Organizing My Notes

I literally have boxes of notes related to my writing. These include old journals, slips of paper with ideas for themes, titles, characters, and story lines, along with pages of writing I have done for parts of a memoir and snippets of already written stories to weave into a novel. I am in the process of organizing all of this material into file folders, hoping that by doing so, I can figure out the best way to present the material in written form.

Rereading my old journals is the most difficult part. I used to sit in bed and write with a spiral notebook and pen, just before nodding off. I would allow myself about 15 minutes to do so. Unfortunately (or fortunately), I was never able to adhere to my self-imposed schedule. Usually, I wrote in my journal during difficult periods of my life. The process was a cathartic experience and often helped me to work out problems I was having at the time. Usually the 15 minutes I had allowed would morph into an hour or more. Finally, I had to stop because I wasn’t getting enough sleep. Now, when I read those journal entries, I find that they tear away at my heart. Those were difficult emotional times and I am reliving the experiences through the writing. This often leaves me feeling depressed. That’s the downside. The upside is that I realize it is actually good writing if it is able to upset me so much. I truly captured the feeling at the time. These emotions just might be good enough to insert into a piece of fiction. (I am not honest enough to put them into a memoir, as I don’t want to admit to some of the troubles I encountered.) When writing a novel, I think it would be difficult to evoke real emotion if one is not experiencing it at the time. Having these journal entries could be a real asset when creating a larger work.

One of my biggest writing problems is the quantity of ideas I have and material I have already created. I can’t seem to get my arms around it to put it into a meaningful form. I would love to hear how others have tackled the same problem.

I have a real need to write. Each morning I start by sending emails to friends and relatives. It’s a routine, much like brushing my teeth. The day is not complete without it. I start, meaning to just write a line or two, soon finding that I’ve written a much longer letter than intended. I would like to be able to take my love of writing and actually create a larger, more singular product.

Writer’s block is not my problem. Creating something meaningful with my writing is a problem. I am so inspired by the workshops that I attend at Lighthouse Writer’s Workshop, yet I have not found one workshop that addresses my problem. I would appreciate some help.

For now, I will continue organizing my notes, hoping that it will eventually all fall into place.

Creating Suspense in One’s Writing

Yesterday I attended a class at Lighthouse Writer’s Workshop taught by Benjamin Percy. The workshop was on creating suspense in one’s writing. As always, I like to use this blog as a vehicle to share my notes.

Aaron Copland wrote an article about three different levels of listening to music, with each level involving more complexity. Most people listen to music for the pure pleasure, but others progress through their listening,  analyzing in detail the musicality of the piece. The same idea can be applied to reading. Most people read only for pleasure—a good story. When Percy reads, he dissects and analyzes everything from sentence structure to story form. Percy also does this when watching movies, pealing back the layers that make the film more complicated and intricate. By doing this, he is able to determine what makes the story or book or movie work.

There are two arcs in every story: The arc of the story that is told and the emotional arc. The story arc involves conflicts, building to climax. The emotional arc explores how the story is important and why. We need to explore both types of arcs to make a story work.

People today are impatient. Unlike Victorian novels, today’s reader no longer wants to take the time for the background of a story to build; therefore, the initial exposition should be very compact. The writer must move as quickly as possible to an incident that disrupts the story, causing a conflict—perhaps even in the first page or two.

Every story has a character that goes through a transformation. The character may change his looks, thoughts, direction, character traits, etc.

Throughout one’s story, the writer needs to create numerous “set pieces” or crescendos that will be memorable long after the book is finished. Percy had us quickly and privately list incidents in our own lives that were memorable. Instantly, I could see that this was a valuable tool. After the exercise, one of the class members shared an incident that stood out in her life—“When my mother was taken away in a strait-jacket.” Writing about that would definitely be a scene that would be remembered long after a book was finished. Percy challenged us to incorporate our personal incidents into our writing and to emotionally “mine” the reasons why our “set pieces” were included in the story. Is there a truth or a metaphor that can be used? The crescendos of one’s story deserve the most time in the writing process.

During a strong set point in a movie (think about the shower scene in Psycho), the camera quickly and continually switches perspectives—a shot from outside the shower, from inside the shower, from a high angle. You might see the scene not only from different angles but also from the perspectives of different characters. The writer needs to do the same when creating a story.

The set point should be action only. The emotional part should be provided either before or after the incident. Tell a story, have some thoughts about it. Tell a story, have some thoughts about it.

Create a story map well in advance of the actual writing. Keep the climax in mind when thinking about the map. While it is important to know where you’re going to end your story, put the emphasis on the climax.

To reach a climax, create a series of failures until you reach the biggest failure of all. Think about a moment when you really wanted something. What did that thing represent? Why did it matter? What is the worst-case scenario that could happen related to this? Percy used Raiders of the Lost Ark as an example. Indiana Jones wanted most to find and retrieve the Ark. Early in the movie, we discover that Indy is most afraid of snakes. In his attempt to find the Ark, he goes through a series of failures until he reaches the climax, or greatest failure of all. This is when Indy finds the Ark, but is confronted by the Nazis and thrown into the Well of Souls, which is filled with snakes.

All does not need to end well in one’s book. Having multiple characters in a story, some characters may experience happy, resolved endings and some might have unhappy or unresolved endings. All do not need to be the same.

Have conflicting forces. Good character vs. bad. Good weather vs. severe. Serious virus vs. health. At first tease people with danger, then slowly ratchet it up. Introduce the danger on an early page, then bring it up again at several different points throughout the book, each time making it more tantalizing. This danger could even be represented by a person or situation that is “off stage.” Slowly build the expectations of the reader. This may end in disappointment because the suspense does not meet the reader’s expectations, but that is okay. It could also leave the reader hanging, never revealing the significance of the incident(s).

What does your character want? He must desire something in every scene. Think of this on a micro basis. It’s like running a marathon. The runner can’t focus on the finish line as the goal as that would be overwhelming; instead, he must break the course down into small pieces. First run to the fire hydrant. Next focus on running to the street sign. As a writer, can you break the desires of your character into small pieces?

Have characters moving while expressing what they want. No conversations on park benches or discussions at the dinner table.  Instead, have them walking or doing chores. Any kind of action will do. At the same time, incorporate metaphor. Example: Buying things for someone may just look like the purchase of items, but it could really be an expression of love?

Create triangulation. Three tensions going on at once.

What are the obstacles in a story that make you keep reading? One person can have numerous problems. A problem roars into view, then the author cuts away to something else. The problem appears again pages later and then again many pages after that. This creates suspense.  Each chapter should end with reader wanting to know what happens next, but finding that the following chapter starts with something completely different.

The Ticking Clock—A big problem introduced. (Think about the ticking heart in The Telltale Heart.) This problem of this ticking continues throughout the story. The issue may or may not be resolved at the end.  Someone or something is transformed during the process.

This Is It—Time to Stop Procrastinating

How many times have you promised to stop procrastinating and start writing? I certainly have had my share of promises. This time I am setting up a system so I can be accountable to myself.

I am no longer saying that I will write when I have time. There will always be something else that “needs” to be done.

I love to play the piano, but it is difficult to carve out the time to practice. For the last six years, I have been successful by keeping a time journal of every minute I practice, with the goal of two hours at the ivories each day.

This morning I started a similar schedule to keep track of the hours that I write. On the lower level of my house, away from distractions, I have a large room in which to work. In addition to my desktop computer, the room has lots of empty wall space. I intend to start filling those walls with an organized system for posting all the notes I have collected for themes, titles, personality characteristics, conflicts, techniques to use, vignettes that I have written, etc. I already have a huge box filled with these items as well as many computer files. Presently, all my notes are thrown together with no system for organization. My mind is unable to sort through and digest my ideas without a system of organization. Hopefully, once these ideas are put in order, common threads will evolve, and I can begin weaving the threads together into a book.

I spend a great deal of time thinking about my writing, but I need do more than just think, lest age overtake my ability to do so.

I’ve written two blogs today and hope to also get started on my wall organization before the sun sets. If anyone else out there has ideas about writing organization and use of time, I would love to hear them.

Tools to Help Structure One’s Writing

I recently attended another great class at Lighthouse Writers Workshop. This 2 ½ hour session on structuring a book-length manuscript was conducted by award-winning author Rebecca Makkai.

For quite some time, I have been daunted by the management the huge document created when writing a book. Rebecca’s class, titled Build It up—Blueprints for All Writers, was extremely helpful because it provided concrete ways for me to organize my work.

We all approach writing in different ways. What works for one person will not be best for another; however, the tools that Makkai provided are a great starting point.

Here are my notes from the class, which I organized for my own use. Hopefully, they will also be helpful to others.

Planning Files

Keep files of random ideas of story lines, titles, notes, questions to consider, characters, etc. I see myself creating separate files for each of these topics. I already have a huge box filled with notes, plus many vignettes written on the computer. Now I need to print everything out and organize it. 

Beginnings

Beginnings can happen in various ways. Here are some possibilities:

• Start with normal characters leading normal lives, then introduce an event that changes everything.
• Start in the middle of the story and then create a flashback.
• Don’t save a big idea for the end; instead, make it known early in the book.

Outlines

• While it is important to work from an outline, do not be married to it; instead, think of it as an itinerary. When planning a trip, it helps to consider where to stay, which restaurants to try, activities to pursue, and sites to visit; however, sometimes it is best to be spontaneous. Once at a destination, one may discover new possibilities and change plans. The same is true with an outline. Use an outline as a flexible guide.
• Don’t write an outline until about 60 pages into the book. Ideas not previously considered may develop during this initial writing stage.
•  An outline may take different forms, including writing, pictures, diagrams, post-its on a wall, a computer document, etc.
• Re-outline later in the writing process to determine what is missing in the story. You may find holes.
• Blind outline—After you’ve written your story, write down scenes from memory. Compare this to your actual outline. Is what’s left out essential? Use this information to find gaps in instances of cause and effect.
• Write a one-page synopsis of your book. (You will need to do this anyway to present to an agent or apply for a writing grant.) Find examples of synopses on the Internet. By writing a synopsis, you may more clearly see the structure of your book. Think about how you would briefly explain your story at a dinner party. 

Timeline

A timeline can be created as the book is being written. In your timeline, actually name dates for every event. A timeline may be written in traditional linear form, or it may be documented on a calendar. Track fine points within each event so that all necessary details are included. Make certain that backstories have been established so that your tale makes sense.

Revisions and Read-Throughs

• Resist the urge to revise too early. First you need to get all your ideas on paper.
• Read-throughs—Once the book has been written, print out the story on single-sided, double-spaced paper. You will want to do numerous read-throughs.
• Read the manuscript it as quickly as possible for structure. This is not a final edit. Write only the most basic notes. Keep a separate file of things that need to be done later to improve the writing.
• Take time off from immersion in the book between read-throughs to clear your mind.
• Print out the manuscript differently between read-throughs so that you will view it with fresh eyes each time. Do this by changing the margins and/or font, justifying the print, etc.
• Color-code your manuscript by using highlighters, different colored fonts, etc. to use in any way you find useful. Examples:
• To show different points of view
• To indicate what is happening now as opposed to later, helping you to create balance between the two
• Another possible read-through is to make certain the flow of each character makes sense. 

Characters

•  Character maps—Use character maps to show relationships between individuals. What are their feelings toward one another? Does one character need another character for a particular reason? How do they interact? When aiming for complexity in a story, also aim for complexity in these maps. There needs to be conflict between people. Every individual should want something, perhaps desperately. Samples of character maps can be found on the Internet.
• Character arcs—characters change within a story. Map out the arc of each character. (This could easily be a class on its own. Do an Internet search on character arcs to have a good understanding of the possibilities.)
• Development of personas should include lots of cause and effect. Rather than having your book filled with “thens”—a series of sequential events—it should be filled with lots of “therefores” and “buts”—A happened, which caused B to happen or even though A happened, B came along and changed the outcome. 

Floor Plans and Maps

•  Actually draw detailed floor plans of structures used in your story. Include the orientation of main building structures. Make certain that your character is gazing out the correct window as the sun is rising.
• Map out gardens and surrounding landscapes so that you have a clear picture of the places your describe.

Personal Note: I can actually imagine creating imaginary places and characters before deciding upon an actual story line. If I have established my buildings, landscapes, and individuals, and know the general themes that I want to create, the story may just fall into place on its own.

The UnWorkshop—Free Support and Writing Instruction

The last six months I have been preoccupied with selling my home and building a new one; therefore, my writing was put on hold. I miss it and am looking forward to getting back in the groove.

Scroll down and find an earlier blog entry titled Organizing and Managing Your Book Manuscript, where I talk about a very helpful class I took from Doug Kurtz at Lighthouse Writers Workshop. Doug provides an opportunity outside of Lighthouse Writers Workshop that is free to anyone who wants to participate. I tried it out for the first time earlier this month and will definitely participate in the future, whenever I am able. It is called the UnWorkshop and is held on the first and third Mondays of each month, from 6PM-7PM Mountain Time. Doug uses a teleseminar format, so anyone from anywhere can participate; all that is needed is a phone. The workshop is designed as a support group for writers of all levels. The session in which I participated was Writing Environment, Rituals, and Practices. You can listen to a recording of this session to decide if it is something that you would find helpful.

The one thing I have learned from all the classes, seminars, and books I have read about writing is that there is no one correct way to approach the subject. What works for one person may be quite different from what works for another person. As I listened to Doug’s teleseminar, I interpreted his points to fit my own particular style and needs. Here are my notes to myself. Once you listen to Doug’s talk, you may draw completely different conclusions for yourself.

1. While I have always had an office, my new home will have a room that is even more conducive to serious writing. This is a mindset as much as a physical configuration. In anticipation, I mentally picture myself in the room, sitting at the computer and writing.    
2. I am a very organized person, which I find helps me in all aspects of life, but I need to remember not to be so organized that the process takes up so much time it actually gets in the way of putting words on paper.
3. Some people are able to find short periods of time in which to write, but that does not work for me. To be efficient, I need large blocks of uninterrupted time where I can allow my thinking to “get in the zone.” Therefore, I need to create those large blocks of time. I need to turn off the phone, close email, and close Facebook. I cannot write with sounds in the background; therefore, no music or voices.
4. Each day I need to schedule a time to write, just as if it were an appointment. Because of other things going on in my life, it is not practical for me to schedule the same time each day; nevertheless, I need to find some block of time. Each night, I create a “to do” list for the next day. I will schedule my writing time as I create the list for the next day. That way, I can find the time period that will work best for me.
5. Different people find that they write best at different times of the day. The times that I know don’t work for me are first thing in the morning, late at night, and at meal times.
6. Caution to myself: Once I start writing it can be difficult for me to stop. It is best if I don’t schedule a time to write when I need to stop abruptly to go to an appointment.
7. I write best when there is organization and balance in my life. My house needs to be clean, and I need to have a regular schedule of exercise, piano practice, reading, and writing. 

I recommend that you sign up for Doug Kurtz’s UnWorkshops. If you are interested in tuning in to future sessions, sign up here. There is no cost, no obligation, and no spam.