Tag: Writing Advice

The Robin Lee Hatcher Interview

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A conversation with romance novelist Robin Lee Hatcher

by Jim Denney

Robin Lee Hatcher is the best-selling author of more than seventy-five novels and novellas featuring emotionally charged stories of love, faith, and courage. She has won a shelf full of awards, including the prestigious Romance Writers of America’s RITA® Award for excellence in romance fiction. She has been an eleven-time RITA finalist and has won the award twice. She has also won the RWA’s Lifetime Achievement Award. the American Christian Fiction Writers’ Lifetime Achievement Award, the Christy Award, and ACFW’s Carol Award.

A mother and grandmother, Robin and her husband reside in the Boise, Idaho, area. Her most recent books include Who I Am with You (Legacy of Faith, Book 1), You’ll Think of Me (Thunder Creek, Book 1), You’re Gonna Love Me (Thunder Creek, Book 2), and An Idaho Christmas: Past and Present (two heart-warming Christmas novellas). Visit Robin at her Facebook Author Page at http://www.facebook.com/robinleehatcher, and her website at https://www.robinleehatcher.com.

RobinLeeHatcher-WhoIAmWithYouI’ve known Robin for a number of years, and when I learned how she approached the writing process, I asked if she would let me share her creative approach with my readers at Writing in Overdrive. I always like to find out how writers are drawn to a life of storytelling.

Some people divide writers into two camps — (1) those who plot out an outline of their story before they begin writing (usually called “outliners” or “plotters”), and (2) those who “write by the seat of their pants.” Non-outliners are often referred to as “pantsers” — an inelegant term, in my view. I prefer the term “cliff-jumper,” derived from Ray Bradbury’s advice to writers, “You’ve got to jump off the cliff and build your wings on the way down.” In other words, don’t outline — just leap off the cliff and into your story and you’ll discover your characters and your plot along the way.

Now, I’m not saying that cliff-jumping is the only way to write. Outlining (sometimes called “pre-writing”) is a perfectly legitimate approach the creative process. J. K. Rowling, J. R. R. Tolkien, William Faulkner, Joseph Heller, Kurt Vonnegut, John Grisham, Jennifer Egan, Norman Mailer, and James Scott Bell are some well-known outliners.

Everybody is wired differently, so do whatever works for you. The problem is that a lot of cliff-jumpers have been told they are “doing it wrong” if they don’t outline. If you’re a natural-born cliff-jumper, you’re in excellent company. Madeleine L’Engle, Ernest Hemingway, Ray Bradbury, Theodore Sturgeon, John Steinbeck, Margaret Atwood, Colleen Coble, Stephen King and Robin Lee Hatcher are all cliff-jumpers. Some writers — Piers Anthony, for example — are a hybrid, doing a lot of cliff-jumping within a loosely structured outline. So if you either can’t outline or you don’t want to outline, you’re in good company.

How did Robin Lee Hatcher become a writer? She didn’t always dream of becoming a writer, even though she was a avid reader. In fact, she says she went to her first day of first grade with a single goal: learn to read. She completed her first day of school and still didn’t know how to read, so she told her mother there was no point in going back the next day. But her mother sent her back to school, and she eventually learned to read — and write.

She loved drama and storytelling, and she dreamed of being a movie star. When she was in the fifth grade, she made up a story about her mother, claiming her mom had moved west in a covered wagon along the Oregon Trail. As a consequence, her mother instructed her in the difference between fiction and fibbing.

In her twenties, inspired by Margaret Mitchell’s Gone with the Wind, Robin got an idea for an epic romance story. She talked about the story with friends, and finally realized that books only get written by writing them down, not by talking about them. She wrote her first novel in longhand on yellow legal pads, then typed it up during lunch breaks on an IBM Selectric typewriter at work. It took her nine months to write it, then another two-plus years to get it published.

More than seventy-five books later, Robin Lee Hatcher is still making up intriguing stories and selling them to an eager public. She recently told me about her creative process.

Q: As a writer, you are what some would call a “pantser” — or what I would call, borrowing Ray Bradbury’s term, a “cliff-jumper.”

RobinLeeHatcher-You'llThinkOfMeRobin Lee Hatcher: That’s right. I really like that term “cliff-jumper.” It’s a good description of my writing process. I do not outline. I do not use a storyboard or sticky notes or Scrivener’s cork board. Rarely do I go back and rework anything I’ve written while I’m in first draft. I keep writing forward. If I need to find an answer to a question, I stop and research, then keep going.

Q: How much planning goes into your characters before you begin? Do you know your characters well before you start writing, or do you get to know them as the story develops?

Robin Lee Hatcher: I write first-person autobiographies of my major characters from birth to when the novel opens. This enables me to understand their backgrounds and motivations. I know where they hurt. I know what they want. I have a good idea which characters will come into conflict with each other, and why. Then I write them in a stream-of-consciousness style. I just let my imagination take wing. My stories are totally character-driven, not plot-driven. The plot is simply what emerges from the interaction of the characters.

Q: Your approach is a great illustration of what Bradbury meant when he said, “Plot is no more than footprints left in the snow after your characters have run by on their way to incredible destinations.” What about your setting? Certainly you need to know where your story takes place before you begin to write.

Robin Lee Hatcher: To an extent. I usually have an idea of my setting, but it’s rarely very concrete. The setting tends to come to life as I write. Almost all of my settings are fictional towns. I know the reality of where they are set but the towns are laid out in ways that best serve my stories. When I begin a novel, I know my main characters, the opening scene, and I have a vague idea of where I am headed. That’s all I need to begin writing.


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Q: Have you ever tried outlining?

Robin Lee Hatcher: Yes. I learned that it just doesn’t work for me.

Q: Why not?

Robin Lee Hatcher: Writing for me is all about discovering the story. When I tried to outline the story in advance, I realized that I no longer wanted to write the book because I already knew how it was going to end. Why write it once I know that? Knowing everything about my story in advance only dampened my enthusiasm for writing it down. It made me anxious to set it aside and move on to a new idea.

Writing without an outline, I get up and go to my computer every morning so that I can discover what happens next. I’m just like my readers in that regard. They read my books to find out what happens next, and that’s why I write them. The deeper I write into the story, the better I understand the story, and the more I know what will happen next.

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Photo: Tony Webster, “Night Driving on the Gunflint Trail in Northern Minnesota”

Q: E. L. Doctorow said about writing, “It’s like driving a car at night. You never see further than your headlights, but you can make the whole trip that way.” Is that an apt description of how your creative process feels? And isn’t it a bit scary?

Robin Lee Hatcher: Yes, writing for me is a lot like driving at night on a deserted highway. My imagination serves as a set of headlights, providing enough light each day to keep me on the road. Are there twists and turns ahead? Is it scary not knowing what’s out there in the dark? Yes, a bit. But it’s also exciting. All the answers to my story are out there, beyond the range of the headlights.

Q: Have you ever wished you could be an outliner instead of a cliff-jumper?

Robin Lee Hatcher: Yes, there was a time when I thought it would make the writing process much easier if I could pre-write the novel, then breeze through the actual writing. One time, years ago, I was at a conference. As I talked to different writers about the workshops they were attending, it occurred to me that all the character-driven novelists were attending the plotting workshops and all of the plot-driven novelists were attending workshops on characterization. Why were they doing that? Were they trying to improve their craft and sharpen their writing skills? Yes. But more than that, I think that, whether they realized it or not, they were also looking for an easier way to write a novel.

RobinLeeHatcher-You'reGonnaLoveMeWhen I came to that realization, I quit feeling guilty about not being a plotter. I decided to embrace the way God made me to write. This how my brain works, and I’m good with that. I don’t need to change. Cliff-jumping works for me. There is such freedom in getting to the point where you accept that this is who you are as a writer. If you can only write a novel by driving in the dark without a roadmap, that’s fine. If you need to outline your plot before you begin, that’s fine, too.

The truth is, there’s no easy way to write a novel. It’s hard work, whether you’re a cliff-jumper or an outliner. With study and practice, some aspects of writing become easier and more natural, but it’s still hard work. In some ways it becomes even harder, because as we increase our confidence and our skill-level, we want to challenge ourselves more and stretch ourselves in new directions.

Of course, I had to try everything early on in my writing career. I tried the plot-motivation-whatever chart. I tried outlining a novel from start to finish. I’ve read tons of how-to books with all kinds of tips and tricks and I’ve tried most of the suggestions I came across. And in all of that reading and experimenting, I’ve discovered what works for me and what doesn’t.

Q: You said that you don’t use Scrivener—

Robin Lee Hatcher: Well, I don’t use Scrivener’s cork board feature, but Scrivener is a very powerful and useful tool for writers. I do use it. I love the character pages in Scrivener. I love the way you can add photos and details and insights about your characters as you go along. So I enjoy using Scrivener, but I don’t use it for outlining. I use it to make my creative process flow more freely.

Q: One thing I talk about a lot on the Writing in Overdrive website is the power of the unconscious mind to enable us to write faster and to be more creative and uninhibited. What role does the unconscious mind play in your creative process?

Robin Lee Hatcher: I’m convinced that much of my writing happens in my unconscious before I’m ever aware of it. Sometimes the writing even happens while I sleep. I don’t mean that I get plot ideas from dreams — although I have actually dreamt some scenes. I mean that, somewhere below the surface of my awareness, my brain is working on the story. So while it sounds like I just wing it, there’s an unconscious creative process going on that I’m not aware of. That process is working out interactions between characters, exploring plot possibilities, and making intuitive leaps that my conscious mind would never think of.

Q: This is a phenomenon many writers observe during the writing process. Ursula Le Guin said, “I allow my unconscious mind to control the course of the story, using rational thought only to reality check when revising.” And Anne Lamott talked about the need to align ourselves with “the river of the story, the river of the unconscious.”

RobinLeeHatcher_AnIdahoChristmas_PastandPresent_300dpiRobin Lee Hatcher: Exactly! During every writing session, there are probably two or three things that emerge — ideas, insights, connections, entire scenes — that I wasn’t consciously aware of at the start, but at some unconscious level my brain was working on the story. When I’m writing, these ideas come to the surface. We think it comes out of nowhere and we call it “inspiration,” but I think it often comes from our God-given unconscious self. And, of course, God works through us and inspires us when we are open to him and listening to him.

That’s why it’s so important to show up for work every day. We won’t receive our daily allotment of inspiration until we sit down, place our fingers on the keyboard, and discover what our unconscious creativity has been working on.

Q: Robin, the words rewriting and revising are sometimes used interchangeably, but technically they are not the same thing. Rewriting is more drastic, and usually involves major restructuring, such as adding or deleting an entire subplot or character arc, inserting new scenes, or removing scenes that detract from the storyline. Revising is essentially buffing and polishing and perfecting a novel that is structurally sound. Do you find that writing without an outline is an advantage or a disadvantage when it comes to rewriting or revising your first draft?

Robin Lee Hatcher: I don’t think my creative process gives me an advantage or a disadvantage. Both outliners and cliff-jumpers need to revise. I don’t generally have to do major rewrites, but they have happened on occasion. Most of the time, however, when I finish a first draft, I do a proof and polish, then turn it in. I’ve been tweaking and polishing throughout the first draft, so it is usually in good shape.

Because most of my books are romances, I begin with a hero and heroine and I know their history, their lives leading up to the story. For instance, with my latest novel, I know that Jessica is a pregnant widow whose husband cheated on her and he died in a car wreck just after telling her he was leaving her for another woman. And I know that Ridley is a tech guy who got involved in a political scandal for which he was blamed. Both are trying to hide from life and keep people from knowing who they really are. Ridley goes to Jessica’s small town and becomes her neighbor. Their romance begins.

Now, because it’s a romance, we know that the two of them will get together at the end. So I just start writing toward that moment when they get their Happily Ever After. Sometimes I have a glimmer of an idea as to how they will get there, but I usually don’t. I’m driving in the dark.

My first drafts tend to be pithy and concise, so my revisions usually involve fleshing out the scenes I’ve written to make them longer, more emotionally involving. As a romance writer, revisions usually involve going deeper into my characters’ emotions.

Q: I think many outliners have a more adventurous, cliff-jumping spirit than they realize. I’ve known many writers, myself included, who started out with an outline, then wrote and wrote without even looking at the outline. By the time the book was written, it was a very different story than the one in the outline. Along the way, outliners generally discover depths to their story they never imagined at the outset. They discover new characters, new plot twists, and often come up with a completely new ending.

Robin Lee Hatcher: I agree. I don’t think plotters are slaves to their outlines. I’m sure they are constantly tweaking and refining their ideas as they write, whether in broad ways or subtle ways. The book they planned and the book they wrote are often very different from each other. An outline doesn’t have to be a straight-jacket. If you’re a plotter, then your outline is your roadmap. But if, along your journey, you stumble onto a road that isn’t on the map, you’re perfectly free to explore it.

No outlining writer should ever tell a cliff-jumping writer, “You’re doing it wrong.” Or vice versa. A plotter feels more freedom with an outline to follow. A cliff-jumper feels more freedom without an outline. That’s great! Whatever works for you, do that. Enjoy your freedom to create.

Q: That’s great advice for any writer. Thank you, Robin, for sharing your experiences and insights.


WritingOverdrive-Medium350x550

     

Discover the uninhibited creative power to write faster and more brilliantly than ever before. Read Writing in Overdrive: Write Faster, Write Freely, Write Brilliantly by Jim Denney, Kindle edition $3.99. [Trade paperback edition $7.75]

MuseOfFire-Medium350x550And for a 90-day supply of inspirational and motivational writing insight, read Muse of Fire: 90 Days of Inspiration for Writers by Jim Denney, Kindle edition $2.99. [Trade paperback edition $14.95]

Discover how to conquer the eight most common writing fears. Read cover-1writefearlesslyjdWrite Fearlessly! Conquer Fear, Eliminate Self-Doubt, Write with Confidence by Jim Denney, Kindle edition $3.99. [Trade paperback edition $7.99.]

These books are designed to motivate you, get you writing with confidence and enthusiasm, and propel you toward your goals and dreams.

 

 

Bob Dylan: Songwriter in Overdrive

by Jim Denney

I was as shocked as anyone when I heard that Bob Dylan had been awarded the Nobel Prize for Literature on October 13, 2016:

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The Swedish Academy’s announcement of Bob Dylan’s Nobel Prize for Literature.

Don’t get me wrong. I’m a Bob Dylan fan. Have been since I first heard his music. For more than fifty years, he’s had more influence on American music and culture than anyone else I can think of. Songs like “Blowin’ in the Wind,” “The Times They Are a-Changin’,” “Subterranean Homesick Blues,” and “When the Ship Comes In” — that’s the soundtrack of my adolescence, when I first began thinking seriously about the Bomb and Vietnam.

But the Nobel Prize for Literature? Come on!

The Swedish Academy claimed to have given Dylan the award “for having created new poetic expressions within the great American song tradition.” There are already enough awards for music, and Dylan has won them all. But again I ask — Literature?

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Bob Dylan at the Civil Rights March on Washington in 1963. Photo by Rowland Scherman, the National Archives (public domain).

There’s an unambiguous definition of “literature” — “a body of written works.” Literature is work that is written to be read. Music is work that is written to be listened to. One of the most essential truths of literature is that words have meaning, words are important. And the word literature shouldn’t be misused.

Music ain’t literature. The Nobel Prize has jumped the shark.

Yet there are parallels between the creative process that produces literature and the creative process that produces music. We can learn some useful principles for writing stories and novels by listening to this Nobel-winning folk-blues troubadour, Bob Dylan.

It turns out that Dylan wrote songs in very much the same way writers like John Steinbeck and Stephen King wrote novels, and the same way Ray Bradbury and Anton Chekhov wrote short stories. He silenced his inner critic, wrote from the unconscious mind, and wrote quickly, without thinking or critiquing what he wrote. When Dylan wrote songs, he was writing in overdrive. As a songwriter, he compared himself to story writer Edgar Allan Poe and poet John Keats.

He once told an interviewer, “It’s nice to be able to put yourself in an environment where you can completely accept all the unconscious stuff that comes to you from your inner workings of your mind. And block yourself off to where you can control it all, take it down. . . . Edgar Allan Poe must have done that. People who are dedicated writers.”

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How did Dylan tap into those unconscious inner workings? He says our unconscious mind contains both thoughts and memories, some good, some evil, and both the good and the evil bubble up from the unconscious as grist for the creative process. As we create, we sort through out all this unconscious raw material, and we sift out the evil thoughts (which he calls “baggage”) and we distill the good memories and ideas into the creative process. “You must get rid of all that baggage,” he said. “It’s important to get rid of all them thoughts.” [Source: Jonathan Cott, editor, Bob Dylan: The Essential Interviews (New York: Simon & Schuster, 2017), 393.]

Once the unconscious creative mind has given up its random contents, the conscious and rational critic-editor within us conducts “some kind of surveillance” of the good thoughts that remain. The rational mind sorts through the chaos and disorder that the unconscious mind has produced, imposing an orderly structure on ideas, words, images, and symbols thrown off by the creative explosion of the unconscious mind. In Dylan’s songwriting, it all happens very quickly, just as a story is written quickly when the author is writing in overdrive.

Dylan told an interviewer, “The best songs to me — my best songs — are songs which were written very quickly. Yeah, very, very quickly. Just about as much time as it takes to write it down is about as long as it takes to write it. . . . You can still stay in the unconscious frame of mind to pull it off, which is the state of mind you have to be in anyway.” [Source: Benjamin Hedin, Studio A: The Bob Dylan Reader (New York: W.W. Norton & Co., 2004), 213, 215.]

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John Keats, portrait by Joseph Severn (detail), National Portrait Gallery. Public domain.

He recalled that he wrote the song “Every Grain of Sand” while in a transcendent state — not a drug-induced state, but a state of being in touch with his unconscious mind, the state I call “writing in overdrive.” Dylan added, “Yeah. In that area where Keats is. Yeah. That’s a good poem set to music.”

Dylan’s reference to the English Romantic poet John Keats (1795-1821) is significant. Keats created from the unconscious. He summoned powerful word-pictures from his unconscious mind while in a state of overdrive. In a letter to his friend Benjamin Bailey, November 22, 1817, he wrote, “O for a life of Sensations rather than of Thoughts!” And in a letter to his younger brothers George and Thomas Keats, December 22, 1817, he describe a quality “which Shakespeare possessed so enormously — I mean negative capability, that is, when a man is capable of being in uncertainties, mysteries, doubts, without any irritable reaching after fact and reason.”

This “negative capability” Keats wrote of, the ability to immerse oneself in sensations and uncertainties and mysteries, was the same creative process Bob Dylan practiced. It’s a process Ray Bradbury reminded himself of when he hung a sign next to his typewriter that read, “Don’t think!” The unconscious mind doesn’t think. The writer-in-overdrive doesn’t think. Our creative unconscious mind dreams, feels, imagines, free-associates, and throws off a brilliant shower of sparks composed of ideas and sensory impressions.

That’s what Bob Dylan is saying to you and me as writers: Stop thinking. Write unconsciously. Turn off your mind, listen to your unconscious, and write a song, a story, a novel, a play. And who knows? Maybe the next time your phone rings, it will be the Swedish Academy inviting you to Sweden to accept your Nobel Prize for Literature.

Hey, it happened to Dylan. It could happen to you.


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Discover the uninhibited creative power to write faster and more brilliantly than ever before. Read Writing in Overdrive: Write Faster, Write Freely, Write Brilliantly by Jim Denney, Kindle edition $3.99. [Trade paperback edition $7.75]

MuseOfFire-Medium350x550And for a 90-day supply of inspirational and motivational writing insight, read Muse of Fire: 90 Days of Inspiration for Writers by Jim Denney, Kindle edition $2.99. [Trade paperback edition $14.95]

Discover how to conquer the eight most common writing fears. Read cover-1writefearlesslyjdWrite Fearlessly! Conquer Fear, Eliminate Self-Doubt, Write with Confidence by Jim Denney, Kindle edition $3.99. [Trade paperback edition $7.99.]

These books are designed to motivate you, get you writing with confidence and enthusiasm, and propel you toward your goals and dreams.

Writing Without Rules

 

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Hemingway in 1939

“There is no rule on how to write. Sometimes it comes easily and perfectly; sometimes it’s like drilling rock and then blasting it out with charges.” 
—Ernest Hemingway

Many writers obsess about the so-called “rules” of writing. They ask: “What are the rules? What if I’m breaking the rules and don’t know it? What does ‘Show, don’t tell’ mean? What does ‘Write what you know’ mean? How can I get published if I don’t know the rules?”

In my humble opinion, there are only a few “rules of writing” that are so fundamental and universal they truly deserve to be called “rules.” These are the commonsense commandments you must obey or you’re not a writer: “Read every day.” “Maintain a consistent writing schedule.” “Write whether you feel ‘inspired’ or not.” “Finish what you start.” “Never give up.” “Never be boring.”

Any other so-called “rules” are not rules at all. They should be called “principles.” A principle is a general guide to behavior that has proven useful in most situations. There have probably been times when you’ve said, “That’s a good principle, but it doesn’t apply to this situation.” Many people feel anxious at the thought of “breaking” rules. But if we would think of the “general principles of writing” instead of the “rules of writing,” we could relax and be more creative and uninhibited.

Screenwriter Robert McKee put it this way: “Story is about principles, not rules. A rule says, ‘You must do it this way.’ A principle says, ‘This works . . . and has through all remembered time.’ The difference is crucial. . . . Anxious, inexperienced writers obey rules. Rebellious, unschooled writers break rules. Artists master the form.”

Science fiction writer Will Shetterly (Dogland), agrees: “There are no rules in writing. There are useful principles. Throw them away when they’re not useful. But always know what you’re throwing away.”

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Leonard Bishop, in Dare to Be a Great Writer, suggests that, instead of feeling anxious or hesitant about breaking rules, we should sin boldly. He writes:

If you break a “writing rule,” make it noticeable. Exploit your infraction until your personal technique becomes another rule. . . .

A popular rule is “Don’t tell it, show it!” Yet, if you have a scene with ten people who are important and you cannot devise a way to bring them all into action, then tell [about] them — and keep on telling. . . . Offer them, one at a time, as though introducing the cast of a play. Narrate them, describe them, document them, use exposition to reveal their relationships to one another — until the information is down. Tell it all — interestingly. A writer should be bold, versatile, inventive, imaginative, rebellious.

Do not break any rules at the beginning of a novel. It is advisable to allow the reader to get used to your manner of writing before you astonish them with your daring attitudes. (This is not a rule: it is a suggestion.)

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E.B. White with his dog Minnie

E. B. White (The Elements of Style and Charlotte’s Web) observed, “There is . . . no infallible guide to good writing, no assurance that a person who thinks clearly will be able to write clearly, no key that unlocks the door, no inflexible rules by which the young writer may steer his course. He will often find himself steering by stars that are disturbingly in motion.”

Novelist Tom Robbins (Even Cowgirls Get the Blues) said, “Rules such as ‘Write what you know,’ and ‘Show, don’t tell,’ while doubtlessly grounded in good sense, can be ignored with impunity by any novelist nimble enough to get away with it. There is, in fact, only one rule in writing fiction: Whatever works, works.”

Ralph Keyes, in The Courage to Write, makes the case that a writer’s success depends far more on passion and conviction than on following any set of writing “rules”:

The more I read and write, the more convinced I am that writing has less to do with acquired technique than with inner conviction. The assurance that you have something to say that the world needs to hear counts for more than literary skill. Those writers who hold their readers’ attention are the ones who grab them by the lapel and say, “You’ve got to listen to what I am about to tell you.” It’s hard to be passionate. It means you must put your whole poke on the table. Yet this very go-for-broke quality grabs and holds a reader far more surely than any mastery of technique.

Fantasy master Neil Gaiman offers his own eight rules of writing. His first rule is so basic he expressed it in a single word: “Write.” Most of his other rules are less concise but equally basic: “Finish what you’re writing” and “Fix it.” His eighth and final rule is my favorite, because it repeals all other so-called “rules”—

The main rule of writing is that if you do it with enough assurance and confidence, you’re allowed to do whatever you like. (That may be a rule for life as well as for writing. But it’s definitely true for writing.) So write your story as it needs to be written. Write it honestly, and tell it as best you can. I’m not sure that there are any other rules. Not ones that matter.

Forget “rules.” Master the principles and follow them when they help you, abandon them when they hold you back. Relax and enjoy the creative process. Write with joy!

For more insight into how to write freely, powerfully, confidently, without inhibition, read my books for writers. Learn to tap into the incredibly powerful source of creative inspiration, “the Muse” or unconscious mind.

WritingOverdrive-Medium350x550

     

Discover the uninhibited creative power to write faster and more brilliantly than ever before. Read Writing in Overdrive: Write Faster, Write Freely, Write Brilliantly by Jim Denney, Kindle edition $3.99. [Trade paperback edition $7.75]

MuseOfFire-Medium350x550And for a 90-day supply of inspirational and motivational writing insight, read Muse of Fire: 90 Days of Inspiration for Writers by Jim Denney, Kindle edition $2.99. [Trade paperback edition $14.95]

Discover how to conquer the eight most common writing fears. Read cover-1writefearlesslyjdWrite Fearlessly! Conquer Fear, Eliminate Self-Doubt, Write with Confidence by Jim Denney, Kindle edition $3.99. [Trade paperback edition $7.99.]

These books are designed to motivate you, get you writing with confidence and enthusiasm, and propel you toward your goals and dreams.

Your Time to Write, Part 2

Continued from “Your Time to Write, Part 1”

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“I wasted time, and now doth time waste me.”
Shakespeare, Richard II, Act V, Scene V

Legendary Alabama football coach Bear Bryant kept a plaque on his office wall that read, “What have you traded for what God has given you today?”

I think of that question at the end of every day. I remind myself that God has given me the gift of 86,400 seconds that day. Once I’ve spent that portion of my life, it’s gone. What did I get in return? Did I spend those seconds wisely?

With these questions in mind, here are four more time management principles to launch you toward your writing goals:

Third, make time and space to write even if you don’t have the time or space. There’s no “later.” There’s no “when I get around to it.” There’s no “when I have more time.” There’s only now. If you don’t write now, as busy as you are, you won’t ever write. Writers don’t “get time” to write or “find time” to write. They make time to write.

Heed the wisdom of Stephen Koch, author of the Modern Library Writer’s Workshop: “You don’t have time? Make that time. This is essential. Only you can make and defend the time you need for your work. Nobody is going to give it to you. …  You must make time or you will not write at all. Simple as that. And be warned: For every writer, at every level of fame and productivity, making and defending writing time is a lifelong battle. It’s not just hard now. It will always be hard.”

Every writer needs a creative space. It doesn’t need to be a plush office overlooking the seashore. In fact, you’re better off without such distractions. As a writer, your job is not to look out the window, but to look within. A desk, a chair, a computer, and you’re set.

Your creative space does not have to be in your home. I have a successful writer friend who writes his novels in a coffee shop. But that’s not for me. I do most of my writing by speaking into a microphone attached to my computer. I don’t like people overhearing me while I write, so I work at home, in my modest-yet-comfortable office, with the doors closed. Works for me. Do whatever works for you.

Make an appointment with yourself. Be on time and be prepared to work. Even if you only have fifteen minutes a day to write, make sure you’re there promptly, and make each of those minutes count. Photographer Chuck Close said, “Amateurs sit and wait for inspiration; the rest of us just get up and go to work.”

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Fourth, put an end to excuses. People have all kinds of excuses for not writing. I’ve found that most people become successful around the same time they stop making excuses. Screenwriter J. Michael Straczynski believes many writers spend too much time and energy “finding excuses for not being what they are capable of being, and not enough energy putting themselves on the line, growing out of the past, and getting on with their lives.”

No one’s standing over you to make you write. Your motivation must come entirely from within. You’ve got to want to write more than you want all the things that keep you from writing. If you procrastinate, you’ll have nothing to show for all your years on earth but a list of excuses.

Life is made up of choices, and every choice we make has consequences. Make the right choices, and you can have a successful and enjoyable writing career. But you have to be deliberate in the choices you make. If you don’t make careful, thoughtful choices about how you spend your time, other people will make those choices for you. To have a successful and rewarding writing career, you must spend your life pursuing your own goals, not doing what other people expect of you. 

As motivational speaker Michael Altshuler once said, “The bad news is time flies. The good news is you’re the pilot.”

Fifth, beware of “displacement activities.” A displacement activity is behavior that takes the place of writing. We engage in displacement activity when we feel anxious and conflicted — for example, when we want to write at the same time we feel we can’t write because we are blocked or we simply lack the energy to write.

The state of wanting to write while feeling unable to write is unresolvable — so we displace our anxiety through a different activity. Instead of writing, we raid the fridge, surf the Internet, update our Facebook status, tidy up the desk, answer emails, play computer games, and on and on. If our displacement activity is more-or-less writing-related (such as “research”), our anxiety level goes down. We know we’re not writing, but hey, it’s kinda like writing, so we don’t feel so bad about it.

Some writers, unfortunately, use drinking or drug abuse as their displacement activity. Writers who medicate their anxiety with mind-altering substances usually end up wasting their talent.

If you are aware of the things you do to displace your anxiety, you’ll be empowered to control your displacement behavior. Instead of compulsive eating or web surfing, get up, move and stretch, and grab a cup of tea or coffee. Give your Muse a chance to catch her breath — then get right back to your writing.

Sixth, write in overdrive. To write brilliantly, write quickly. I call the process of writing quickly, under the control of the unconscious Muse, “writing in overdrive.” When writing in overdrive, you don’t think. You don’t analyze or criticize or second-guess your work. You simply create. You maintain a state of passion and enthusiasm for your story, and you are carried along by a process of unconscious inspiration. This state is called being “in flow” or “in the zone.”

Most great writers have experienced writing in overdrive. John Steinbeck spoke of writing “freely and as rapidly as possible” in a “flow and rhythm which can only come from a kind of unconscious association with the material.” And Charles Baxter, author of First Light and The Soul Thief, told an interviewer, “The spell comes upon me, I’m in its grip. The book develops with my collaboration or unconscious help, and sometimes it proceeds even in the face of my refusal to work on it.”

To make the most of your writing time, discover the power of writing in overdrive. Learn to write freely, quickly, and without inhibition, tapping into that incredibly powerful source of inspiration, the Muse or unconscious mind.


For more insight on how to write faster, write freely, and write brilliantly, read my other books for writers:

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Discover the uninhibited creative power to write faster and more brilliantly than ever before. Read Writing in Overdrive: Write Faster, Write Freely, Write Brilliantly by Jim Denney, Kindle edition $3.99. [Trade paperback edition $7.75]

MuseOfFire-Medium350x550And for a 90-day supply of inspirational and motivational writing insight, read Muse of Fire: 90 Days of Inspiration for Writers by Jim Denney, Kindle edition $2.99. [Trade paperback edition $14.95]

Discover how to conquer the eight most common writing fears. Read cover-1writefearlesslyjdWrite Fearlessly! Conquer Fear, Eliminate Self-Doubt, Write with Confidence by Jim Denney, Kindle edition $3.99. [Trade paperback edition $7.99.]

These books are designed to motivate you, get you writing with confidence and enthusiasm, and propel you toward your goals and dreams.

To Write Better, Write Faster

by Jim Denney

I used to write slowly. And badly.

In 1989, I quit my day job, took a leap of faith, and became a full-time, self-employed writer. That same year, I contracted to write a nonfiction book for Multnomah Press, then an independent publishing house in Oregon (now an imprint of Random House).

The advance would cover three months of living expenses, so I scheduled three months to write the 80,000-word manuscript. Unfortunately, it took me four months to write the book. I was writing slowly and losing money.

But it gets worse.

In those early days of my writing career, cash flow was an acute problem. I desperately needed the second half of my advance. I sent the manuscript to my editor, hoping he would accept it quickly and cut me a check.

No such luck. Instead, the editor called me and said, “Jim, we’ve got a problem.”

My heart plummeted. “How big a problem?”

“I’m flying out to meet with you in person. I’m afraid this book needs a major overhaul.”

Not only would my check be held up, but I’d be spending additional weeks getting the manuscript into publishable shape.

The editor arrived for our all-day meeting. He had prepared flip-charts showing the existing chapter flow, the strengths and weaknesses of the manuscript, and a proposed restructuring plan. As we talked, I had to agree: His version was much better.

It was a painful learning experience. I trashed about a third of the original manuscript, rearranged the rest, and wrote two new chapters. The rewrite took a full month to complete, but when I turned in the revised manuscript, the editor told me I’d nailed it. As a personal favor, he made sure my check was issued promptly.

In the end, I had spent five months of my life on that book. I couldn’t afford to let that happen again. In fact, I seriously considered hanging up my word processor and finding honest work.

Over the next few years, I gradually improved my writing skills. I never turned in another manuscript that needed a complete tear-down and restructuring, but I was still writing far too slowly and I struggled to make ends meet.

Then, in 2001, I had an experience that transformed me as a writer: I discovered my superpower as a writer.

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I talk about this experience in detail in my books Writing in Overdrive and A Writer’s Superpower, but for now I’ll briefly say that I contracted with a publisher to write a series of adventure novels for young readers. The contract specified an insanely short deadline plus a $100-per-day penalty for late delivery. In the process of writing those books — and delivering them on-time — I discovered a brand-new approach to writing that has served me well ever since.

Later, I discovered that the writers I admire most — Ray Bradbury, Stephen King, Ursula Le Guin, Michael Moorcock, Greg Benford, Orson Scott Card — were already using this approach. They had discovered their own writer’s superpower. They had learned the secret of writing quickly, writing freely, and writing brilliantly. Let me tell you how my own writing life has been transformed by this discovery.

Just prior to writing A Writer’s Superpower, I wrote a nonfiction book for an independent publishing house. I started work on Friday, September 2, 2016. I completed the first draft on Monday, October 3, thirty-one days later (averaging more than 2,500 words per day). I spent less than a week on my second draft, and sent the final manuscript to my editor on Monday, October 10. The final manuscript was about 73,000 words long, and was completed in thirty-eight days.

My editor read it, and said it was the best of three recent books I had written for her. She was sending it straight to copy-editing — no revisions needed. You see? By writing faster, I learned to write better.

The ability to write in overdrive is a real-life, honest-to-gosh superpower.

To learn more about how you can write faster, write freely, and write more brilliantly than ever before, I invite you to subscribe to my FREE monthly email newsletter and get a FREE ebook copy (PDF format) of A Writer’s Superpower (also available in trade paperback for $6.99). Just click the yellow box at the bottom of this page.

I think you’ll also want to read my other books on writing in overdrive. First, of course, there’s Writing in Overdrive, my most complete examination of all the skills and insights you need to write faster and write freely. Then there’s Write Fearlessly!, which examines the eight most common writers’ fears that hinder our success — and the practical strategies for conquering each fear. And there’s Muse of Fire, consisting of more than 90 motivational readings — more than 90 days of high-octane inspiration for writers. These books are designed to motivate you, get you writing with confidence and enthusiasm, and propel you toward your goals and dreams.

God speed you on your journey to success!

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Dangerous Visions, Excellent Advice

A number of years ago, I taught a couple of writer’s workshops at the William Saroyan Writer’s Conference, and Harlan Ellison was Guest of Honor. Harlan is one of the three writers I point to as the reason I’m a writer today (the other two are Ray Bradbury and Madeleine L’Engle). I was glad for the opportunity to tell him how much his work has meant to me over the years. Here’s a photo of Harlan and me (I’m the shoulder for Harlan to lean on):

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I was recently rereading Dangerous Visions, the ground-breaking science fiction story collection Harlan edited. I first read the book in 1967, when I was fourteen. The book came out just months after one of Harlan’s most powerful stories appeared on newsstands in the March 1967 issue of Worlds of IF. That story was called “I Have No Mouth and I Must Scream,” and it detonated in my brain like a nuclear warhead (and that’s a good thing).

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While reading through Dangerous Visions again, I came across Harlan’s introduction to a short story by Howard Rodman (page 171). Embedded in that intro is some excellent advice to writers. The advice didn’t mean much to me when I was fourteen. Today, I know it is  wisdom for the ages for all who write—especially in these times of upheaval in the publishing industry. So I scanned the page and highlighted the advice, and I present it to you here:

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If you write, heed those words. Whatever the obstacles in your path, keep writing. A writer always writes. That’s what you and I are here for—to write fearlessly. That’s our holy chore.

Conquer your fears! Read:cover-1writefearlesslyjd

Write Fearlessly! Conquer Fear, Eliminate Self-Doubt, Write with Confidence by Jim Denney (Kindle edition)

Write Fearlessly! Conquer Fear, Eliminate Self-Doubt, Write with Confidence by Jim Denney (trade paperback)

Here’s to all your dangerous visions!