Writing Prep 7 - Dreams, Dialogue, and Disasters - Observation that Counts

My muse stalks me. She is always dropping ideas, concepts, and images into my brain. More often than not, I don’t pay attention. At times, I say “aha!” but I fail to capture the bits that give me goose bumps. But as I’ve grown as a writer, with a particular eye to being more productive, I’ve gotten better at claiming these gifts.

They can come to me at any time, but they typically arrive in dreams (rich in images), good conversations (which generate unexpected ideas), disorienting experiences, and disasters that force me to improvise (both of which challenge my perspective, often in wrenching ways).

Here are my guiding principles:

·      At ease – I give myself permission to be in the moment, especially when I am in distinct situations that are not likely to be repeated. When I visit a strange place. When I get into a conversation with or see the actions of someone who is eccentric or strong-willed. When I have one of those moments in a relationship when there is a surprise or a big decision is made.

·      On notice – I usually pick up the narrative of my life. I can tell you what happened and why it interested me. But I often have to remind myself to pay attention to the five senses and my emotional state. Not only are these valuable additions to any story, but they also help put me back into the moment, deepening my recall of the experience.

·      In words – I write down my observations in complete sentences (a tip found in Ray Bradbury’s advice to writers). This is wonderfully helpful in saving the time lost in trying to figure out what I meant when I jotted down single words.

·      In time – Getting things down why they are still fresh is essential. Much of the best the muse offers comes as smoke that is carried away by the slightest breeze. So getting to work without excuses (of course I’ll remember later) is an essential discipline. (Applying the experience immediately is usually a bad idea. Bad experiences, in particular, need to age and change shape over weeks, months, and even years.)

Most writers are obsessive about gathering notes. Some transcribe overheard conversations. Some keep journals. Some are obsessive picture-takers. When these gifts of the muse are regularly gathered, put into shape, and filed in a retrievable fashion, you have a resource to draw upon whenever there is a dry spell or a hole in a story that needs to be filled. Best of all, the habits of effective observation build over time, making it possible for you to see things other people can’t and to make connections that add spark to your work.

Don't Dream It; Be It

Last month, I made the decision to become a full-time, independent writer. Now, this was not as harrowing a decision as the one I made many years ago to leave the chemistry lab to become a writer at a non-profit. After all, it is a lot easier to go back to writing for a paycheck than it is to reenter scientific work after stepping away. And I have a lot of evidence now that people will pay me for putting words on paper.

Nevertheless, my move is not without some risk (and the stress of the transition has put me into physical therapy). The spontaneous smiles are accompanied by moments of doubt. Following your passion is good advice, but that path doesn't lead you into a land of rainbows and unicorns. How, then, does one take the advice of Dr. Frank-N-Furter? Don't be it; dream it?

• Know what you want. For me, a day that mixes fiction and nonfiction, that includes both writing and rewriting, that allows me to complete projects that never had enough time, is almost enough. I just have to enough money to pay most of the bills.
• Believe you can do it. Yes, every creative person has doubts, but can you construct a list of capabilities and accomplishments that makes the case that you are ready to take a leap? I can't prove that I will write bestselling novels, but I can provide a strong case that I can create prose people will pay for. Think in terms of putting together a portfolio for investors. Could you show the clippings, contracts, credits and samples that would make a case for yourself?
• Have a realistic timeframe. How long do you expect to wait until you see evidence of success? Until you achieve specific goals, such as getting an agent, making as much money as you spend? Getting contracts that carry you into the future? Many creative people underestimate how long they need to achieve their goals, and that builds disappointment and anxiety. Make you best guess for each goal, and add in (50%) extra time.
• Stay away from doubters. Bradbury was big on this. Over and over again, he told writers to cut loose any friends and associates who sowed seeds of doubt or flat out told them they couldn't do it. He was on to something. Some people have a perverse need to crush dreams. And their continuous streams of advice will echo in your mind when your own doubts rise up. It is especially important that the people you are closest to can support your choice in at least a limited way (say, for the length of your timeframe).

What if you fail? For some people, this can be devastating. It need not be, if have supporters around you. Small and even large failures do not need to stop you. They do not need to kill your dream. But they may cause you to modify your dream. If you learn your lessons along the way, you may even end up with dreams that are more satisfying to you. You need to be the right dream, not an imaginary dream. So make the mid-course correction and carry on.

Writing Prep 3 - Highlight your reasons for writing

Isaac Asimov, the author of about 500 books, had an office in his Manhattan apartment that overlooked Central Park. This priceless view was completely blocked off so Dr. Asimov could focus on his job - writing.

On the other hand, Ray Bradbury's writing space was crammed with toys, magazines, posters, statues and photographs - all primed to inspire the next story or scene.

Preparing your writing space is a key to productive writing, but it depends on what your specific needs are. Most writers I know have problems with distractions, and should take a cue from Asimov. Limit the clutter.  Limit the input. This does not necessarily mean you need to work in a monk's cell, but, if the things around you draw you away from the work, get them out of the way the day before. (Cleaning up before you write is an evil excuse to do something "productive" that is not writing.)

Of course, distractions do not need to be physical. The Internet, especially through social networks like Facebook, is probably the biggest killer of writing efforts on the planet today. Search beckons, chat windows appear. Email arrives with a distinctive chime. If this sucks you away from your writing, fight back. Close applications. Turn off the sound on your computer. Use a screen decluttering program. Or just detach your cable or shut off your wireless connection.

People can be distractions. I'll get into the dangers of husbandus interuptus or wifa interrupta or kidi interrupti in a later post, but the short answer to these is establishing boundaries. But, for many writers, the voices in their heads are the biggest distractions. Not the voices of characters, but the nagging voices that say laundry needs to be done, bills need to be paid, or the garden needs to be watered. All the tasks of career, family and household are important, but writing cannot fall the the bottom of a productive writer's list.

Making your reasons for writing explicit can move it up on the priority list. Write them down. Star, boldface and highlight the ones that are most important. Discuss them with your supporters (and avoid the deniers).

One teacher of mine, a successful novelist told me that her writing time was sacred. How sacred? She heard a scream one day, looked up once from her page and saw her son covered in blood. She almost left her writing desk, but, within a heartbeat, her understanding husband scooped up the child and drove away with him. She went back and finished her sentence.