as he, and that surprise finds its way into the syncopation of syllables, creating an energy of anticipation. ‘Yes,’ he thinks. That could happen, and the flow continues. Fresh and alive.

For a moment he wonders where the need to tell the story comes from. What ancient, prehistoric challenge had man faced that made storytelling a survival trait. It is nothing but constrained lies bundled together. Then he wonders if a simpleton, binary thinking computer, that is only as good as the fiction of the code that man has created for it, can be induced to create a new thought or even polish up an old one? Maybe some day they will rediscover the analog computer and find the secret to artificial intelligence. The secret of infusing a survival skill into a computer. All this in a mental flash that is more image than prose.

That is what he does. He is less a writer than a transcriber of the images that form in his mind. The stories don’t form in sentences and words. They form as high definition movies in his mind where he can rewind and fast forward instantaneously until he settles on the scene that will be transcribed. A change in dialog or location to suit his will. The will to tell a good story. It is magic and he doesn’t overthink it. He let’s the magic move him. Understanding it too deeply might ruin it for him, but that thought leads him to ponder more questions. The cycle continues and each turn of his mental crank reveals more of the story. His pen scratches more words on the page.

Writing is presentation of discovery.

Four Things I Wish I had Known Before I Started Writing

You Don’t Need a Compass

When I was in fifth grade I sat at my sister’s Smith Corona typewriter and started punching out a story. It started with an accident during a Gemini spacecraft training exercise. There had been a news story about how they were training and it caught my imagination. I recognized the kernel of a story. And then I stopped. Because I didn’t know what was going to happen next.

I left the page in the typewriter and went off to do whatever a fifth grader does. My older brother happened by the short piece and read it. At dinner he said, “When are you going to finish that story. I want to know what happens.”

I shrugged. That is as far as the story went. Compost in some landfill in Pennsylvania.

compass

I give you permission to start writing without knowing where you are going.  Actually, I encourage it. Let the characters tell you where they want to go and what they think. If you let them drive the story, you’ll get a much better end result than if you start to think about how it will end. That doesn’t mean you can’t outline and plan. It means you need to listen to what is going on. Don’t force and ending or a plot shift.

In my first published book I had included some technology that I thought was cool.  It was like a Siri who did real time editing.  The book is in first person, so I thought it’d be fun to have him getting frustrated trying to get technology to work. Since it was a techno-thriller, wouldn’t the contrast be perfect?

Wrong. My first real beta reader said that whole little process sucked and diverted from the story. That was a great lesson. I had found something I wanted to include but it was not something my characters wanted or needed.  When I got rid of it, it was like moving from 720p to 1080p. The story became high def.

Jump in. Start putting words on paper and introduce yourself to the characters in your head. I virtually hang around with a lot of writers and the successful ones always talk about their characters demanding them to do certain things or surprising them with plot twists they hadn’t considered. It’s true. As a writer you need to open yourself up to the characters in your head and let them run.

Pen and Ink, Keys and Ribbons

Which brings me to input. I was lucky that my first attempt at writing was on a keyboard of a manual typewriter. I wasn’t a great typist and that keyboard forced me to think of each word, misspelled often, as the key hit the paper. That is what I know in retrospect.

Decades later I decided to give writing a novel a try. Since I liked sci-fi and was a technologist by occupation, I envisioned a space opera (I didn’t know that term at the time). On my computer with MSWord I set off crafting a story that I still love. Trouble lurked in the software. Word allows you to find many reasons not to actually write. You can delete, rearrange, format, reformat, change font, change font, change font, insert section breaks, insert page breaks, create a table of contents. You get it. I was trying to craft a final, physical version of my book in the WYSIWYG capabilities of a word processor and losing the story.

My daughter, who, as editor, had led her high school newspaper to a national award, made a comment to me one day that “using a manual typewriter is a great way to overcome writer’s block.” I didn’t have writer’s block. I had writer’s interference. But I thought I’d give it a try.

Fast forward to my post e-Bay purchases and I transitioned to a manual typewriter. I haven’t looked back.  I also use pen and paper and always have a small notebook with me. But the best rhythm I strike is when I am at the keyboard of my trusty Olympia SM9 – the ultimate in manual typing.

My Oly SM9

My Oly SM9

The beauty of hand crafting your first draft is that you can’t get diverted from the writing. Sure, you can cross out and backspace, but that it a laborious process and it is much easier to move forward. Plus, on a manual keyboard you can only type so fast. Which forces you to think of each word, and gives you just the right amount of latency to have time to think about the next sentence clicking in your mind.

pen and clairfontaine

It is your first draft. It is the draft just for you. It is strewn with crap and vile writing, but don’t worry about it. Under the covers of your lousy prose is the story that wants to come out. That story will become crystal clear and beautiful once that raw diamond is polished by the jeweler.

50 Shades of Editing

Great writing can be crippled by poor editing. Here’s a 3-star review I got for my book. It is one of the best reviews I have ever received.

This is a SIX star story. The quality of the writing easily rates FIVE stars. However, the edition I read had apparently not been copy-edited nor proof-read. This diminished the pleasure in the reading. Imagine “puisant” in place of “pissant” and “passed” for “past.” As one doesn’t love the child dressed and polished for a party any less for turning up scratched, smuged and muddy, I still look forward to more works from this master storyteller – wordsmith.

I confess. I self-edited my book and published it on my own. I did have a very expert proofreader go through it twice, but some things slipped through anyway.

editing generic

Working with a good editor is like getting involved in a BDSM relationship. There’s even a contract involved, but it isn’t like the one in 50 Shades.  It is painful, but necessary. A good editor will understand your voice and force you to make it clear. They don’t rewrite your work. They find where you need to rewrite it and help you fix it. My editor (and I do take that with a lot of personal ownership) is dSavannah George. What struck me when she and I first talked about working together was her approach. It resonated with me and has proven exactly the kind of editing I need.

So, Sav is editing my content and when she is done I am going to enlist a copy editor to proofread everything. I don’t want to have a “puisant” insert itself when I really want a “pissant.” (For that I’ll blame autocorrect.)

There is a side to self-publishing that is reflected in my multiple 5 and 4 star reviews. All of those seasoned readers looked passed the editing mistakes and loved the story. I call it the cell phone effect of indie publishing.

In the days before cell phones, our calls were exceptional. You picked up the phone connected to a land line and you got dial tone. If there was any scratchiness, you called the phone company and they fixed it. Solid quality. Cell phones taught us to accept less than exceptional quality because we got great convenience.

Traditional publishing subjected books to many edits before they hit the brick and mortar store. To find a typo was like finding a four-leaf clover (1 in 162,000). Now, I think we have grown to accept formatting and spelling issues along the way. If they stay below a certain level of obnoxiousness, then we ignore them and read on. After all, we have a queue lined up in our e-readers.

Write Where You Live

In my thirties I had this great idea I got from one of the women I dated. Her mother read a lot of romance novels and bought hundreds of them a year. That seemed like easy money to me, so I started to pen a romance novel.

Go back to the top of this post and you’ll know why it didn’t go anywhere. But there was more. I had no clue what I was writing about even though my friend gave my a typical synopsis of a successful story. I had never read a romance novel and I made no effort to understand that genre. It wasn’t in my blood.

When I took to writing in earnest, I chose areas that I felt comfortable in – sci-fi and techno fiction. That doesn’t mean I won’t extend myself into other genres or create my own – I am working on a sci-fi erotica right now. But wherever I go will be because it is something I want to write about. Something that makes me explore areas of interest and characters that are compelling.  Hell, my sci-fi might turn into a romance if that is where the characters want to take it, but I’ll put my own twist on it.

Don’t write about something because you think it is what will make you money or what will be popular or what someone else suggests you do. Write because you are compelled to tell a story.

For that matter, don’t classify you story to a genre until you are forced to in the publication and promotional phase. Just let it rip, then rip it up and make it better. What I am really asking you to do is not judge yourself before you even put pen to paper. Don’t think of your story as being in a class of stories. Think of it as a story that needs telling and you are the best person in the world to tell it.

Because you are. One word at a time,

As always, I would love to hear from you and get your comments.

Remember. Run free. Run easy.