June 6th, 2011%
A writer’s life is littered with break-ups. Each story is meant to have an ending. But, endings are subjective.
Re-read. Re-read.
The frequency of edits wanes. Punctuation ceases to draw your attention. All the options presented in the beginning of the story have been explored. The characters have gotten where they needed to go. Your edits are the only things you’re editing.
It’s time to start another story, but new stories lead to new details that accumulate into almost cohesive sections that could be added to your finished story to make it better.
Better, but different. Different and better. Maybe not better, but different.
You’ve finally gotten to know these characters, but your relationship with that story is over.
April 28th, 2011%
I’ve got a month to get my next story in shape for this year’s Tin House Summer Workshop. I started last year’s story with dialogue. This year’s story started with a character.
I want to be on the brink of my writing ability when I go to the workshop. I figure I’ll get the best feedback if I get the story to the point of my own limitations. When I can’t possibly add or subtract without destroying or drastically changing the story, it’s ready. I’ve saved eight drafts in case I need to dig for lost sentences while I develop the character who is supposed to guide me through edits.
Other preparation includes the following:
- I had my best reader give me a philosophical reading of the characters within the context of the story.
- I read Mystery and Manners by Flannery O’Connor to humble and prepare me to take advice.
- I posted a current draft in The Woodshed which is an online workshop hosted on Fictionaut.com. The Woodshed currently has 23 members and allows you to edit your draft between comments so each reader can comment on the most recent version. I received five comments in a week which was perfect for gaining some editing momentum and developing the characters a bit more.
At last year’s Tin House Summer Workshop, Charles D’Ambrosio told me to eliminate abstraction and focus on concrete writing. I also got some suggestions for more detail and a collection of reader reactions from the rest of the workshop participants which helped me fine-tune.
I’m not sure this story has a concrete foundation, but I know it’s way better than last year’s. Plus, I got up in the middle of the night with a great ending that should guide the middle section to align with the other parts.
February 21st, 2011%
Reading and rereading is critical for editing. Rhythm, patterns, and craft weakness become apparent. Characters become acquaintances rather than an amalgam of intent.
I always reread to the section where I am actively writing, making minor changes to dialogue, description, and action on my way. This generally occurs after wholesale rearrangement of paragraphs and sections, when the bones of the story are in place.
At some point writing becomes editing, and the characters become independent.
A writer can choose to kick-start life at any targeted age, so it’s not like revisions can be calibrated like dog years to yield a certain hoped for maturity; however, the writer is essentially raising their characters through numerous revisions so that the characters start making their own decisions and acting without the writer directing them.
When characters become independent or mature, I know they’re going to take me somewhere cool. The story gets more layers because I get to notice what they notice, rather than guess at what I need to make-up to make something seem realistic.
Maturity shouldn’t be confused with reliable. Characters get lazy. They provide false endings. They disappear during dialogue. The writer still needs to provide discipline and coax the characters to finish the story.
November 3rd, 2010%
Art is a reaction to life. It doesn’t need time to think unless it’s trying to be something it’s not or it doesn’t know what it wants to be.
Performance is an artist’s reaction to their own art within the context of a specific moment.
Reactions can be live or recorded. Pre-recorded reactions which are then performed live are extremely subjective. Musicians and writers negotiate the quality of their reactions based on personal expectations and audience reactions. Energy level. Focus. Connection. Genuine reactions stand-out. Skillful improvisation helps.
According to Johnny Rotten:
I’m not here for your amusement. You’re here for mine.
When I’m at a club, energy and improvisation are just as important as the music. If DJ Pozessed is around, he’ll tell me why I don’t like it, but I’ve already left the dance floor. It’s just a reaction.
While listening to Public Image Ltd performing Poptones, I was reminded of how harshly I judge live music when I’m not at a concert. It’s out of context for me. My reaction is different. I momentarily feel like a connoisseur when I like a live version because I think it’s harder to like rougher versions of things, which makes me a fake connoissuer because I have no actual criteria to be an actual critic.
Immediate reactions to art judges the artist’s reaction to life. Craft and skill can make the artist’s reaction more accessible, rather than change or improve it. Critics judge technique. I either like it or I don’t.
October 18th, 2010%
Every writer develops a unique relationship with writing. There are boundaries, commitments, and expectations. But, you can pretty much do whatever you want to your writing.
According to Vince Lombardi: “Practice does not make perfect. Only perfect practice makes perfect.”
When I realize there’s nothing more I can do, I move onto another draft or start a new one. I’ll admit it. I’m a cheater and a quitter. Sometimes, I just get to a point where everything I do just screws things up until I eventually forget what I wanted to do and now I don’t even want to look at the thing.
Maybe I should try harder to make things work. Or maybe I should make as many mistakes as quickly as possible to become a better writer. I need practice.
In competitive sports, you finish a race and talk about it. Your coach and your team know you’ve got a personal best and some goals to get better. They’ve seen you practice and compete. You also know where you stand, even if you’re not the best, which makes you more realistic. Talent and hard work are only part of the equation.
In order to take Vince’s advice and get lots of practice quickly, I’ve decided to give typetrigger a try.
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