Tag: The Project

Writer Moments: The Tipping Point

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In any endeavor there are magical moments.

There’s the brilliant beginning: full of purpose and brimming with the righteous light of conviction, you take your first wobbly-kneed steps into the great unknown. Sure, your steps are uncertain and the path is dark, but you move forward anyway, driven by the cattle prod of motivation that drove you to pick up the torch in the first place. Every problem is just another step in the road. Every question, a mystery full of wonder and delight. Every setback serves only to motivate you further, and every accomplishment is a furious gale beneath your wings, buoying you toward the heavens. This is the honeymoon period, and no obstacle you face is too large, no challenge too stout, no door too locked. (Can a door be too locked? Don’t stop me now!)

There’s the elated ending: exhausted beyond the limits of what you once thought possible, you stumble across the finish line and collapse into a smelly, grumpy heap. The imperfections, the wouldas and the couldas, the endless desert of possibilities, all lie like the discarded husks of cicadas in your wake, as useless and irrelevant to you now as a screen door on a battleship. The journey is over, the battle won, and all that matters for the moment is the whistling glory of the wind in your ears, the sweet cocktail of accomplishment and fulfillment served with a job done. (Not necessarily well done.) The dragons are slain, the damsels are rescued, and all is right in the world. This is when you lay back, have a cigarette (no you don’t have a cigarette, smoking is banned everywhere in the world, what’s wrong with you??), and bathe in the vapors of completion.

But there’s another moment that doesn’t get nearly as much attention, and it’s maybe more important than the others. It’s a moment when you’re not finished yet, when the road stretches on and on in front of you and in back. When you’ve left home so far behind that you can’t even remember the last time you were there, but the end is still so far in front of you that it might as well be on the moon.

It’s a tipping point.

This is the moment when you aren’t yet at your goal, but you can look back on the path you’ve walked and see the arc of the gains you’ve made up until now. You aren’t running marathons yet, but you booked a 15-miler this past weekend. Your novel isn’t finished yet, but your characters and the action are all poised for the grand finale. Your kid still needs a diaper to get through the night, but you haven’t had to clean crusted-on poop out of the creases in his crotch for over a month.

This is a moment almost sublime in its transcendence. At this stage, perhaps more than any other, you feel the gravity of both extremes — the beginning, when the task seemed impossible, and the end, when it will all have been worth it — but you know, deep down, that short of an asteroid smashing into the planet and obliterating all life, you’ll finish the thing you’ve been working on for months if you can just keep at it for a little bit longer.

This is a moment to be relished, to be savored, like the last drop of a Dr. Pepper. This is a moment to pat yourself on the back just a little bit while girding your loins for the home stretch. The air is still up here; still but full of static, the twenty minutes of quiet before the hurricane hits.

Because, make no mistake, you’re not done. The finishing is not for the faint of heart. You will be chewed up. You will be spit out. You will suffer the slings and arrows of outrageous fortune.

But if you’ve come this far, you can make it through.

This post brought to you by me reaching the 75% mark of my novel today.

Accidentally Runspired

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I’m in such a strange place with this novel. What started off as a lighthearted sort of funny time travel jaunt has transmogrified itself, not so much like a chameleon altering the color of its skin but more like a hermit crab abandoning one shell and then another and spending not an ounce of care or compassion on its previous self. A new idea strikes, and of course it requires seismic changes to the story as it’s already written, but the glances of the story that could be are so much more appealing than the story that is. So, naturally, I’m trying to find a way to attract more lightning strikes, but seeing as I’m not particularly keen to wander out into a summer thunderstorm wrapped in a roll of tinfoil and holding aloft a handful of golf clubs, I’ve been going for runs instead.

And a funny thing has happened.

The more I embrace the changes that occur to me while the blacktop creeps past under my feet, the more the lightning strikes, and the more intensely when it does. The “notes” section of my current draft is just about long enough to form its own chapter, I’ve redesigned one of the central characters from the ground up (twice), and the inconsistencies in the world of the story from first chapters to most recent are as numerous as ants on a piece of pumpkin pie at an abandoned picnic. I get an idea for a small change to make, so I make it going forward and leave the earlier pages to fix in post, and then the situation repeats; I’m on about my fiftieth iteration of that process. Not that anybody’s counting; might as well try to count locusts in the midst of a plague.

Maybe it’s an argument for planning a novel more thoroughly before I begin, or maybe it’s a lesson in not getting too attached to what I think a story is before I get my hands into its entrails. The process remains exhausting, though writing the novel has been a lot more fun of late (we’re getting into the final third of the book, so the action is beginning to run high again).

It almost makes me nervous to keep going out for runs with the novel on my mind, because I know that the only thing that will come of that is more changes to the story, more shifts in character, more dubious inspiration that makes me want to burn the thing to the ground just so that I can rebuild it stronger from the ashes.

Which is actually becoming something of a theme in the story. Not by design, but because… well… with a time travel story, what other theme can you drift toward? If you had the power, how could you not try to constantly reinvent the world you live in? If you could go back at the flip of a switch, how could you not attempt to recreate your own reality every time something didn’t break your way?

Writing gives you that power: the power to create worlds and destroy them, then recreate them even better based off what you learned when you built it the first time around.

…Anyway. It’s not like I’m going to quit running. Or writing. Struggles or no, the fact that I’m brimming with thoughts about the novel, the fact that I had to steal twenty minutes on a Sunday to write down some notes for the book, tells me that I’m still doing the right thing. Still writing the right story, still doing a good thing.

Back to building worlds tomorrow, and smashing them to pieces.

The First Draft: The Shape-Shifting Target

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Writing, as I think I’ve mentioned before, is an exercise in futility.

You work so hard to craft a story, to chisel characters from the soft stone of imagination and breathe life into their formless husks. You try to communicate themes, to send messages, to tie up loose ends, to suggest ideologies, but it’s all a mug’s game, really. I was reading the other day another blogger’s dismay that her father refused to read the Lord of the Rings series, or watch the movies, on the grounds that it was “satanic”. For all the work that you put into a story, all that matters at the end of the day is what other people make of it.

Which is kind of a bummer, because you can only involve other people so much in the writing of it, which is to say, you can hardly involve them at all. I mean, research aside, 99% of the writing of a story is completed by the author himself, probably in a dark room with no windows, certainly removed from most human contact, except for the plate of gruel that gets pushed through the slot in the door a couple of times a day.

So you try to write a story for other people, but that’s a mug’s game, too, because you simply can’t control the headspace that another person lives in, you can’t sit there over their shoulder to tell them this character is blowing up the village because she really wants everybody to love her. You can’t be there on-call to answer questions your readers have. They make their own meaning, and that’s that, so there’s not much point in trying to steer their interpretations — the best thing you can do is write the story you want to write, and write it as best you can.

But even that’s next to impossible, it seems, because a story has a life of its own. You set out to write a science-fiction thriller and end up writing a teen angst comedy. You set out to write a romance and end up with a twisted love-hate psycho-suspense novel like Gone Girl. My current project has changed from the seedling I started with so many times, I can’t even keep track. It’s a post-apocalyptic horror book. No, wait, it’s a sci-fi mystery. No, never mind, it’s a YA coming-of-age.

It doesn’t stop there. My protagonist is a nerdy guy who has never lived anywhere for more than three months. No, she’s a photography student with a project from a whimsical art teacher on deadline. No, I have three protagonists. And there’s a wild-eyed scientist who may or may not be directly responsible for the apocalypse that we’re living in post of. But he’s really a good guy. No, he’s really a bad guy. No, he’s really a bad guy who pretends to be a good guy. No, wait, he’s just this guy who really doesn’t care about the protagonists, and concepts like good and bad are a little bit like asking whether I want chocolate or vanilla ice cream for dessert, because the answer is inevitably “yes please, a little of both.”

There’s a time machine. No, there are time portals scattered around. There’s an evil robot. No, there are lots of evil robots. There’s a robot that gets captured and reprogrammed to allow the heroes to thwart the system. There are no robots at all, but everybody has biological implants that make them act like robots.

My first draft contains elements of ALL OF THE ABOVE, thrown together and mangled like the lump of junkyard metal that used to be my ’99 Chevy Malibu (god rest that train wreck of a car).

Because the story keeps changing on me, the target keeps moving. Not only does it move, it changes shape and size and color and even, in this case, blinks in and out of existence as it dances through different dimensions of my unsettled imagination.

And there are two ways to feel about that.

Way number the first: get incredibly frustrated. You start a story with a certain idea in mind, you should stick to that idea. Deviations from the path are a waste of time and counter-productive. Bang your head against the wall until the poisonous ideas go away and you find your way back to the one true path that you started with, no matter how long it takes.

Way number the second: Fargo the target. Write what feels good, allow the story to change and shift its shape, allow it to tangle itself up in knots and to contradict its own existence, until it figures out just what the hell it wants to be, anyway.

I feel like I should feel the first way, because that would make me feel more powerful as a writer. You set out to write a story and you end up with pretty much that story, plus or minus a few unexpected elements along the way.

But I’m starting to feel okay about the fact that, deep down, I really feel the second way. Because it’s a lot less stressful writing when you allow yourself not to make perfect sense, when you allow yourself to make mistakes and detour down all the dark, twisting paths in the maze.

Because writing is one of those rare things that you don’t have to get perfect the first time. You get a second bite at the apple, and a third, and a fourth, and in fact you can get a whole other apple after you’ve chewed the first one to bits, because until you’re published, it doesn’t matter if the apple is green or red or golden or filled with worms or made of plastic.

I think it’s okay if you set out to build a tree house and end up building a coffee table instead. Maybe that’s your subconscious telling you that what you really needed, deep down, was a place to put your coffee cups. And magazines. And remote controls. And dirty diapers.

Okay, things got too real there for a moment. Point is, if the target is moving, maybe it’s not the target moving at all.

Maybe it’s you.

And you can argue against it and rail against it, or you can accept that the picture has changed, take aim, and keep shooting.

51%

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I don’t update a whole lot about my projects on here anymore — I can only say the same things about authorial strife and creative doubt so many times before even I get tired of listening to myself — but the current project hit a milestone.

I was typing merrily along today, the words flying from me like so much projectile vomit from my one-year-old’s mouth (okay, that’s a lie, the words have been tooth-yankingly recalcitrant lately, springing forth only when I literally shackle myself to the desk and allow myself to do nothing but write), when I happened to glance at the progress bar.

Glancing at the progress bar is something best done rarely if at all. When you’re penning a 90,000 word novel that seems to be fighting your will to birth it into the world (sort of like, I imagine, the way a honey badger might be born), checking your overall progress is a little bit like watching paint dry. That is, if you left the paint in the can and just waited the long winter for it to congeal into a paint brick. It ticks away, slowly, resolutely, like an inchworm shimmying its way down Route 66, but I’m lucky to get 2% in a day. Some days, it doesn’t move at all, even after an hour’s slavish work in the word mines.

Nonetheless, today I checked it, my eye flopping inartfully across it like a cat falling off the arm of the sofa as it stretches for the fading noonday sun.

And it was at 51%.

Over halfway.

That’s shocking to me, because even though I know the time has been passing, and I’ve been dutifully plugging away on this project all the time, it just hasn’t had the same flow as my first project. If the first project was a traipse trough a neglected, overgrown garden — mostly clearing brambles and weeds but occasionally strolling through patches of still-blooming wildflowers — this project has been more like clear-cutting a path through the rainforest to make way for an interstate bypass. Using a hand axe. I feel every sluggish, seemingly ineffectual stroke of the axe-pen.

Still.

51% is a pretty good milestone. One worth bragging about, going into the weekend.

51% is like, I’ve rebuilt the shell of a classic Mustang in the garage, now all I have to do is put the engine back together, reassemble the transmission, rewire all of the electrics, replace the tires, and paint the thing.

51% is like, I’m making a pot luck dish for fifty of my co-workers and I’ve been to the grocery store, now all I have to do is prep the dish, cook it, portion it up neatly, wrap and seal it, and carry it in to work.

51% is like, I’ve cleaned one bathroom in the house, so I might as well clean the other bathroom, and the living room, and the kids’ bedrooms, and the garage, and maybe take down all the blinds that the cats tore up a year ago.

51% means the story is more written than not, and it would be a damn shame not to A) acknowledge that fact and B) really fling myself into the writing of it for this second half.

The pieces are all there. The characters are all there, and behaving as expected (or, if not as expected, at least teaching me how they would prefer to behave). The answers to the questions posed by the first half of the book are lurking in the mist like razor-sharp cliffs and rocks, shapes to be carefully navigated around as I search for the harbor.

Only 44,000 words to go.

Weekly Re-Motivator: Summary Stew

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I can’t stand the summary.

You know, you crack the book open, and on the inside fold or the back cover or wherever, you get the blurb that tells you in a nutshell what the story is all about.

Karl Wisenberg is a mild-mannered office worker hiding a secret: his radioactive toenails. But there’s something more sinister than glowing fungus afoot…

Alice Klepper sells jewelry by day and state secrets by night. But will an unexpected purchase by an eight foot tall stranger provide her with the biggest secret of all?

The summary is supposed to give you a taste for the story without spoiling it for you; it’s supposed to whet your appetite and get you to crack the book and keep on cracking it until the end.

And I hate it. Because it gives the impression that the story is all about plot, that the narrative is a simple math equation with all these different elements — character, setting, tension, conflict — that add up to something. But a story is more than the sum of its parts. Because holding it all together is a fumy glue all the stuff you can’t fit in the summary: the creeping sense of dread you get every time a character opens a door in the story, where you don’t really know whether behind the door will be a harmless delivery man or a hatchet-wielding trans-dimensional wasp-man. Or the biting irony that infuses every word, wherein you can feel the author’s arched eyebrow and hear the sardonic twist behind every turn of phrase.

You can’t get that in a summary, and that’s the most important part of the story, I think. Because really: whatever you’re writing, the story has been told before. No matter how unique, how original, how unexpected your twists and turns are, somebody, somewhere has twisted and turned down that road. The only difference, the only thing that makes your story unique, is the way you tell it, the specific blend of spices you drop into the mix, the character that you build the story into.

Because a story is a living thing. It’s not just a chain of events, one thing leading into another like a dull-witted chain-gang of tromping inevitability. The story itself, just like the characters, has a flavor; the narrative itself has a feel about it that is much more than just the things which happen in it. And that flavor is what makes the story unique, that flavor is the thing that sticks with you after you’ve finished the book and brings you back, like the unbelievable egg rolls at your favorite restaurant.

Which is what I’m struggling with in my current project. I’ve got a decent chain of events, I’ve got decent characters and reasonable tension and a good smattering of conflict. But I haven’t found the right flavor for the brew. And the story, and my motivation for working on the story, is suffering as a result. I haven’t found the right feel for the story, and the story feels wrong as a result. Feels bland, uninteresting. Luckily, writing isn’t like cooking. You want a good solid stew, you have to get all the spices in at just the right moment to release their flavor and bring out the best in the dish. In writing, though, you get as many chances as you need. Screw up the flavor and you can add more salt at the last minute, or strain out the bad spices and replace them with new ones, or even toss the whole dish and rebuild it from the ground up.

But the flavor will come. The thing with writing is to keep plugging away at it, keep working, keep creating. The more these characters simmer in the narrative stew I’ve created for them, the more the subtle notes will come out, the more I’ll be able to tell what flavor is right for this tale.

So, as you’re writing, don’t stress about the summary. Focus on the flavors, focus on the interplay between elements, focus on the parts between the “important” story elements, because those are what keep readers coming back for more.

Am I wrong? Is the summary more important than I give it credit for? What flavor do you most appreciate in a story?

This weekly Re-Motivational post is part of Stream of Consciousness Saturday. Every Saturday, I use LindaGHill‘s prompt to refocus my efforts and evaluate my process, sometimes with productive results.