“Stories are the creatures that forage in the wilderness of our minds. Their claws pierce our curiosity, digging in deep to prevent our escape, as they force us into their maw, past razor sharp teeth of conflict.” —- Rhyan Scorpio-Rhys
“Tell me a story.” the woman said, book opened to a blank page on her lap, graphite stick firmly in hand and at the ready. The reading chair in which she sat was, what appeared to my eyes, nothing more than a series of interwoven vines that had grown from the lush green carpet in the center of the room. This indoor library of hers smelled of petrichor, the scent of rain on dry earth, which would explain the moisture that dotted the spines of the books stacked in chaotic fashion on the recessed shelves lining the walls.
“I — I don’t have any stories.” I shifted uncomfortably in a small puddle on the carpet—that was most assuredly grass—as the woman took in the sum of me.
“Nonsense, everyone has stories, some more interesting than others, but they are stories nonetheless.” she said, gesturing with a nod for me to sit. “Everything is present for a story to exist: a teller, that would be you, and an audience, which would be me.”
My seat—a normal metal folding chair with padding—was as much out of place with the room’s décor as I. A reminder, no doubt, that although invited, I was still considered an interloper. The fact that the chair was bone dry despite the moist surroundings was of small consolation. I squirmed until I found the position that afforded the least amount of discomfort and said, “All right, then… I don’t know how to tell a story.”
“Ah, a different matter altogether.” she said, placing the book and graphite aside. “The act of storytelling is as old as the creative spark that burns within us all. And though truly great storytellers are born, those lacking the unique gift may still acquire the skill.”
1. Keep it simple.
“The first thing to bear in mind is if you have the choice between a complicated or simple telling, choose the simple approach. As marvelous as the brain may be, it can become overwhelmed if it attempts to process too much information at one time.”
2. Open big.
“Next, you mustn’t be afraid to grab your audience by the balls!” the woman smiled, amused by my unease. “And never apologize for doing so. You’re familiar with the saying, ‘you only get one chance to make a first impression,’ aren’t you? The same applies to your story.You need to carefully craft your opening line to grab your audience’s attention immediately, and represent the promise of your story by displaying a unique voice and perspective.
“There is no going soft here. Your opening line should possess the elements that make up the story as a whole, told in a distinctive voice, a point of view, a rudimentary plot and some hint of characterization. By the end of the first paragraph, your audience should know the setting and conflict… unless there is a particular reason to withhold this information.”
3. Be mindful of your story’s spine.
“Stories are the creatures that forage in the wilderness of our minds. Their claws pierce our curiosity, digging in deep to prevent our escape, as they force us into their maw, past razor sharp teeth of conflict. But despite outward appearances, these beasts are only as strong as their spine.
“Your duty is to support that spine by arranging your content in a logical order and supporting it with anecdotes that raise questions to keep up interest and moments of reflection to show your story’s appeal. We, as the audience, need a reason to care.
“And lop off the vestigial appendages of tangents where you find them. Going too far astray will only lose your audience’s attention.”
4. Don’t alienate your audience.
“Some subjects require a delicate touch. You’ll know them by their appearance and the uneasy feeling they leave in your gut. By no means avoid them if they’re integral to your story, but instead find the best way to craft the tale so that you draw your audience in before revealing sensitive details. Invest them in the story before you shock them and then give them time to digest it.”
5. End strong.
“Whether you end your story on an upbeat note, allow your audience to fill in the blanks, come full circle with your lead, close with a relevant quote, provide a brief summary, or wrap things up with either a surprise or anecdotal ending… you need to come strong. Elevate your story’s effectiveness with a great ending and leave them with a lasting impression. The yang to your ‘first impression’ yin.
“You should also give your audience the proper space to appreciate your ending. A mere sentence or two in which you take a step back and let the story meaning steep in their mind.
And finally, allow your audience to hear the door click shut behind them, signifying that the story is well and truly over. Everything’s done and dusted. Thank you for visiting my world, now it’s time to return to your own.”
“Got all that?” she asked. I nodded that I understood.
“Good,” the woman rested the tip of the graphite stick on the book leaf, “now tell me a story.”
In the course of my life, I will write something — SOMETHING, that will grow in the mind of a person who reads it. It will shape them. Perhaps while I live, perhaps a hundred years from now. SOMETHING I do will alter the course of their life. Perhaps it will be a tiny stone in a river, or perhaps it will be like a boulder. I will encourage them to love a bit more, or to stand against the darkness that haunts them.
Because of me.
Because I was a little brave one day. Because some morning a sunrise opened my heart, or my beloved kissed me as she never had before. I will, in some small way, shape the future. Shape the world.
I burned my soul to ash but the pain paled in comparison to the terror that struck my heart like a match, anticipating her arrival and the tirade she would carry in tow. An unwarranted fear, as she was calm when she saw what I had done. Calm and nurturing. Soothing my pain with herbs and aromas, and each early morning during the hour of the wolf, she laid an ear on my back and listened as my soul mended itself.
She never spoke the words of disappointment aloud but it registered in her eyes. Although residing within my body, this wounded thing, this unwanted soul, did not belong to me. She had laid claim to it many years past, and in my despondency, I had taken liberties with her property and attempted to destroy it. Again.
ii.
The first time, I threw my soul into a sinkhole and allowed the ground to swallow it whole. I made her acquaintance when she plucked it from the soil like a tattered tuber. “I saw what you did,” she said. “And since you would so recklessly toss this precious thing away, it is no longer yours, but mine, agreed?” I nodded and she handed my soul back to me for safekeeping.
I honored our pact for a few years, caring for it within my limited capacity, but during a particularly nasty bout of depression, I tied heavy stones to my soul and pushed it off the sea wall. For a second time she appeared, fishing my soul from the waves, and scolded me, “You are charged with protecting this thing that it mine, do you understand?” Again, I nodded. Again, I lied.
iii.
“Why do you want this worthless soul when it has been crushed by the earth? Why do you want it when it has been drowned in the sea? Why do you want it when it has been set alight like so much tinder?” I searched long and hard yet found no answer in her silence.
iv.
During the day, when she thought me preoccupied, she secreted herself in the shadows and slept. One day I followed her into the darkness and watched her body twitch from dreaming and listened as she muttered,
One more soul, once buried deep.
One more soul, in ocean steeped.
One more soul, by fire burned.
One more soul, of air returned.
v.
Under her care, my soul grew healthier and it frightened me. I was pitilessly plagued and badgered by the phrase, One more soul, of air returned, that repeated in my mind’s ear until it turned dogged and cacophonous. But she was unaware of my inner torment, in fact, she was in an exceptionally good mood today, her voice almost a song, “I know you don’t see it, but you are a gift, you are. You have no idea just how special.”
vi.
Today was the day. I felt it in my marrow. Something was destined to happen, something I most likely would not survive. I should have embraced this eerie premonition, for it was no secret that I did not want to continue in this manner, broken, detached, and alone. But the choice of how and when I departed this wretched life was mine to make and mine alone. So, I stalled by distracting her with trivialities. “May I have more broth? Have you seen my shoes? No, not that pair, the other ones? Can we go for a walk?” If she knew my plan, her expression never showed sign. No request was too large or small on this day. She granted them all.
vii.
We strolled along the pathway in the park that led to the duck pond, a place we visited often during my convalescence. Picked, naturally, as not to arouse suspicion as I searched for the proper diversion in order to make my escape. But I was so wrapped in my own thoughts, I failed to notice that she was walking slower than usual today. “Can we rest a moment?” she asked as we neared the benches. “I am a little short of breath.”
Her breathing became a labored and raspy thing before it hitched and became lodged in her throat. When her face went dusky blue and she slid off the park bench, I panicked. The opportunity had presented itself and there I stood like an idiot, frozen. Entangled in the decision of whose life to save, or more accurately, whose death I could live with.
There was no real choice.
viii.
Her breathing was a trembling, liquid sound as I pressed my mouth to hers and exhaled, but instead of me breathing air into her body, I felt her sucking air from my lungs, and not just air…
I tried desperately to pull away but her thin, vise-like hands clamped down on the nape of my neck and held me firm in a kiss that was collapsing me. My hold on life became dim and futile, but before I slipped away into emptiness, I noticed the oddest thing: her belly began to swell.
Every fiber of my actuality was drawn into her, and my soul, the object I had forever been so reckless with, was systematically being stripped of concern, of negativity, of identity. I fell further and further into a darkness that pressed on me from all sides. So tight, so constricted. I was still unable to breathe but the sensation was somehow different now.
At the very moment when it seemed the darkness was about to claim me for eternity, there came a burst of light so bright as to cut my eyes. Thankfully something soon blotted out the light – a face, slowly coming into focus but I knew her before I saw her. From the moment I heard her soft cooing, “You are a gift, you are. You have no idea just how special.”
There was a knock at Tim’s front door. Impossibly, there was a knock on a day there shouldn’t have been one. Not that it was a big disturbance, it had only interrupted his woolgathering. He began reading a book hours ago and somewhere along the way his mind drifted off to the point where he wouldn’t have been able, even with a gun pressed to his temple, to tell which page he was on or what part of the story he last read.
The knock again. Tim placed the book open face down on the side table. Next to it was the handheld trigger for the silent alarm which he picked up and let his thumb hover over the panic button. Should he press it or simply answer the door? Smart money was on activating the alarm but he had always been a slave to curiosity so he pocketed the remote, rose from his comfy chair, exited the living room and padded across the hardwood foyer floor on the balls of his feet.
The closer he got to the door he heard some sort of commotion going on outside and as his hand landed on the doorknob he drew in a deep breath and held it for a long moment to quell the anxious feeling hatching in the pit of his belly. Tim hadn’t realized just how unaccustomed he was to answering his own door, it had been so long.
As he turned the knob a thought crossed his mind, perhaps the person on the other side of the door, the lawbreaker, was a deranged lunatic or religious fanatic who saw it as their duty, their purpose, their God-given right to put an end to what they viewed as an abomination. He knew that wasn’t the case, though. The knock was far too polite. They were all so damned polite, the knockers. Lightly rapping on his door all day, all night, in any weather, even on holidays. Especially on holidays. The only time they didn’t knock was on Sunday, his sanctioned day of rest.
He opened the door to shouts and protests. A crowd of people clustered on his front porch began forming a semi-circle behind the woman who stood in the doorway directly in his face. They accused her of jumping the queue, shouted that what she was doing was illegal, and warned/threatened her with the prosecutable penalties of her actions. And the discontent was spreading along people of all ages, ethnicities, male and female alike who gathered in a line that ran the length of his front walk to the pavement, down the block, and most likely around the corner, who were waiting their turn for an audience. But all the chatter came to an abrupt halt the moment they caught sight of Tim.
The woman in front of him, the illegal knocker, had a familiar face but her features were too average, too face-in-the-crowd, to recall outright, Tim had to flip through his mental rolodex and play the association game. He twigged her face was connected to some sort of event that would have revealed a location that eventually would have produced a name. Taking a deep breath, he relaxed his mind and softened his focus and let his gears spin a bit until he came up with:
Fundraiser ~~> community center ~~> Dick Cole
This woman was a friend of Dick Cole. Linda something-or-other. Rhymed with seed. Greed? Mead? Plead?
“Linda Reid,” Tim smiled, more at the swiftness of the connection than the pleasure of seeing the woman. “It’s been a while. A couple of years, I think.”
“Settle down, everyone,” Tim addressed the throng beyond the woman. “You know I’m not allowed to accept appointments today so she’s not cutting in line ahead of any of you. She happens to be a friend.”
Tim gestured for Linda to step inside which prompted the grousing to recommence but he merely closed the door to let them vent amongst themselves.
“Sorry for causing a commotion,” Linda said, smiling a bit too much. “And for not keeping in touch. Things have been so hectic down at the center with budget cuts and understaffing…and other things, that I don’t socialize much anymore. And you’ve got a lot on your hands at the moment—”
Tim waved off the rest of the sentence. “No worries,” he said, leading her past the empty administrative desks and into the sitting room.
“Awful lot of furniture crowding your foyer,” Linda said.
“That’s for the staff, doormen, greeters, admin assistants, all government appointed. They see to visitors. There are also bodyguards posted at each of the house’s ingress and egress points but they all have the day off because it’s my day off.”
“I suppose that’s another thing I’m sorry for.”
“I don’t get many non-work related visitors so this is a welcomed change,” Tim said, gesturing for Linda to take a seat. “Can I get you anything? Water? Juice? Or I could put the kettle on?”
“Do you have anything stronger?” Linda asked sheepishly as she sat down.
“I don’t imbibe, I’m afraid. Rules of my employment and all.”
“Yes, of course, how foolish of me. Water’s fine, then.”
Tim popped into the kitchen and returned with two glasses and ice water in a silver pitcher dotted with dew-like condensation.
“Not to fret,” he said, sitting opposite Linda and filling her glass. “Most people never consider it when they drop by.”
She took the water glass and swallowed two gulps. “I–um–I think I have a slight confession to make.”
“This isn’t a social visit, is it?”
“I can explain.”
“Explain what exactly? That you’re a lawbreaker and you seek to make me complicit in your crime? Is this a trap? Did the organization send you? Are you here to test me? Well, I’m not having it so you can go back and tell your bosses that I don’t cut side deals to pocket a little extra cash. We made an arrangement and I’m honoring it to the best of my ability!”
“So, how does this go? Do I have to fill out an application? Sign a legal document? Do you need proof? I didn’t think to bring any with me but I can get whatever it is you need.”
“If your request is granted, you’ll need to sign a few documents, including one that absolves me of any blame should the outcome fail to have the desired effect,” he said automatically.
“Naturally, without a doubt,” Linda answered, a bit too eagerly.
They’re always so eager at this stage, before the harshness of reality sets in, Tim thought. “But for right now, all you have to do is tell me what brings you here.”
“Um, okay,” she adjusted herself in the seat and wondered how her breath could so suddenly get caught in her throat. “It isn’t for me, you understand, I’d never come to ask for myself.
It’s my fiancé, Dick, you’ve met him, in fact, he introduced us at a fundraiser two years ago.”
“Yes, I know Dick. What’s wrong with him?”
“He has amyotrophic lateral sclerosis,” Linda said in a quiet voice.
“Lou Gehrig’s disease.” Tim’s stomach turned over. He didn’t need her to elucidate further.
She nodded, her eyes fading down to the throw rug, absently tracing patterns. “It’s in the late stages now. I would have come sooner, but it’s taken me some time to talk Dick into this. He doesn’t think it seems right. Not what you do, that’s fine and he thinks you’re a saint for doing it. He doesn’t think it’s right asking you for help, especially this kind of help. Dick doesn’t want you or anyone else taking pity on him. He’s never taken a handout in his life and he can’t help but see this as charity.”
“Yes,” Tim said, not bothering to hear the rest of the pitch. That’s what they were, pitches. Not simple requests or implorations, these were stories designed to pull at his heartstrings. But who ever bothered to listen to his story? Not one of them. Not a single person among the many that crossed his threshold ever bothered asking him a personal question. As if he wasn’t human, as if he wasn’t allowed his own tragedy.
“What? I don’t understand.” She set the glass down on the nearby table, missing the coaster by half an inch. Tim either hadn’t noticed or decided not to comment.
“I’m saying, yes.”
“Yes, you’ll help?” Linda blinked and met the man’s gaze as a hopeful smile began to split her face.
“Yes.”
“I — I don’t know what to say,” she was on her feet before she knew what was happening, moving in for a hug. “I — thank you, Tim!”
Tim put his hand up, stopping the woman in her tracks. “Don’t thank me yet. There are still a few things you need to realize before you accept my offer.”
“It doesn’t matter. Anything! And I mean anything!” Interest colored her face.
“Please calm down for a moment and listen to me. This thing you’re asking of me, this gift of blood, it may not solve your problems and could possibly worsen matters for you.” Tim traced his finger around the rim of his glass.
“I’ll take that chance… we’ll take that chance!”
“Listen to me!” Tim brought the glass down on the table, just hard enough to startle and capture her full attention. At the cost of a wet sleeve and the water stains that would surely mark the cherry wood. “Ever since scientists discovered the curative properties of my blood, tests have been run. Mostly successful, I’m a match for all blood types, and my white blood cells haven’t encountered a disease it can’t cure—”
“Which is why I came to you. I did my research and you cured other ALS patients before—”
“The problem isn’t my blood,” he interrupted. “It’s Dick’s immune system reaction that’s the danger. If his body rejects my blood and tries to attack parts of it, there won’t be a second chance. He instantly becomes a non-match. On the other hand, if his body takes the transfusion, in a few month’s time, his white blood cells will resemble mine and he’ll automatically be enlisted in the same line of work as I am.”
The weight of Tim’s words slowly settled on Linda. “You mean, he’ll—?”
“He’ll never know another moment’s peace for the rest of his life. People will hound him, pleading for themselves or family or friends, day and night, night and day. Nonstop. Some gentle, others less so.”
“But why is that necessary?” Linda asked.
“My white blood cells can’t be synthesized. Top minds have tried and failed time and again. And although my blood can be stored, the white blood cells lose their miraculous properties over a period of thirty-six hours outside my body.
“I would have been strapped to a table in a laboratory for the rest of my natural life if I wasn’t for my brother. Hell of a lawyer. Fought his ass off to petition the quality of life rights that allow me the tiny bit of freedom I have. The stipulation is I must share my gift, triage the world, help the sickest among you. There are restrictions, legal hours when people have the right to approach me, but no one listens. How can they be expected to follow the rules when they or their loved ones are dying?
“I used to fight it. Turn people away when the established workday was through. Dealt with the angry mobs and the death threats. Then I asked myself, “Why?” Why fight my fate? If I’m meant to help people, why shouldn’t I do it when it needs to be done and not only when I want to do it? And there’s a selfish reason if I’m honest. You see, if I help enough people, if enough of the populace possesses my blood, I won’t be special anymore or alone in all this. Maybe then, when there’s enough blood to go around and my bit for the world is done, the price of my gift paid, maybe then I can be left alone to die in peace.”
Linda hesitated. She shook her head and turned to leave. “This… this is… “ She stumbled over the words, not knowing how to express her thoughts.
Tim realized too late that he said too much, chose the wrong person to unburden himself on. He regretted his action instantly. “It’s a lot to process, I know. Why don’t you go home and discuss it with Dick? You can contact me if you decide to go through with it.”
From his shirt pocket, he fished out a solid white business card, imprinted only with a faint phone number that had to be viewed at the proper angle in order to be seen. “A direct line, please don’t share it with anyone.”
“I won’t,” Linda muttered as she shambled to the doorway. “I — look, I know you can’t talk about the other people you’ve seen, but can you just tell me if anyone has ever turned down your help after you’ve explained everything to them?”
For a moment, Tim didn’t respond, he just watched as the hope drained from her face. “More people than you might imagine.” He noted she found no reassurance in his answer. He turned away, unable to look upon her sorrow any longer. He had his own to contend with.
Over his shoulder, he said, “Be sure you tell Dick everything I’ve told you, and if he refuses, try to understand. Sometimes there are worse things than death.”
You’ve finally finished your latest piece of fiction. Congratulations! Once you’ve stuck a feather in your cap and given your back a big, hearty slap, you pass your gem along to a trusted reader… and the notes you get back are, “the story feels uneven/ seems melodramatic/ lacks momentum/ becomes anticlimactic” and you haven’t got the foggiest how that could be possible. You made sure your writing has all the basic components a story of this type should have, so where’s the problem?
The simple and direct answer to that would be pacing, my friend.
Proper pacing is one of the critical elements needed to keep your audience actively engaged and as a writer you must develop structural and word choice skills and use a variety of devices to control the speed and rhythm at which your plot unfolds.
Here are a few tips to start you on your journey:
1. The most obvious momentum control is length.
When writing a tense scene—filled with action, danger or crisis—you want your audience to experience feelings of speed and intensity. There’s no room for distractions here, just the meat of the nutshell, which is accomplished by keeping your descriptions and sentences concise, and if there’s any dialogue, have your characters spit it out at a rapid-fire tempo.
During the times when you need to establish a character, place or event in order to build a foundation for your story, longer scenes with more descriptive sentences, character thoughts, richer dialogue and transitions, come into play.
2. Give your audience a chance to catch their breath.
Let’s say one of your strengths is creating sharp, high-tension scenes. You trim the fat off sentences, annihilate unnecessary prepositional phrases, and swap out passive linking verbs for active ones like a pro. In fact, you’re so good at it that it becomes your default style of writing. That’s great. I’m pleased as punch for ya. Your audience—not to mention your characters—however, will need a breather between high conflict points, which means you must vary your pacing by providing a slower, more introspective scene. Balancing your story with intentional calm moments also ensures your electrifying scenes maintain their power.
3. The devil—and a slower pace—is in the details.
I’ve mentioned in other posts that you should always plant your feet firmly in the soil of your story, and if you can accomplish this, it pays off during scenes when something extremely dramatic is about to happen. This is where you take your time and describe everything in detail so that your audience feels the full impact.
4. Remember the advice, “show, don’t tell?” Well, it doesn’t always apply.
Yup, I know, it’s been drilled into your head countless times and I’ve even written about it (see: Skip The Tell And Bring On The Show) but there are always exceptions to the rules. Tedium is the primary cause for this rule break, as your intention is to keep your audience’s focused on the important and interesting matters. By telling rather than showing, you can skim over unimportant scenes that you don’t want to linger on.
5. Become a master manipulator (of word choice and sentence structure)
You don’t need me to tell you that words are the tools by which you control the worlds you create, and those same words—both singular and in groupings—are your first best means of managing your story’s pace. But the manipulation of the length of words, phrases and clauses to control the ebb and flow of sentence and paragraph structures, isn’t the only way deal with pace. You also have allies in cliffhangers and prolonged outcomes.
Now that I’ve mentioned cliffhanger, you’re no doubt thinking, “oh yeah, naturally…” because as an avid reader, you know first hand that you hate being left in the lurch and will quickly flip the page to discover what happens next. Your job as a writer will be to introduce that uncertainty in the form of an impending threat, an interruption in the action, unfinished business, or a dangling peril.
Prolonged outcomes, on first thought, might appear to require a slower pacing, but the reverse is actually true. When you prolong an event, the story speed increases because you’ve piqued your audience’s interest and they’re eager to discover how the events play out and pay off.
As with all my posts, this is simply rudimentary information, and you will come to notice that each story you write has its own unique pace. Some will speed along fast and furious, while others will make their way unhurriedly to the end. What’s important is that you’re not only aware of the message your story’s pace conveys to the audience, but are also in absolute control of it.
They say, “Everyone has at least one good book in them” and while I think book might be a bit of a stretch, I wholeheartedly believe that everyone has at least one good story in them. The natural length—the pure story without padding or the encumbrance of unnecessary detail or description—of which can range from flash fiction (under 1,000 words) to short story (under 7,500 words) to novelette (7,500 to 17,500 words) to novella (17,500 to 40,000 words) to a proper novel (over 40,000 words).
No matter how non-creative you believe yourself to be, your brain is nonetheless gifted with the special ability of imagination, and regardless of how infrequently you put it to use, you still are able to dream up intricate realities, despite your age or IQ level. Haven’t we all, at one time or another, projected a new reality in our minds in the form of daydreaming our desires? And no two daydreams are exactly the same since we each possess unique preferences, points of view, wants and needs.
Yet, even armed with the knowledge of this gift, we, as writers, tend to suffer because we either do not fully believe in or properly comprehend our true nature as creators. Sure, we continue to imagine “what if” scenarios but sometimes we find it difficult to allow those thoughts to flow through us—the conduit—and blossom into the stories they need to become.
The following list isn’t a step-by-step “how to” guide, because no one can tell you precisely what you need to do to access your inner story. You are a totally unique entity, after all. View it more as a broom to help you sweep away the clutter piled up on the footpath to your personal tale.
1. Examine your self-image.
The first battle you must face is the one against your self-image. You are more than pen and paper, more than a keyboard, more than “just another writer” or more than whatever obstacle your past or conditioning has placed in your path. The main reason why most writers fail to connect with their inner story is because of their limited knowledge of who they truly are.
As flawed human beings we are so engrossed with the perceptions of who we are that we fail to see that we are usually the source for the reality we have created for ourselves. Sure, the walls of the prison may have been constructed by events of the past, by family, peers or environment, but we continue to fortify the walls and never once open the lock–the key is always in our possession–push the cell door to step out into freedom.
This in no way suggests you have to deconstruct your self-image–unless that’s your goal, then by all means, have at it. You’re merely peeling away the layers of the identity you’ve created for yourself for societal purposes and exposing your core self, the real you. Don’t worry, it’s only for the exercise of writing. You can reapply your layers once you’re done.
Your secret identity is safe with me.
2. Take note of your gifts.
Different from writer traits–talent, the hunger for knowledge, and diligence–a writer’s gift can range from an eye for detail, to a flair for description, to a talent for dialogue. Or, you might not even be aware of your talents, so I want you to grab a piece of paper and something to write with and in 60 seconds jot down a list of what you’re good at. Don’t think about it. Simply jot down, off the top of your head, the things that come easiest to you when you write.
All done? Now take a long, hard, honest look at your list. The things you don’t concentrate on, those bits and bobs that just sort of come naturally to you when you write… those are your gifts. You’d be surprised to discover how many writers aren’t aware of their innate skills because they aren’t utilized in their everyday work lives and wind up being placed in the “Hobby” category.
3. Exploit your strengths.
Since you’re bothering to read this, my guess is that you’ve written a couple of pieces already and maybe even finished a few of them. Now, if you’re an avid reader, you will have no doubt compared your piece to your author idols, and have developed the brutally honest ability to cast a critical eye upon your own work and spot areas in your writing that aren’t as strong as others. And since the writing isn’t perfect, you are therefore a horrible writer who should no longer legally be allowed to string a sentence together in an email, let alone write a story.
Maybe it’s true. Maybe you really are a bad writer–hey, they exist–but that’s not my call to make. I don’t know you, so I’ll assume you at least have some fundamental writing potential. However, no matter how good you are, there is one basic truth you must learn to face: Your writing will never be perfect. Why? As stated in a previous post: Because wunderkind wasn’t conveniently inserted into your backstory, and perfection isn’t DNA-encodable at this point in time. Still, you should always strive to get your writing as close to perfection as you can manage, and accept the fact that: It. Will. Not. Be. Perfect.
Maybe you can’t write a convincing love scene. Maybe you struggle with organic dialogue. Maybe you get stumped when attempting to create a character’s internal arc. Maybe you’re rubbish at tying up all your story’s loose threads. Console yourself in the knowledge that you wouldn’t be the first. A few of these “weaknesses” and more are true for authors of published works, some of which even make bestseller lists.
And because, as a writer, you are always a student and ever pushing yourself and learning new ways to hone your craft, you will eventually learn to strengthen your weaknesses. In the meantime, put all of the aspects of your writing into perspective, make a deal to stop beating yourself up so much, and focus on your strengths. They’re your “A” game.
4. Gird your loins against the enemy.
In addition to dealing with possible self-image barriers, there are other obstacles that can block your path: Fear, intimidation, procrastination, and self-doubt. The problem with these buggers is that they often take the form of lies you tell yourself. And they happen to be effective as hell because they insulate your brain from facing unpleasantries, in this case the difficult portions of the writing process that you need to slog through in order to strike gold.
The biggest lie you can tell yourself as a writer is, “I’ll do it later.” It’s a dishonest postponement because later never comes. If you don’t confront the enemies that keep you from your writing and tamp the bastards down long enough to complete your piece, then you don’t have what it takes to be a writer. Staring into the gaping maw of the harsh realities that terrify you is one of the most important parts of the process.
Slap a “H” on your chest and “Handle” it.
5. Identify your genre.
At this point, you arch an eyebrow and ask, “Rhyan, how can anyone not know the genre of their story?”
The answer lies within the fact that writers are creators. Some are resistant to the notion of placing labels or classifications on their work. For others, classification difficulties arise when their piece contains elements from several genres as some writers disagree with the act of limiting creative freedom in order to adhere to strictly delineated genre segregation.
For your audience, knowing the genre sets not only the stage, but their expectations as well, and puts them in the proper mindset to both understand and accept the rules of your story.
At this stage in the process, the importance of identifying your genre has to do with story mechanics. Certain elements step to the forefront and operate differently depending on genre, so you should be aware of the rules of the category–even if you decide to break them because of the maverick you are–as you’re arranging your idea into the proper story structure (see: Simple Anatomy of a Plot Outline).
6. Plant your feet firmly in the soil of your story.
This is your story. First and foremost, it must feel natural to you. No matter how fantastical the environment, how outrageous the yarn you’re spinning, if you don’t feel confident in the pocket dimension you’ve created, there’s little chance of you selling the story as being credible. Your job is to take utter nonsense and portray it with as much authenticity as possible.
7. Go with your gut.
Some people seek permission to write. Thinly disguised under the “Oh, it’s just an idea I’m toying with” veil, they will ask family and friends if they should write about such-and-such or if this-that-or-the-other-thing would make an interesting topic.
I urge you not to be this person.
I’m reminded of a quote by Jerome Lawrence, “The whole point of writing is to have something in your gut or in your soul or in your mind that’s burning to be written.” So, if you can actually feel inspiration or instinct churning like hot snakes in your gut to write, forget the opinions of those around you, disregard the idea of “should” and just go for it.
Never live with regret, if you can help it.
8. Do it now. No better time than the present.
To snatch a line from Pixar’s Ratatouille “Why not here? Why not now?”
By now you know you must show up for writing everyday, and there’s no time like the present. So, why not find yourself a quiet spot, practice listening, and trust what you hear. That’s your inner story talking to you, and it not only has to be unlocked but it must be accessible at will.
I know it’s become hackneyed to instruct you to follow your bliss, but if you deny your instincts to do what you truly want to do, then the problem becomes one of trust. Do you trust the voice within you or do you trust reality as you are made to perceive it? Or, are you willing to trust the voice and write what you hear, no matter how crazy it sounds?
You have to learn to be compassionate with yourself, as well as having compassion for yourself. Especially during the vulnerable times when you’re blocked and can’t bring yourself to write because you’re scared you’ll be rejected. Take some small comfort in knowing you’re not alone in this.
Since all art must be criticized, every single published author had to overcome fear of rejection. What you need to keep in mind is that your audience–human, just the same as you–can only relate to your writing from their own experience, and sometimes their feedback will be negative. That doesn’t necessarily indicate problems in your writing, and may simply reflect a varying viewpoint.
But fear of rejection has no business rearing its ugly head right now as it’s time for you to honor your inner story by listening to the words it shares with you and writing about it. Trust me, if you’re willing to enjoy the process, you can write damn near anything.
So, why not sally forth and be inner story writeful?
1. “You can be a little ungrammatical if you come from the right part of the country.” — Robert Frost
2. “Word has somehow got around that the split infinitive is always wrong. That is a piece with the outworn notion that it is always wrong to strike a lady.” — James Thurber
3. “It is indeed acceptable practice to sometimes split an infinitive. If infinitive-splitting makes available just the shade of meaning you desire or if avoiding the separation creates a confusing ambiguity or patent artificiality, you are entitled to happily go ahead and split!” — Richard Lederer
4. “When you catch an adjective, kill it.” — Mark Twain
5. “The adjective is the banana peel of the parts of speech.” — Clifton Fadiman
6. “The adjective is the enemy of the noun.” — Voltaire
7. “If the noun is good and the verb is strong, you almost never need an adjective.” — J. Anthony Lukas
8. “Don’t say it was ‘delightful’; make us say ‘delightful’ when we’ve read the description. You see, all those words (horrifying, wonderful, hideous, exquisite) are only like saying to your readers ‘Please will you do my job for me?’” — C.S. Lewis
9. “Forward motion in any piece of writing is carried by verbs. Verbs are the action words of the language and the most important. Turn to any passage on any page of a successful novel and notice the high percentage of verbs. Beginning writers always use too many adjectives and adverbs and generally use too many dependent clauses. Count your words and words of verbal force (like that word “force” I just used).” — William Sloane
10. “The editorial ‘we’ has often been fatal to rising genius; though all the world knows that it is only a form of speech, very often employed by a single needy blockhead.” — Thomas Baington Macaulay
11. “Only presidents, editors and people with tapeworm have the right to use the editorial ‘we.’” — Mark Twain
Q: What do you say when you are comforting a grammar nazi?
A: There, Their, They’re
English Professor
“In English,” he said, “A double negative forms a positive. In some languages, though, such as Russian, a double negative is still a negative. However, there is no language wherein a double positive can form a negative.”
A voice from the back of the room piped up, “Yeah, right.”
Library
A Texan was visiting Harvard University, and was lost. He stopped a student and asked, “Do you know where the library is at?”
“I sure do,” replied the student, “But, you know, you’re not supposed to end sentences with prepositions.”
“What?”
“Prepositions. You ended your sentence with an ‘at’, which you aren’t supposed to do.”
“Oh, ok,” said the Texan, “Do you know where the library is at, asshole?”
Grammar walks into a Bar
Three intransitive verbs walk into a bar. They sit. They Drink. They Leave
A comma splice walks into a bar, it has a drink and then leaves.
A dangling modifier walks into a bar. After finishing a drink, the bartender asks it to leave.
A Question mark walks into a bar?
Two Quotation marks “walk into” a bar.
A gerund and an infinitive walk into a bar, drinking a drink.
The bar was walked into by the passive voice.
The past, the present, and the future walked into a bar. It was tense.
A synonym ambles into a pub.
A gerund and an infinitive walk into a bar, drinking to drink.
A hyperbole totally ripped into this bar and destroyed everything.
A run on sentence walks into a bar it is thirsty.
Falling slowly, softly falling, the chiasmus collapsed to the bar floor.
A group of homophones wok inn two a bar.
Panda
A panda walks into a cafe. He orders a sandwich, eats it, then draws a gun and fires two shots in the air.
“Why?” asks the confused waiter, as the panda makes towards the exit. The panda produces a badly punctuated wildlife manual and tosses it over his shoulder.
“I’m a panda,” he says at the door. “Look it up.”
The waiter turns to the relevant entry and, sure enough, finds an explanation.
“Panda. Large black-and-white bear-like mammal, native to China. Eats, shoots and leaves.”
A favorite writer of mine, Neil Gaiman. Enjoy as he reads from The Graveyard Book, winner of the 2010 Cilip Carnegie Medal, the Newbery Medal and the Booktrust Teenage Book Prize 2009, and shortlisted for the Kate Greenaway Award.
MADD FICTIONAL 