11 Tips for Finding the Writerly Zone

Nanowrimo (National Novel Writing Month) is meant to be a time when you throw caution to the wind and try to write 50,000 words in four weeks. That's maybe in the realm of possibility if you've got a bucketload of time and an endless supply of Reese's pumpkins. But I don't have either one of those things. I believe that, even if I DID, one month just isn't enough to produce a quality first draft. Nanowrimo stands as a great motivator, though. For me, it's become about finding new ways to write effectively in the time I can manage to carve out.

I've found that the key to writing effectively with limited time is the ability to get into the Writerly Zone quickly, and stay there for as long as you can. It's hard to get into that zone, though, when you're working long, demanding hours; it's hard to get into that zone when you're tired or unsure about where your story is heading. But here's a thing I've discovered: the longer you let a project linger, the more likely it becomes that you'll lose your flow, your motivation, and your sense of why you started writing the thing in the first place.

Here are some of the tricks for finding, and maintaining, the Writerly Zone:

1. Set up goals for each writing session ahead of time. When you sit down at your computer, you don't want to waste precious time staring at that ugly, blinking cursor, scratching your head over what you want to write. Create a road map--or at least a few road signs--for what you want to accomplish in the hour you have at your disposal. Set a concrete goal, whether it be reaching a particular word count or reaching the end of a scene. Just remember that writing to a certain word count doesn't work well for everyone, so set a goal that keeps you motivated.

2. Carve out at least an hour of writing time (90 minutes would be better). You need enough time to allow your mind to unwind and put itself back in the world you're creating. Energy experts suggest that working in 90-minute bursts seem to be a productive time block: long enough to get things done, not so long that your eyes start to burn.

2. Don't write for TOO long. This sounds silly, probably, but sometimes you need to call it. I've found that when I start to hit a wall (and I mean REALLY hit it, hard enough to crunch metal), it's better to stop than to keep going. Try to end your writing time before you run out of things to say; spend those last few minutes planning for the next session.

3. Don't be afraid to think small. The key to achieving any goal is to make it achievable. It's like training for a race: the only way you're going to get to the end is if you focus on what's right in front of you instead of what kind of pizza you're going to order after it's done. It's easy to be intimidated by the thought of writing a novel - but there are other options for flexing your creative muscle this month. Try writing scenes or short stories; write a new story every day. That way, you're not investing in any one story for longer than you'd like, but you're giving yourself room to learn and grow.

4. Carve out the time, then make it a ritual. We are creatures of habit, aren't we? We like to sleep in our own beds, with particular pillows, and a particular book in our hands. When that routine's interrupted, it's often harder to get to sleep. It's the same with writing. Try to write at the same time every day; condition yourself to write under certain conditions; make it into a ritual that contains the same things every time you sit down. That ritual will let your brain, and your creative muse, know when it's time to get serious.

5. Did someone say "ritual"? Here's one of my best secrets for getting in the Zone in 60 seconds or less, no matter where I am: I put on my headphones and queue up a playlist I've compiled particularly for writing. That playlist is usually filled with songs that evoke the mood I'm trying to create. Once I start writing, that music fades into a pleasant background that shuts out any outside distractions.

6. Stop making excuses! No, you don't need to do laundry right now. You don't need to text your mom. You know why? Because it's writing time, and that time is sacred. Don't let other people's opinions stop you from committing to that sacred time. There will always be that little voice somewhere inside you saying that this thing you're doing is a waste of time. There will always be someone in your life who thinks that same. Ignore those voices, because they don't matter. Give yourself permission to take your writing seriously.

7. Limit and block distractions. Seriously, guys: don't think you can have five tabs open while you write. You KNOW you're going to click to them. Don't try to write in a crowded room full of friends. Cut out as many distractions and draws on your time as you can. Put your phone in a drawer; shut the door to your room. Let people know you're taking an hour and you'd appreciate that it be uninterrupted. What are you doing checking Facebook?! It'll still be there in an hour. I promise.

8. Keep a writing journal at the ready. Inspiration comes at unexpected times. Or, if you're me, inconvenient times. Like when you're driving. Or when you're mowing the lawn. Or doing something that demands attention, sharp objects, and fine motor skills. Having a journal with you allows you to capture any stray lightning bolts of inspiration before they float away. It also encourages you to write down those small, interesting moments in any day that feed the writerly soul. You'd be amazed how many inspiring things are lurking in that overheard conversation in the grocery store or the sounds emanating from the locker room.

9. Decluttering and Reminding. Clear off your desk. The less cluttered it is, the less cluttered you'll feel when you sit down at it. Post some encouraging sticky notes on your desktop. Whatever you think you'll need in those moments when you start to doubt or your mind starts to wander.

10. Give yourself permission to suck (well, at least to not look back). Remember that you're writing a draft - not a finished masterpiece. That comes later. If you're stuck, allow yourself to move on, knowing that you'll come back to it.

11. Have a mantra. Something you do when you're starting to feel as if you're the worst writer of all time. Recognize the challenges inherent in writing into the unknown. Writing takes work, and sometimes it's incredibly hard. Recognize that some days won't feel as productive as others. But ALSO recognize that every time you sit down to write, you are learning something. No writing time is ever wasted.

Happy Almost November! Now go forth and write.

Resolutions, Revisited: The Halfway Mark

So it's June. How did that happen?

I've been thinking about goals today, trying to figure out how much I can squeeze into the few months I have off before I dive into teaching. Let's see how I've done so far with this year's resolutions:

1. Finish Novel #2 and start shopping for agents. I finished edits on TORN in February (sweet triumph!) and started shopping in March. This was something that involved an insane amount of research and meticulous dedication, more so even than I expected. Thanks to that wonderful thing called the Internet I've learned a massive amount and connected with some interesting people. I've entered a few contests and gotten MUCH more comfortable with having people read my work and also with hearing 'no thanks'. I just have to keep this ball rolling through the rest of the year.

2. Write Novel #3. I wrote 12,000 words of novel #3. And then started writing an entirely different Novel #3, one that wouldn't leave me alone. I'm now about 55,000 words into what I'm calling my UndergroundNovel, and I'm loving it. So that's...[computing]...almost 70,000 words in four months? Yowza. That's fast for me. If I keep going at this rate, I'll be done with this draft by mid-July.

3. Make photography a bigger part of my life. I was better about this in the first three months of the year, but I'm coming back around to it. The summer's adventures should yield some interesting new places to point my camera at.

4. Take myself on a writing retreat. I'm going up to a beautiful farm in NY State in a few weeks to finish Novel #3 (and also to paint my aunt's farmhouse living room. And also to eat copious amounts of her cake.) Here's to family-sponsored writing ventures!

5. Learn to play the violin. You know what I don't own? A violin. But I DO own a guitar, one I never play anymore. I think I'm going to try and get better at that so I can serenade my new roommates.

6. Run for a cause. I just ran a half marathon. I did not, sadly, run for a cause. I was afraid that I'd fall on my face halfway through, disappointing my sponsors and feeling silly. Now that I know I can actually run 13.1 miles, I'm on top of this. Are big races only a summer thing, or do they have them in the fall?

7. Get back in touch with Shakespeare. I actually forgot about this one...that's what I get for not hanging them up somewhere visible. I'm off to read me some Macbeth.

My Current Writing Soundtrack: "The Lighthouse Song" by Josh Pyke

Backstory (and why it matters)

I've just read my fabulous crit partner Ryan's post on the importance of backstory - I've thought about backstory so much this week that I'm hitching a ride on the back of her thought process.

If novel #2 (otherwise known as Torn) has taught me anything, it's that there are so many things you need to know about your characters in order to bring them to life. I'm not just talking looks, ticks, and speech patterns; I have to know about the whole span of their lives in order to understand their motivations. So much of their background hasn't made it to the surface of my story. But every piece of knowledge, evident or not, has helped me to stay true to my characters' voices. There's nothing quite as fun as discovering something new about your story just when you thought you had it all figured out.

Things I learned about my three main characters this week:

1. One likes foreign films, but he's a terrible reader.
2. One can't dance.
3. One has a violent aversion to socks.
4. The one thing they all have in common: life-changing experiences with dead bodies.

And then there are the backstories of my support characters - these are the ones who are giving me trouble. I'm finding it difficult to flesh them out without letting their voices take over the narrative. A teacher of mine, Kim Wilkins, once said this about supporting characters: you never want it to feel like they 'go back in a box when they're off the main stage. So how do you make sure minor characters aren't coming off as cardboard cutouts? Here are some of my findings:

- Every SC should have a defining role to play in the main characters' lives. What is their specific function and place? My character Dalton was pretty flat until I realized that he's my MC's secret keeper; he's the one she feels most comfortable sharing with.

- When SCs are becoming cliche, give them some interesting contradictions. They're phobic about germs but refuse to wear socks outside. Or whatever. Contradictions are what make people unique.

- Don't just give SCs traits; give them relationships with their traits.

- Spend time crafting the MCs' relationship with their SCs. It's often through the main characters' descriptions and feelings towards their supporting cast that readers really get to know them.  

Grammar Girl: Writing Concisely (Part 2)

I really wanted to figure out how to SHOW my students the power of writing concisely. So I told them about my Fiction class in college, the one during which I took my first real stabs at fiction writing. I wrote a story about my summer camp, a place that was special to me, and thought I'd written something fairly pretty. After reading it, my professor decided it would make a perfect exemplar for our upcoming class on writing concisely/word choice. He handed out a copy to every student and asked them to do just one thing: get rid of the words the story doesn't need. I thought this would mean maybe five or six words. But really it meant more like 50%.

I hated to show this example to my students, because the writing is horrifyingly bad. I really can't believe I thought so highly of this paragraph. I can't believe no one mocked me--I mean, I'm thankful no one did, but wow. But sharing it with students also (I hope) showed them the power and importance of critique for anyone who's serious about writing.

So this is the paragraph I started out with:

Swift walked through the mist of a late August summer morning. The lush green leaves of oaks, cedars, and poplars shifted gently in an infinitesimal breeze. Thick tufts of foliage hanging from forked branches twittered with the cacophony of cackling birds. Through small gaps in the forest canopy, lines of soft golden light filtered through, and slanted slivers of pale green and yellow cut through the air. Electric green moss crept around the roots and edges of the forest floor. It had rained the night before and the forest’s thick carpet of dead leaves was drying. Their crinkled white and brown spots gave off the acrid smell of wet mold and ancient stories. Swift’s feet pattered softly up the dusty path that wound through the forest like a creek would, babbling over small rocks and fallen branches. She walked without seeing; she could have closed her eyes and walked the path from memory. The putter of her feet was barely perceptible as she traversed the path that would lead her to the top of the valley. (176 words)

This is what the class did to it:

Swift walked through the mist of a late August summer morning. The lush green leaves of oaks, cedars, and poplars shifted gently in an infinitesimal breeze. Thick tufts of foliage hanging from forked branches twittered with the cacophony of cackling birds. Through small gaps in the forest canopy, lines of soft golden light filtered through, and slanted slivers of pale green and yellow cut through the air. Electric green moss crept around the roots and edges of the forest floor. It had rained the night before and the forest’s thick carpet of dead leaves was drying. Their crinkled white and brown spots gave off the acrid smell of wet mold and ancient stories. Swift’s feet pattered softly up the dusty path that wound through the forest like a creek would, babbling over small rocks and fallen branches. She walked without seeing; she could have closed her eyes and walked the path from memory. The putter of her feet was barely perceptible as she traversed the path that would lead her to the top of the valley. (176)

And this is what I ended up with:

Swift walked through the woods on a summer morning. Lines of soft light fell through the canopy, lighting up the path that stretched out in front her. It had rained the night before and the leaf carpet was drying. It gave off the acrid smell of wet mold and ancient stories. Swift’s feet pattered up the dusty path that wound up to the top of the valley. She walked without seeing; she could have closed her eyes and walked the path from memory. (80 words)

I was crushed by this exercise, of course. I thought the class was trying to kill all of my lovely description, all of my well-crafted alliteration. But looking back I know that was the most life-changing critique I ever recieved. Because my first paragraph was completely awful, and if they hadn't showed me why, I might never have understood what it means to write well. Writing well doesn't always mean pretty passages and lots of words: it means keeping the words that matter, and getting rid of those that are getting in the way of what you're really trying to say.

Grammar Girl: Writing Concisely (Part 1)

The most influential writing advice I ever got was also the most frustrating. That advice: "write concisely". I thought my professor was telling me to cut out all my lovely descriptive passages! killing my creative expression! and making my sentences short and lifeless! My students seemed to think so, too. But I made sure to point out to them that writing concisely isn't about brevity. What it is about is this: making every word count.

You know when you hang too many ornaments on your Christmas tree so that when you step back, you can't see the individual elements underneath all the holiday vomit? Some would argue you can get away with it on trees. But not so much in writing. Because too much of a good thing weakens your message, and inevitably the power of your voice is lost. Every word, every paragraph, every scene, every character needs to be adding something of value to your writing. Otherwise it's just beauty and grace hidden underneath a giant blob of tinsel.

Concise writing is something that you can flag-post in the editing process if you're paying attention. My students can usually pick out which sentences aren't "working" in terms of conciseness, but they struggle to pinpoint why. So here are some items that have helped my students (and me) do just that:

1. Let your subject and verb come closer together. Sometimes moving your actor/agent and your verb closer together (and closer to the beginning of your sentence) will help make your sentences more direct and your emphasis clearer. You see this a lot in the use of passive voice. For example:

"The zombie had its head cut off by me with a long sword." (13 words) Revised: "I cut the zombie's head off with my sword." (9 words)

2. Turn nouns into verbs. Often nominalisation (turning verbs into nouns) makes for weak, confusing sentence structure. Try turning them back into verbs. For example:

"The realization that I had cut off the zombie's head made for the actualization of my dreams." (17) Revised: "I realized that cutting off the zombie's head actualized my dreams." (11)

3. Take our empty words or phrases. This also includes implied knowledge. I can't tell you how many times I crossed "In my opinion", and "all things considered" out of students papers. You know why? Because it's implied. Those phrases add nothing to your sentences. They're tinsel fillers that are taking up precious real estate on your tree. For example:

"In my opinion, Barack Obama still kicks some major ass, all things considered." (13) Revised: "Barack Obama still kicks some major ass." (7 words)

4. Avoid cliches and jargon. Cliches have their place and, sometimes, they can be useful. But they're called cliches because they're tired. They make your reader think, "haven't I read this somewhere before?" Because they have--lots of times. Great if that's what you're going for. Not so good if you're going for 'fresh'. In my opinion, the only place jargon belongs is in political speeches. And it kind of sucks there, too. If you're writing to say what you mean and make that meaning clear, jargon is not your friend. Not in government documents. Not in specialist journals. Nope, not anywhere. For example:

"We continue to stand behind the pillars of democratic values as we look to lift the currency of foreign opinions and esteem." Revised: "... sorry, what?"

Novel #2: Done!

We crazy creatives all have our rituals for when we reach a pivotal moment. In Stephen King's Misery, the writer's thing was Dom Perignon and a Cuban cigar. For me, it was champagne and brownies.

The pivotal moment being: I finally finished Novel #2! Which means I can stop calling it that and start calling it by its actual name: Torn.

I started Torn early in 2010. It's seen me through some rocky times, and has been a constant source of solace. It is my first book in which I tackled multiple viewpoints, which was challenging, but very fun. Of course, it's not really done. I've got a LOT of editing to do before I can do anything with it. But, 86,500 words later, I'm still in love with my characters and I still believe in what I've written. It's stuffed full of shape shifting, blood spilling, good looking people brooding, and a whole lot of public nudity.

And that, in my opinion, is worth some very decadent baked goods.

Mom and I used to make 'midnight brownies', an oh-so-bad-for-you mother/daughter bonding ritual that marked many a teenaged night. And, since I was celebrating, here, I decided to go for Peanut Butter Brownies.

And they were worth every thigh-jiggling bite.

Going To Rainbow

I had the chance to go to Rainbow Beach last weekend, a beautiful, quiet beach lined by huge sand blows. I stayed there with a girlfriend, Misty, which was a welcome infusion of estrogen. It's been so long since I enjoyed a girls weekend. We ate and drank (well, she's pregnant - I drank) and talked, talked, talked. It gave me a chance to think about what I want to accomplish in the remainder of the year. So I'm saying it here (thus making it more likely that I'll actually do it): I'm going to finish editing Spellbound by my birthday and novel #2 by Christmas. Take that, full-time employment.

Now, on to some pictures. I've been having a lot of fun playing with my new camera. Misty is an awesome photographer, so I got to pick her brain and learn about depth of field and manual shooting.

Attempting to play with depth of field. (I call it my 'go balls deep' picture.)

Storm clouds over the sand blow. We climbed one of these and the view was spectacular.

One of the most beautiful pregnant women ever.

Reads That Feed

I recently read this post from the venerable Maggie Stiefvater about books that feed her creativity while working on a project. There are those writers who don't like to read while they're writing because they don't want to 'corrupt' their own authorial voice (there are those would-be writers who hardly read at all... say what?). That's something I can understand, to a point, but not something I resonate with. If anything, I read more when writing something new.

This is, undoubtedly, a procrastination tool ("It's OK that I'm not writing. I'm reading"), but it is also something else, something important. When I'm writing, I feel compelled to turn back to the writers that rocked my world with their words and their stories. I can turn to these beloved reads and know that I can crack them open to any page and come across passages like this:

He flapped again at the flies and looked out the window at the first smear of foggy dawn and waited for the world to begin shaping up outside. The window was tall as a door, and he had imagined many times that it would open onto some other place and let him walk through and be there. - Charles Frazier, Cold Mountain

And this:

"Hello boys."

"Hello, Mrs. Lisbon" (in unison).

She had the rectitude, Joe Hill Conley later said, of someone who had just come from weeping in the next room. He had sensed (this said many years later, of course, when Joe Hill Conley claimed to tap at will the energy of his chakras) an ancient pain arising from Mrs. Lisbon, the sum of her people's griefs.

- Jeffrey Eugenides, The Virgin Suicides

And then this:

I loved hearing Anatole speak English. His pronunciation sounded British and elegant, with "first" coming out as "fest," and "brought" more like "brrote." But it sounded Congolese in the way it rolled out with equal weight on every syllable- a pig in a sack- as if no single word wanted to take over the whole sentence.

- Barbara Kingsolver, The Poisonwood Bible

These books are what I want my writing to be: they are powerful without being overpowering, elegant without being flowery- every word and detail adds something powerful to the story and the flow. They inspire me, chiefly, because they are beautiful examples of voice. These are voices I can pick out of a crowd, so strong and assured that they literally sweep you off your feet and into the world they are creating. These voices have a unique and undeniable pull.

There are moments when I find this exercise deflating, especially on a bad writing day ("My writing will NEVER be this good. In fact, in comparison, it is two inches shy of abysmal"). These moments are almost always overridden by feelings of awe and inspiration. Every time I open these books, I learn something new that I can bring to my craft. I am challenged to rise above my best and reach for something even better. These authors feed my creativity in ways that make me want to be better.

Other books I like to return to are The Time Traveler's Wife, Bel Canto, and (for travel writing) Confederates in the Attic. Are there reads that feed your creativity? What is it about them that brings you coming back?

Spellbound's Back Cover

Last night, left to my own devices, I stayed up into the wee hours writing a blurb for Spellbound. I'm taking an editing course this year at the Queensland Writer's Centre, which consists of five day-long classes designed to make me a better editor. It's being taught by author Kim Wilkins, of whom I am an adoring fan. She's written to ask all participants to send her a (very) short synopsis of our stories. So I sat up with my weak iced coffee (Manfriend is better at making those) and worked on my blurb.

I have to say, it was kind of hard. I kept trying to envision the back cover of my published book, what choice words it would contain to lure readers into my story. I've read thousands upon thousands of back cover blurbs, so I didn't think it would be all that hard. The thing is... it was. Condensing this beast that you've spent countless months on into two very short paragraphs is like me trying to squeeze into my Sophomore-in-high-school jeans. Seriously? You want this giant thing to fit into that tiny space? I've written tons of journalism pieces that had to be under 100 words, but those were a cake walk in comparison. Maybe because I have a lot to say about Spellbound. Or maybe I'm just a wordy bastard.

In a class I took with Kim in 2008, she told us that she loves writing her blurbs. She likes to say that it's good preparation: if you can't sum up your story and spool it out in thirty seconds, then how are you ever going to sell it? Writing a blurb means plucking out your story's unique strengths. It means finding those threads that will make a reader turn the book over and open it to Page 1.

So here is my first attempt at writing a blurb for Spellbound:

16- year old Jack Lawson doesn’t believe in magic; he believes in the sad predictability of his ordinary life. That’s before he spies on the Sparrows, the mysterious and beautiful neighbors he’s been obsessed with for years. Jack witnesses a ritual he isn’t meant to see, one that gifts him with frightening powers that turn his ordinary life upside-down. Jack’s unpredictable fire magic plunges him into the secret world of the Sparrow witches, where everything he thought he knew is called into question. To stay sane, Jack must learn to tame his magic- including his ability to hear and see people’s thoughts- but for that, he needs help.

Help comes in the form of the enigmatic Lorna, the girl Jack pines for from afar. As they grow closer, Jack realizes that he’s bound to Lorna in a way that is both dangerous and intoxicating.

Jack’s in with the Sparrows girls ruffles more than a few feathers, so when a boy is found dead at school with Jack and Lorna standing over him, it doesn’t take long for rumors to fly. Whispers turn into accusations and thoughts turn into threats, pushing Jack further away from the friends and family he thought he knew. Jack must fight against this new-found violence to save Lorna, the Sparrows, and himself.

Do you feel like you know what kind of story you're looking at? Would you pick this up for you/a friend/some teenager you know who likes this sort of thing? I feel like there are crucial elements I've left out, so I'll keep working on it until I get it right. Until then, it's time to get back to editing!

How to Start Over?

So, in 2008/09, I wrote my first novel. It's a sprawling, rough-around-the-edges first novel, but it's there: thousands of words in what I hope is an interesting sequence. I've proven to myself that I can sit down and do it without driving myself, and my Manfriend, completely insane.

Now that the last of the celebratory brownies are gone and I've gotten over the "Look what I did!", let's-hang-it-on-the-fridge stage, I find my mind whirring with shiny new ideas. One has become particularly sharp. Over Christmas, three main characters materialized in my head, waking me up at weird hours, distracting me from conversations in which I should be participating (that job interview probably wasn't my best...). This is the exciting part, when ideas bloom freely, unimpeded by ability or the strictures of practicality, trembling with promise. I've got a pile of haphazard notes about my setting, plot, and main themes. I think I'm ready to start again.

I find myself staring at the beginnings of an outline and thinking... how did I do this again?

Every writer has a process for getting from idea to completed first draft. You'd think, after writing my first novel (titled Spellbound until further notice), I'd know all about what I need to do. And yet, I find myself wondering if the way I did it last time was actually the best way for me. It took me a year and a half to write Spellbound (in retrospect, about eight months too long). It was a jerky process of stop-and-start, stumbling forward with only a vague idea where the plot was headed. My main character, Jack, morphed from age 13 to 16, the point of view from third to first person. I patchwork-edited as I went, which means that the story sometimes feels like a inexpertly sewn quilt, lumpy and puckered. This is making the editing process much more difficult, which is something I want to avoid in future. But how?

Here's what I think Spellbound taught me about how to write a great first draft:

1. Write every day, preferably at the same time. This seems like a no-brainer, but an important one. One of the reasons SB feels so patchwork is because there were weeks in which I wrote intensely, and some in which I didn't write at all. I allowed my fear-of-suckiness to keep me from pushing through the parts that were hard. Stopping pulled me out of the story, making it that much harder to get back in.

2. Make a relatively coherent outline before starting to write. This also seems like a no-brainer, because who can tell a story without knowing its beginning, middle, and end? Apparently, I thought I could. Other writers do this, I thought. Good writers like to fly by the seats of their badly worn, I've-been-sitting-in-my-office-chair-for-two-weeks-straight pants. I've discovered that winging it IS an important part of my process. That's when characters come alive and start to do things I didn't tell them to (naughty minxes). I've discovered that while I don't need to know how it ends, I need to understand the heart of the story- what the story is REALLY about and what major events are going to drive it forward- in order to get anywhere. There need to be gaps in my outline- but not gaping holes.

3. Know thy characters. I vividly remember writing the first scene in which Jack and Lorna, my main characters in SB, meet for the first time. I knew exactly how Jack was feeling because I was stuck inside his head. His dialogue came out pretty easily, but when I tried to coax words from Lorna's mouth, they came out flat. It took me a week and countless re-writes to figure out where I was going wrong. Lorna was only an idea, not a person: I knew as much about her as Jack did, which was very little. I didn't know what her motivation was, or how she felt about Jack, so I couldn't know how she would react. I had to go back and get to know her (everything past, present, and future) to understand what she should say. I mean, if someone asked you "What would so-and-so say if you told her that?" -and you didn't happen to know this so-and-so- how would you respond? Probably by saying something like "Umm... dunno?". I have to know my characters very, very well before I can write about them with anything like authority.

4. I like pretty pictures. It took me a while to realize this, but I'm a very 'visual' person. Photographs and illustrations that capture the essence of what I'm writing make all the difference when it comes to inspiration. This is especially true when I live in a tropical locale that blurs and generally wilts my mind's picture of my New England setting. I've put up two massive cork boards on my wall and filled them with Novel #2-inspired cut-outs: snow-draped forests, foggy fields, topaz gems. These pictures provide an important creative push on those days when I'm just not feeling it.

5. It's OK to go back- just not too far! I've read a lot of writers who say that, when writing a first draft, you shouldn't look back. Just keep writing and save the editing for when the thing is finished. Even when properly caffeinated, I need a little recap of what I wrote the day before. Reading back just a few pages helps to pull me back into the story and keep me on track. It also reminds me, on those days when every word I type feels like drivel, that there are really good things hiding underneath the crap. Your writing is always better than you thought it was.

The other thing I've learned? You need to stop allowing yourself to procrastinate via Facebook and Gmail and... blogs.

And so, back to the drawing board!

Resolution Time!

I'm a big, big fan of setting goals, writing them down and posting them up where I'll have to stare at them. I come from a long, long line of crazy "list" people. There's nothing more satisfying than taking down that list that you've been staring at and getting to cross something off it with a big, juicy marker.

Usually I do this on my birthday, which is in November, but this year the goal-making sort of slipped on by me. I've thought a lot this week about what I want to focus on this year- what I want my life to look like- and what kinds of goals will help to get me there. I've realized recently that I'm happiest when I have a clear and inspiring sense of purpose. Being a camp counselor made me happy for many reasons, but chief among those was the fact that it gave me a strong and abiding sense of purpose every day. A busy, purpose-filled Kate is a happy Kate.

My problem is that I tend to be a little overambitious. I've tried to make sure that my goals for this year are 1) within my control and 2) not completely outrageous. I wanted goals centered around what mattered to me most and that would pose a good challenge.

So here they are:

1) Outline and write full draft of novel #2.

2) Finish editing Spellbound and seek representation for it.

3) Find a job that satisfies my needs (i.e. contributes to bills, points me towards future career goals, allows time for writing).

4) Learn a new artistic skill (photography, print making... TBA)

5) Revise Alexander P. Dragon AND draw accompanying illustrations.

6) Write 1 letter a week to a friend or family member that I haven't talked to in a while.

7) Travel somewhere with Manfriend that we've never been to before.

8) Write two pieces of travel journalism and attempt to get them published.

Here's to a challenging, goal-filled New Year!

Proclaiming

It's been a week, and I've written all of five measly words.

Most "successful" writers will tell you, that's a very good way to NOT to get published. I've read a lot of pieces of writerly advice over the years, and the one nugget that is forever constant is to write every day. Those much-beloved and envied writers are currently squatting in my brain, wagging writerly fingers and bunching furry eyebrows. I was doing so well with every day. Until this vacation happened.

Because there has been jet lag. And family time. And countless small wonders that seem to fill every day to the brim: my Australian man friend laughing with Mom at her kitchen table. My man friend cooking us complicated dinners over overflowing glasses of red wine. Watching him soak in a place and culture that is still, in so many ways, new to him. Scrabble on the iTouch (What does it mean that I'm only getting 20 words out of a possible 150? That I should know what words like 'gaum' mean?).

Wonders aside, there have been seven days and no words. Hence this aspiring-writerly post. Because of all the things I want to see and achieve in 2010, becoming a better, more dedicated writer tops the list. Hell, it is the list.

I'm a big fan of making resolutions. Give me a challenge and poke me a few times: that's when the magic happens. The thing I've realized about resolutions is they're difficult to remember and to act upon if you don't proclaim them. Usually, proclaiming is reserved for when you get to the top of the mountain and dig that flag into the craggy earth, but I find that proclaiming counts most when you're at the beginning of that arduous climb. There is a power in telling the world what your goal is: it carves itself out in your mind and the minds of others, helping to make you into whoever you're becoming. Of course, proclaiming a goal doesn't ensure that you'll achieve it. You still have to put one foot in front of the other, continuously and with intent. Proclaiming just makes your goal clearer, more tangible- it makes it real.

It also makes you more accountable. If I proclaim a goal in my head and don't meet it, no one will know. No one but me, anyway. I'll be disappointed, but I'll find ways to excuse my falling short. When you let the world in on your goals, then you know that they know that we know. You have people willing to remind you about that thing you said was important to you that you are putting off. You know that if you cheat on your goal, there will be other people to mark your fear or laziness or whatever it is that is keeping that goal from becoming.

So, here is my small, very achievable December goal: I will write every day for at least a half an hour. Not read other people's blogs or scratch around in my notebook pretending to write. I will prove to myself that I can fit writing into my life no matter what else is happening.

But first, breakfast.

Nano, I Think It's Over Between Us

There are four more days in November: that means I should be at about 46,000 words. I'm currently squatting on 32,740.

For those of you who don't know, November is National Novel Writing Month (Nanowrimo). The challenge that Nanowrimo poses is to write 50,000 words in one month. That's a heap ton of words.

Not that I was worried, mind you. At the beginning of the month, I was flying. Since I was jobless and waiting-for-visa, I had all the time in the world. My fingers were singing along to the tune of thousands of words an afternoon. I was feeling badass and author-like.

Of course, I cheated. You're supposed to start the month with a fresh project, something you haven't yet started to write. I was already 65,000 words into my first novel-length project. The juices were flowing. I was at the 'By George!' stage of the process, where plot details finally click into place and you slide manically and excitingly towards the story's resolution. I had fallen in love with my characters, who were about to go through some big deal experiences- I couldn't very well STOP. So I used the first half of the month to finish. Fist-pumping ensued. Midnight brownies were made and consumed along with copious amounts of cheap champagne. Pupils became dilated to dish-plate status.

That got me to 20,000 words. I was feeling so excited by my writerly fervor that I soldiered right into a new project, thinking the first 30,000 words of that would go as smoothly as the last 20,000 of the other had.

My mistake.

The first section was great, as it always is: the idea was fresh, the characters were mysterious, and the plot-line was still misty. Then I hit the section where I realized that the words coming out of my fingertips weren't doing justice to the story in my head. Not even close. My characters were silly. My plot was undefined. I seriously considered printing out a copy just so I could set it on fire.

I have to tell you, Nanowrimo, I applaud your enthusiasm and your general goal. I just don't like to write to word count. It gives me no time to brainstorm about my characters, or pace around my office flapping intermittently and talking to myself. It forces me to pump out 'filler' words that I'm going to have to throw out later. It turns writing into a race, and getting to a certain word count into 'winning'. The thing is, a really bad draft makes for a terrible trophy prize.

Thanks, Nano, for teaching me that this is NOT the way I like to write.

Read of the Week

Now that I actually have time to read for pleasure, I find myself wandering into bookstores all over Brisbane and being too overwhelmed to choose a book out, which got me thinking about that standard get-to-know-you question, "What is your favorite book?". I've always thought that was a boring, not to mention unanswerable, question.  So I've come up with some more interesting ones in an attempt to shake off my book buyer's block.

What was your favorite book as a child? 

The Fledgling by Jane Langton. Even as an adult, I still dream myself into that story.

What book did you have the strongest positive emotional reaction to? Negative reaction?

Fried Green Tomatoes at the Whistle Stop Cafe by Fannie Flagg. This book made my heart overflow with happy feelings, and the conviction that love can heal anything.  

Giovanni's Room by James Baldwin. I hated the whiny, selfish main character so much that I threw this book against the wall and wished evil things on it. I actually felt like he'd insulted me personally with his fictitious decisions.

What book have you most identified with?

I Capture the Castle by Dodie Smith. When I first read it, I felt like someone had ripped off my shadow and made it into the book's main character. It was a surprisingly fulfilling experience, discovering a piece of myself in someone else's book. 

What book do you read over and over to escape?

Harry Potter, of course. Like all "trendy" reads, I didn't want to love this series, but I inevitably fell for it, utterly and eternally.  No one creates a world that readers long to run into like J.K. Rowling. I'm very grateful to her for that.

What is the most rewarding book you've ever read?

Crime and Punishment by Dostoevsky. Reading this book felt like wading through molasses; it was arduous and difficult. That said, every page gave me something unique and rich. Every chapter taught me a lesson about literature, about reading, and about living.

What is your favorite guilty pleasure book?

The Sookie Stackhouse series by Charlaine Harris. Vampires, Southern culture, and detailed sex scenes? Sign me up. When I'm feeling stressed, this series is my go-to, and I enjoy every page. Don't tell anyone, though.

When forced, what do you tell people is your favorite book, and why that one?

Wuthering Heights by Emily Bronte. It is intense, haunting, beautiful, and dark- it is a timeless work that transfixes even dubious readers with rich characters and a 'love story' that is tortured and real. If I was being honest, though, I'd say that's changed to The Tenant of Wildfell Hall by Anne Bronte, the much-forgotten youngest sister. Her tale may not be as immediately transfixing as Emily's, but it is, in many ways, more grown up, more haunting, and more beautiful. 

I'm looking for something that will sweep me up with good language and a captivating story. Any suggestions?