I’ve heard a good advice that says ‘Take the book you love and read it like writer.’ I have this book now and I wanted to ask just how exactly do I take it apart? I want to have some kind of plan to tackle it and understand why exactly I loved it and why I still remember it as something great. I want to learn but I’m not sure how.

nimblesnotebook:

How to Read Like a Writer:

1) Pick a scene. Any scene. If you’re writing an action-packed story, you might pick an action scene. Or maybe you just pick a scene that stuck out to you.

While you are reading the scene, highlight words and phrases that stick out to you. We’ll come back to this later.

Now answer the following question:

  • What happens in this scene? Why does this happen?

For example, in Harry Potter and the Sorcerer’s Stone, there is a scene in which Harry, Ron, and Hermione get caught in some vine things as a security measure. Hermione is the first to fall through. Why? Because she knew what to do and remained calm so that the vines would not grab her like they did her friends.

2) Reread the scene and answer the following question:

  • Why does the author make this happen?

What purpose did this scene have? Did it show character traits? Did it expand world building? Did it further the plot? Did it increase the action? Decrease the action? Start the action? Was it used as a threshold from one (metaphorical) world to the next?

3) Reread the scene and make a list of any new information that is given to the reader and everything that happens.

  • Why was it presented in this order?

If you switch around the order of a few things, does the scene cease to make sense? Is an info-dump created? Does the presentation affect pacing and mood? Note the relationship between the release of new information and the events of the scene. What happens when?

4) Go back to your highlighted words and phrases.

  • Why did you highlight these words and phrases?

What thoughts and feelings did they evoke? Were you reminded of anything? Was the language vivid? Can you spot any literary devices? Is there a rhythm to it (read it aloud)? Have you learned new ways to say things?

Once you’ve answered that, replace those words and rewrite those phrases with synonyms. How does the scene change?

Now change them again, but with the intention of making the scene grittier, or faster, or lighter in tone, or alliterative. How does it change the scene?

Switch around the original words and phrases. How does a change in juxtaposition and diction change the scene? Why is it better that a certain phrase is phrased a certain way?

5) Take general notes on all your favorite books

  • What is the POV? What is the tense? Does the POV change? Are most of your favorite books in this POV and/or tense?
  • On average, how long are sentences or paragraphs?
  • Are there a lot of main characters? Very few main characters? Lots of minor characters and only a few main characters?
  • What characters do you connect with most? What do they have in common (e.g., they tend to think about the world in a similar way)?

Rehab for writing injuries

bethofaus:

chicklette:

writerlyn:

onedamnminuteadmiral:

wrex-writes:

You’ve heard of “making writing a habit,” and you’ve tried, but the pressure to write fills you with horrible pain and dread. You spend all your time wishing you could write but somehow never writing. The “make it a habit” approach doesn’t work for you. But you still want to write, maybe even regularly. Is there nothing you can do?

Here is an alternative approach to try. A rehab program, as it were, for writers with a psychological “writing injury” that has destroyed their desire to write and replaced it with shame, anxiety and dread.


If you have a writing injury, you probably acquired it by being cruel to yourself, by internalizing some intensely critical voice or set of rules that crushes your will to write under the boot-heel of “you should.” “You should be writing better after all the years of experience you’ve had.” “You should be writing more hours a day, you’ll never get published at this rate.” “You should write more like [Hilton Als/Jeffrey Eugenides/Octavia Butler/Terry Pratchett/etc.].” “You should write faster/more/better/etc./etc.”

You know what, though? Fuck all that. Self-abuse may have featured heavily in the cool twentieth-century writer’s lifestyle, but we are going to treat ourselves differently. Because 1) it’s nicer, and 2) frankly, it gets better results. My plan here is to help you take the radical step of caring for yourself.


1) First of all: ask yourself why you aren’t writing. 

Not with the goal of fixing the problem, but…just to understand. For a moment, dial down all of the “goddammit, why can’t I just write? blaring in your head and be curious about yourself. Clearly, you have a reason for not writing. Humans don’t do anything for no reason. Try to discover what it is. And be compassionate; don’t reject anything you discover as “not a good enough excuse.” Your reasons are your reasons.

For me, writing was painful because I wanted it to solve all my problems. I wanted it to make me happy and whole. I hated myself and hoped writing would transform me into a totally different person. When it failed to do that, as it always did, I felt like shit.

Maybe writing hurts because you’ve loaded it with similarly unfair expectations. Or maybe you’re a victim of low expectations. Maybe people have told you you’re stupid or untalented or not fluent enough in the language you write in. Maybe writing has become associated with painful events in your life. Maybe you’ve just been forced to write so many times that you can no longer write without feeling like someone’s making you do it. Writing-related pain and anxiety can come from so many different places.

2) Once you have some idea of why you’re not writing…just sit with that.

Don’t go into problem-solving mode. Just nod to yourself and say, “yes, that’s a good reason. If I were me, I wouldn’t want to write either.” Have some sympathy for yourself and the pain you’re in.

3) Now…keep sitting with it. That’s it, for the moment. No clever solutions. Just sympathize. And, most importantly, grant yourself permission to not write, for a while.

It’s okay. You are good and valuable and worthy of love, even when you aren’t writing. There are still beautiful, true things inside of you.

Here’s the thing: it’s very hard for humans to do things if they don’t have permission not to do them. It’s especially hard if those things are also painful. We hate feeling trapped or compelled, and we hate having our feelings disregarded. It shuts us down in every possible way. You will feel more desire to write, therefore, if you believe you are free not to write, and if you believe it’s okay not to do what causes you pain.

(By the way: not having permission isn’t the same as knowing there will be negative consequences. “If I don’t write, I won’t make my deadline” is different from “I’m not allowed not to write, even if it hurts.” One is just awareness of cause and effect; the other is a kind of slavery.)

4) For at least a week, take an enforced vacation from writing, and from any demands that you write. During this time, you are not permitted to write or give yourself grief for not writing. 

This may or may not be reverse psychology. But it’s more than that.

Think of it as a period of convalescence. You’re keeping your weight off an injury so it can heal, and what’s broken is your desire to write. Pitilessly forcing yourself to write when it’s painful, plus the shame you feel when you don’t write, is what broke that desire. So, for a week (or a month, or a year, or however long you need) tell yourself you are taking a doctor-prescribed break from writing.

This will feel scary for some folks. You might feel like you’re giving up. You might worry that this break from writing feels too good, that your desire to write might never return. All I can say is, I’ve been there. I’ve had all those fears and feelings. And the desire to write did return. But you gotta treat it like a tiny crocus shoot and not stomp on it the second it pokes its little head up. Like so:

5) Once you feel an itch to write again—once you start to chafe against the doctor’s orders—you can write a tiny bit. Only five or ten minutes a day. 

That’s it. I’m serious: set a timer, and stop writing when the time’s up. No cheating. (Well…maybe you can take an extra minute to finish your thought, if necessary.)

Remember: these rules are not like the old rules, the ones that said, “you must write or you suck.” These rules are a form of self-care. You are not imposing a cruel, arbitrary law, you are being gentle with yourself. Not “easy” or “soft”—any Olympic athlete will tell you that hard exercise when you’ve got an injury is stupid and pointless, not tough or virtuous. If you need an excuse to take care of yourself, that’s it: if you’re injured, you can’t perform well, and aggravating the injury could take you out of the competition permanently.

For the first few days, all of the writing you do should be freewriting. Later, you can do some tiny writing exercises. Don’t jump into an old project you stalled out on. Think small and exploratory, not big and goal-oriented. And whatever you do, don’t judge the output. If you have to, don’t even read what you write. This is exercise, not performance; this is you stretching your atrophied writing muscles, not you trying to write something good. At this stage, it literally doesn’t matter what you write, as long as you generate words. (Frankly, it would be kind of weird and unfair if your writing at this point was good.)

6) After a week, you can increase your time limit if you want. But only a little! 

Spend a week limiting yourself to, say, twenty minutes a day instead of ten. When in doubt, set your limit for less than you think you’ll need. You want to end each writing session feeling like you could keep going, not like you’re crawling across the finish line.

Should you write every day? That’s up to you. Some people will find it helpful to put writing on their calendar at the same time each day. Others will be horribly stifled by that. You get to decide when and how often you write, but two things: 1) think about what you, personally, need when you make that decision, and 2) allow that decision to be flexible.

Remember, the only rule is, don’t go over your daily limit. You always have permission to write less.

And keep checking in with yourself. Remember how this program began? If something hurts, if your brain is sending you “I don’t wanna” signals, respect them. Investigate them, find out what their deal is. You might decide to (gently) encourage yourself to write in spite of them, but don’t ignore your pain. You are an athlete, and athletes listen to their bodies, especially when they’re recovering from an injury. If writing feels shitty one day, give yourself a reward for doing it. If working on a particular project ties your brain in knots, do a little freewriting to loosen up. And always be willing to take a break. You always have permission not to write.

7) Slowly increase your limit over time, but always have a limit. 

And when you’re not writing, you’re not writing. You don’t get to berate yourself for not writing. If you find yourself regularly blazing past your limit, then increase your limit, but don’t set large aspirational limits in an effort to make yourself write more. In fact, be ready to adjust your limit lower.

When it comes to mental labor, after all, more is not always better. Apparently, the average human brain can only concentrate for about 45 minutes at a time, and it only has about four or so high-quality 45-minute sessions a day in it. That’s three hours. So if you set your daily limit for more than three hours, you may be working at reduced efficiency, when you’d be better off saving up your ideas and motivation for the next day. (Plus, health and other factors may in fact give you less than 3 good hours a day. That’s okay!)

Of course, if you’re a professional writer or a student, external pressures may force you to write when your brain is tired, but my point is more about attitude: constant work is not necessarily better work. So don’t make it into a moral ideal. We tend to think that working less is morally weak or wrong, and that’s bullshit. Taking care of yourself is practical. Pushing yourself too hard will just hurt you and your writing. Also, your feelings are real and they matter. If you ignore or abuse them, you’ll be like a runner trying to run on a broken ankle.

I know I’m going to get someone who says, “if you’re a pro, sometimes you gotta ignore your feelings and just get the work done!” 

NO. 

You can, of course, choose to work in spite of any pain you’re feeling. But ignore that pain at your peril. Instead, acknowledge the pain and be compassionate. Forgive yourself if pain slows you down. You are human, so don’t hold your feet to the fire for having human limitations. Maybe a deadline is forcing you to work anyway. But make yourself a cup of hot chocolate to get you through it, literally or metaphorically. Help yourself, don’t force yourself. If you’ve had a serious writing injury, that shift in attitude will make all the difference. 

In short: treat yourself as someone whose feelings matter.


Try it out! And let me know how it goes!

Ask a question or send me feedback!

THIS

This is the kindest writing advice ever. I love it.

This is amazing.

The same techniques can be used to help with a lot of life issues. As soon as you realise you are wanting to turn your back on something, that it hurts, then start with that ‘be curious’ step and take it from there. We feel like we feel for good reasons. So often the subconscious knows best. Please be kind to yourselves and learn to listen in. It’s worth it in the long run. (Sending so many hugs!)

The Most Important Advice I Can Give To Writers

petermorwood:

blue-author:

blue-author:

Go to YouTube.

Watch Bob Ross.

Listen to him talk about painting.

Seriously, this guy… this guy is full of advice for a writer who’s having trouble getting started.

He’s not writing, he’s painting, but… okay, like, he can sit there and talk about geology and the diffusion of light and make it clear that he knows what a mountain is and he knows what goes into the interplay of light and perspective, and then you’ll watch him smear some black paint on top of a still wet canvas with a thin metal wedge, and then take a brush and push it downwards so that it mixes with the base in such a way that it ends up lighter at the bottom and eventually just fades into the background.

And then he’ll take some titanium white paint and do the same thing to add snow and light, and you’re thinking… “But… interplay. Geology. Perspective.” and he’s just pushing paint around, talking about figuring out where the north slope lives and how there are no mistakes, just happy little accidents and then he steps back at the end and holy moly, it looks like he painted a mountain.

It doesn’t look like he pushed paint around for ten minutes, it looks like he looked at a real mountain somewhere and copied it.

Is there a real mountain that matches the painting? No. Could he use this method to exactly replicate an actual mountain? No. But he made a mountain that looks real enough, and even if he didn’t have 100% control over the final look of it, he conjured it out of his imagination.

This is the trick that more writers need to learn. It’s possible to create a story or even a whole book through meticulous planning and careful construction, but… most people can’t do that. It’s not that we’re not willing to put in the work, it’s just too easy to get stuck. Too easy to never leave the “Well, I’m still worldbuilding/researching” stage. Too easy to write oneself into a corner or get bogged down in the details.

So this is my advice today for fiction writers:

Learn how to speed paint.

Learn how to work wet on wet.

Learn how to push paint around on the edge of a knife.

Learn how to figure out where things want to live by feel and how to allow for happy little accidents.

There will be places for fine details and intricate sketches. But when you’re staring at a blank canvas and you have no idea where to start… paint the whole thing blue and start scraping up some mountains. 

Quick, broad strokes. That’s all it takes to get you started. Quick, broad strokes and a few happy accidents.

Reblogging for myself.

Useful advice, especially this –

It’s possible to create a story or even a whole book through meticulous
planning and careful construction, but… most people can’t do that. It’s
not that we’re not willing to put in the work, it’s just too easy to get
stuck. Too easy to never leave the “Well, I’m still
worldbuilding/researching” stage. Too easy to write oneself into a
corner or get bogged down in the details.

Until you’ve created a sky and a landscape there’s no need to research the shape of leaves on trees, and even less need to find out how their veins wiggle. If something that minuscule is an important plot point – and if it’s too minuscule it’ll start to feel like a Deus ex Machina – come back to it later once the story is complete.

I speak from guilty rivet-counting experience here. Four carefully-researched chapters out of a projected fifteen Did Not Make A Finished Book – and perhaps never will, because I got so embroiled in tweaks and polishes that I literally lost the plot and spoke (or thought) the Eight Deadly Words. Bad enough when a reader says them; if it’s the author, there’s a problem. That material is now in the “check this later maybe” folder that’s the Dropbox equivalent of shoved to the back of the drawer. At least it hasn’t been deleted. (Never Delete Anything.) Be warned by me.

(It’s why so many of my arms and armour (etc) posts have a slant towards use in writing, and why you’ll often see observations like “if specific – a 7.62mm Nagant revolver with a Bramit suppressor – isn’t vital, vague – a silenced handgun – works fine with less chance of error”.)

@dduane often uses and mentions C.J. Cherryh’s “ten-item-shopping-list” technique – ten sequential incidents to take a story from “Once upon a time” to “The End”, and ten smaller incidents inside each larger one to take a chapter from its start to its finish. That’s what will happen to he things at the back of the drawer when/if they come out again.

Given how many novels DD and CJ have written, it’s a technique worth noting even if outlines aren’t your thing.