Coming into December I knew that it is usually a difficult month for writing, given how heavy it is on holiday festivities. I was also afraid that if I started missing multiple days back-to-back it would be all too easy to give up on it entirely until the new year.
So at the start of the month I made a commitment to not have two days back-to-back where I didn’t work on the novel. A lofty goal…and I made it!
The days that I missed were the 6th, 12th, 21st, 23rd, 25th, and 27th. As you can see, at the end I started missing every other day as the festivities ramped up, but I successfully managed to sandwich each absence with at least a little bit of work before and after.
And how about that grand total of 25 days writing?! I believe that is a new record for me, and I do think it was directly due to this idea of no back-to-back days off. 4003 words written means that each of those 25 days was a little light, but that’s still the most I’ve written in a single month since March.
If you’ve been following my progress, then you know I have tried a variety of different routines to get the most out of my writing and some of those have been more successful than others. I’m pretty excited about this new no-back-to-back-misses approach, though, and will certainly be carrying it forward!
So here’s hoping for another great month in January, I’ll let you know in February how it went. As usual I’ll send you off with a piece that I wrote during this month. Enjoy!
Then begins the crafting stage. Of all the phases, this one is the most routine and repetitive. There are many identical pieces and all must be cut to exact length and precisely shaped, so that they may be bolted together in a perfect fit. And as the full quantity of these has already been tabulated, John has a quota for exactly how many pieces to construct each day. Like a machine his arms memorize the movements and repeat them over and over, parts flying off the table in rapid succession until the full tally has been made.
Of course he cannot completely assemble the pieces of the mill at his workstation, for then they would be too heavy to carry down to the river. Thus he forms them into as large of pieces as his little wheelbarrow can bear, then he will carries them down to the river and completes their construction on-site.
This transportation phase requires some adjustments to the wheelbarrow, though. A single wheel and two leg supports has made for a most agile vehicle, but it simply won’t do when supporting massive constructs of lumber. So he gets rid of the legs, adds three more wheels, expands its bed, and raises its walls. Now it is a proper cart.
Then he treks down to the river, one load at a time. It is not easy to haul such large pieces over such a distance. The ground, while relatively flat compared to the rest of the island, is still far from a paved road. Indeed John thinks to himself during the process that he will have to prioritize making some roads during the off-season when he has a spare moment.
But for now there are no spare moments. He is still holding himself to a rigorous schedule and he must make many trips back-and-forth, every single day. By his copious experience he knows full well how much strain is behind every numbered task. He knows the exact amount of work to be accomplished and the amount of pain to be endured, and he does not let his day finish until he has met both quotas.
On September my goal was to work on my blog every weekday for a half hour, which would result in 20 days throughout the month. I’m pleased to report that for the first time I hit my goal exactly!
My other goal was to finish all of the outlines that I was refactoring, so that moving forward I could focus solely on the first draft of my story. I’m pleased to report that I hit that goal as well! It took 18 of the 20 days to do, but for October I am all clear to just draft. The other two days were spent rereading that draft so that I could back into the feel of it.
I do realize that taking a month just to finish an outline might sound like quite a lot. Though what I call an “outline” is probably a great deal more exhaustive than what most people think of. This outline weighs in at just over 36,000 words, and provides a very clear direction for every scene of the story!
It feels really good to have reached this point. Refactoring is important, but it feels a lot like running-in-place. A lot of energy goes in, but the word-count of your draft doesn’t go up at all. It feels a lot better when day-by-day you see the numbers moving closer to a full-fledged novel.
If I had one piece of advice from all of this it would be to avoid changing gears when writing as much as possible. I went from outlining, to drafting, back to outlining, and then back to drafting again. And at each switch there was an amount of dead time where I had to ask myself “now what was I doing here again?” Especially with something like a novel where maintaining a consistent tone is so important, leaving and coming back again needs to be kept to an absolute minimal!
I’ve always loved the month of October. The Autumn season has such a ponderous magic in the air, it seems to exhale deep story. I’m very excited to work away during this season, and look forward to giving you my next update on November 1st. My goal is to write for at least 22 days during the month. That’s every weekday except one, which I will be on vacation for. I’m not going to make any goal for how many words to write, but I will keep track of how many I do. See you then!
I wonder which gymnast commentator was the first to excitedly shout “…and he sticks the landing!” It’s become a staple of the sport, used to signify that the athlete has performed some particularly difficult dismount, and still managed to land with perfect finesse. In this sport it isn’t so much about how many flips and twists you can do in the air, it’s how many you can do while still maintaining your control through to the end.
This is “theory versus execution,” and “easier said than done,” and “not just talking the talk but walking the walk.” In so many circles of life people are far less impressed with what you can imagine, and more so with what you can actually do.
And yes, this applies to writing as well. The fact is, coming up with a great idea for a story is not that hard. Go attend any writer’s group and you will meet dozens of people who all have “great ideas.” And it’s not that they’re wrong, either. Every person has a genius inside of them, and when they really set their imaginations to something the result is both exciting and awe-inspiring.
Yet very few of these would-be magnum opuses ever actually get written. It’s one of the greatest tragedies that so much creativity goes unrealized, so much potential goes squandered. And why does this happen? Well, “easier said than done.”
I’ve written about this before, the gap between imagination and execution. The talent is not in having a great idea, it is in being able to give a voice to it. We do not praise Da Vinci for having the image of the Mona Lisa in his mind, we praise him for actually getting it onto the canvas.
Failure and Fear)
I’m sure we can all think of experiences where an author has gone for something impressive and left us disappointed. Just recently I read a novel that had me cringing as the main character had a story related to him, one that was meant to be wise and profound, one that would compel him to action. And while the main character was nodding his head and expressing amazement at such “profound wisdom,” I was just rolling my eyes at such shallow kitsch.
Of course some authors may wish to avoid falling flat on their face like that. And so, if the story calls for a moment of grandeur they try cheat their way around it. They will say something impressive happened, but they don’t actually show it. I remember a film where the main character stood up to give a rousing speech at the film’s conclusion. Instead of actually coming up with something meaningful for him to say, though, the movie simply drowned out his voice with sentimental music and slowly panned past a row of people, all nodding as if they were hearing him say something very moving.
That’s hardly any better, and it’s quite possibly even worse. So what then? Well some authors will just avoid including anything meaningful at all. There’s no risk of flubbing an impressive sequence if there just aren’t any impressive sequences. Or maybe they figure out how to do one thing right, and then they just churn that out over and over with every story. It’s like that childhood friend who could draw Fred Flinstone really well…but only from this one angle and in one pose.
In my work-life these sorts of limitations are not tolerated. The software industry is ever-changing and ever-evolving. If you stand still and never stretch yourself, then you will not keep your job. Perhaps your work is poor quality, you will get feedback on that and you will be expected to improve. To improve you are expected to ask for training and put in the hard work to master that area. Once you have mastered that task, then the process starts over as you are expected to now take the next step.
Sometimes you see the moment of epiphany in a new developer’s eyes, the moment when they finally get it. Their daily work isn’t the software, it’s the improvement. We aren’t asking them to “do their task,” we’re asking them to “own their craft.”
That transformation is where the worker becomes the true professional. Steven Pressfield, a very accomplished author himself, explored this very notion in his book The War of Art. Here he explains that being professional isn’t about being paid, it is about being a master of one’s craft and not accepting any personal limitations. The professional author is a true artist of the page, one to whom creativity is both the means and the end.
If a professional writer found he couldn’t stick the landing he wouldn’t rewrite the scene to hide his weakness. He would say “well, I guess that’s what I need to learn next.” When the professional writer publishes her next book she doesn’t “play it safe” and just rehash everything she did before. No, each of her entries is a testament to how much she’s challenged herself, and how she’s grown to meet those challenges.
My Own Downs and Ups)
The second short story I published on this blog was called The Houses’s Finest Hour, and it was my attempt at doing an ambient piece. For the entire post I ignored characters and plot, and instead focused on describing a location, using all of the long and flowery sentences I could muster. I did it because I knew it was something I didn’t do very much, and I wanted to give myself a challenge. Well, I certainly succeeded in that regard.
It was one of the most difficult things I had ever written. I just wasn’t any good at it. I wrote and rewrote, and second- and triple-guessed every sentence. It took tremendous effort to post what I did, and frankly even then it still wasn’t very good. I knew it wasn’t very good, but it really was the best I could do then.
At that moment I knew I had found the next thing for me to learn. Throughout the entire year that has followed I have returned numerous times to this same task, not willing to let that freshman effort be my final word on capturing an atmosphere. Almost all of my work has involved scenery-painting in one form or another, and a few have even been built exclusively around it. Sculpting Light, Deep Forest, and The Last Grasshopper all represent milestones in my journey to improve in that regard. In fact, just two weeks ago I posted Washed Ashore, which represents my latest attempt at writing a piece that conveys a palpable mood.
I would say there is obviously still room to grow, and I still haven’t given my final word on that subject. But I have actually improved, and I am glad I didn’t try to shy away from a portion of storytelling just because I wasn’t very good at it initially.
Being able to pull off an impressive narrative sequence is, in some ways, what being an author is all about. It is a large part of what characterizes and defines all of the most celebrated writers. If you really want to make your next piece sing, you’re going to have to write that is hard.
That’s what I’m personally going to be doing with my very next post. In my current story I’ve already introduced our main character Taki, and established that he is about to engage in some sort of futuristic and dangerous racing competition. Now this particular sport is going to be central to all the rest of the story. So I really need it to be something that is exciting and original, somewhere that the reader will want to spend time. The reader needs to readily understand how this sport works, they need to be utterly captivated by it, and they need to be curious to know more!
If I fail in this ambition, it’s going to stick out like a sore thumb. As I said, the meat of the story is going to be taking place around the race track, so if that track isn’t an interesting place to be then the story isn’t going to be interesting to read. I’m flipping off the pommel horse and I may just fall flat on my face. But I’m all for the challenge. In fact I’m excited about it. Come back on Thursday to see how it turns out!