Showing posts with label writing in stages. Show all posts
Showing posts with label writing in stages. Show all posts

Friday, August 18, 2023

Pros and Cons of Taking Break from Writing, Part 2 by Karen S Wiesner


Pros and Cons of Taking Break from Writing,

Part 2

by Karen S. Wiesner


In the final of a two-part article, I evaluate aging, progress, and momentum as well as talk about the indisputable value breaks provide one in their particular discipline along with the damage protracted absences from said discipline can also do.

In the first part of this article, I talked about my goals for 2023. I have two more series to wrap up before I retire from writing. After that, I'm hoping to illustrate children's books. I'd hoped I could finish writing the first drafts of my last few novels in 2023. 2024 was my goal year for making the transition between the two disciplines of writing and art.

For the month of July 2023, while I was intensely writing the first draft of my final Peaceful Pilgrims story, I toyed with the prospect of going directly into writing the second to the last novel in my Bloodmoon Cove Spirits Series throughout the months of August and September 2023. However, I was bordering on burnout. Without a break, my writing would suffer, and that's simply not how I wanted to go into any of my final writing projects. I want each of them to be my best work ever. I was at a crossroads: I needed a break, but, if I took one, I absolutely couldn't accomplish all I'd intended to in 2023. Retirement and beginning my next career in illustration would have to be put on hold. Again.

My poor husband heard my angst over this issue on a daily basis for the last two weeks in July, as I tried to decide the best course of action concerning my dilemma. He surprised me one morning when he told me about a weekly podcast he watches devoted to the discipline of swimming. In this particular video, the host talked about the pros and cons of taking a break from swimming. Although I've spent years thinking I understood the indisputable value breaks provide in writing, as well as the damage protracted absences can also do, I learned something as my husband summarized the points the swimming instructor brought up.

For swimmers in training, as my husband considered himself (though he really only competes with himself--or his alter ego Frank who swims one kilometer a day every day like clockwork), there are a lot of pros and cons to taking a short break or even a lengthy one from daily discipline. A lot can happen to the body when a swimmer isn't in the pool each day, and of course the longer the absence, the worse things can get.

First, the longer an individual has been swimming, the more natural it becomes for them. They develop a "water feel". Being in the water becomes so natural, their skills become honed and instinctive. Taking a break, that instinct is dulled, and not surprisingly the longer they're away from the water, the more drastic losing the "water feel" becomes. Once they come back, they'll have to work harder to adjust to being and becoming like a fish again.

Second, when you're swimming every day, you're building endurance and muscle, and your metabolism is high. You can do more, expend less energy with the task, and in less time. When you take a break, your tolerance for the activity lessens. While your muscles enjoy and benefit from the initial rest, before long they begin to atrophy if absence persists. Finally, while you're working out each and every day, you may be able to eat more and still burn it off without penalty. If you're not putting in the work every day and that stretches into even more time away, you may still be hungry; however, eating the same amount you did sans the exercise, you'll gain weight in a hurry.

Third, when a person swims each day, the body becomes stronger. With the powerful muscles that being fit provides, this person is better able to handle anything in life that requires physical activity. Short periods of rest--a day or two--can be very beneficial, allowing muscles to heal before being rebuilt even stronger. Just as you'd expect, muscle that's not being worked breaks down, which will happen if a rest carries on too long.

Creative pursuits aren't all that different from a physical activity like swimming. For instance, the longer you've been writing, the more you hone your writing craft--"word feel", if you will. The process of writing becomes natural when it's done often, every day, with proper discipline, and it can become instinctive. But breaks, especially long ones, can make a writer lose that instinctual edge. You'll work harder to produce the same results you got easily before you took the extended break.

When you're writing each day, you're building skills, endurance, and longevity in the pursuit of excellence. Your enthusiasm and passion will be high. You'll be able to do more, expend less energy, and produce quality results in less time. But take a long break, and your tolerance wanes quickly. You tire easily and, inevitably, your skills will begin to weaken and wither. You'll also find your ardor cooling, your hunger tapering off. You may feel disinterested or even apathetic about returning to the discipline you previously enjoyed.

Finally, when you're writing every day, your material becomes far stronger. Your stories will invariably be richer, deeper, and more powerful. Taking breaks between stages in a project can almost certainly improve the quality and quantity of your work as well as provide you with the refreshment and perspective necessary to continuing the task through to its successful completion. You can read my previous articles about the benefits of writing in stages on this blog here: https://aliendjinnromances.blogspot.com/search/label/writing%20in%20stages. However, long breaks from writing can set you back instead of propel you forward. You need momentum for long-term tasks, and that only comes from activity, not lethargy, which saps physical, mental, and spiritual pursuits. Once gravity pulls you down, you'll have to work harder to yank yourself back up again.

The takeaway here becomes clear when you consider that in nearly aspect of life, finding the thing that you're good at, the thing you love and are willing to work hard to gain or achieve success in requires that you juggle times of disciplined activity and short periods of revitalizing rest. Both are crucial to maintaining, sustaining, and ensuring progress. Just as overtraining can cause injuries, refusing to allow yourself to step away for a bit to recover physical, mental, and spiritual energy can lead to burnout or worse.

Another factor is the length of time you've been working on any certain discipline. Anything you've been doing for a long time and consistently over the course of presumed years will provide you with a healthy foundation for instinct, endurance, and strength. Each of these components will remain in place for longer, requiring more hardship to whittle the three cornerstones down. Core aspects drop away slower, because you can fall back on the basics you've been cultivating for a considerable number of years. Someone who's new to a discipline will see key competencies drop off much faster when they take short or long breaks from it. Conversely, if you've been training hard and you come to a full stop abruptly, your overall performance is likely to plummet just as suddenly. But if you're doing something almost casually, you probably won't notice a significant change in your functioning.

I've been writing for almost 35 years. If I had to compare my career to a physical activity, for most of it I was easily competing to be an Olympic athlete. Between getting old, the COVID isolation hitting me hard, and the life upheavals I experienced a few years back (more about that in my "Reflections of Life" article series, which you'll find posted here:  https://aliendjinnromances.blogspot.com/search/label/reflections%20of%20life), I came to an almost full stop very suddenly. I've been dealing with the fallout ever since…

Such as the fact that I'm now facing that the goals I made for myself at the end of 2022 probably can't happen the way I planned. I can't write two novels back to back anymore, like I used to, even if one of them is drastically less complicated than the other. I'll need to take a break from writing for the next several weeks after finishing the first novel I've written this year in late July 2023. I'll have things to do to fill the downtime, just a little each day while I take a refreshing break from the hard work of writing. Additionally, I can get in some of the art practice that will eventually help me when I'm settling into the new career as an illustrator. I'll be ahead of the game there since I'll have spent several years in advance honing the new craft I intend to put my all into once I retire from writing. Between September and October of 2023, I'll write the next, more complex novel that I'm working on this year. That will leave me just enough time the final two months of 2023 to at least outline the very last offerings in my Bloodmoon Cove Spirits Series. It's not everything I hoped for. But, hey, it's still good.

It's very easy for me to get discouraged when I compare the "myself of today" with "myself of yesterday". I'm practically at a standstill when I look back at what I used to be able to accomplish every given year. I think I need to stop hitting the same brick wall of being disappointed with my output, of wanting to push myself harder. I may want to do more, but I've found over the course of the last two years that I simply can't anymore. I'm older, I have less stamina, and it just takes longer to make the magic happen. Even still, when I do get things done, I've found myself very proud of what I've managed to produce.

Instead of letting this same dejection knock me down over and over again, it may help me to compare myself to other writers. Most authors produce one novel a year and consider themselves productive. So, even if I only write two this year (perhaps pathetic in comparison to my previous five novels and five long novellas), I'm still doing double the norm. That's something. (If you write one a year, don't think you haven't accomplished much. You have. I just used to be a superhero and now I'm normal. It's a brand new world for me, one that's lacking the furious glow of the previous.)

So what if I'll only able to write two novels instead of the three I'd hoped to complete in 2023? So what I won't be able to retire from writing until 2024, at which point I can avidly begin my next career in illustration? Let's face it, I'm kicking and screaming every second, even as I accept this "downgrade". I imagine I'll fight against compromise in this regard the rest of my life.

Still, I'm not running a sprint here. My writing career has been a marathon, one I'm coming to the end of, and therefore it's even more necessary that I allow myself to slow down, catch my breath, and conserve my vigor so, when it's time to make that final push toward the finish line, I'll be in possession of 3 1/2 decades of instincts, endurance, and strength to help me complete the race. I call that success, even if I didn't get there with as much under my belt or anywhere near as fast as I intended.

Karen Wiesner is an award-winning, multi-genre author of over 150 titles and 16 series.

Visit her website here: https://karenwiesner.weebly.com/

and https://karenwiesner.weebly.com/karens-quill-blog

Find out more about her books and see her art here: http://www.facebook.com/KarenWiesnerAuthor

Visit her publisher here: https://www.writers-exchange.com/Karen-Wiesner/

Friday, August 11, 2023

Pros and Cons of Taking Break from Writing, Part 1 by Karen S. Wiesner


Pros and Cons of Taking Break from Writing,

Part 1

by Karen S. Wiesner

 

In this two-part article, I evaluate aging, progress, and momentum as well as talk about the indisputable value breaks provide one in their particular discipline along with the damage protracted absences from said discipline can also do.

As I get older, I think more about how much energy I had in the past and how much I was able to accomplish in such a short time. Frequently, I'm shocked about how I was able to do all I did, juggling dozens of balls all at the same time--seemingly without break a sweat. That's not the case anymore. These days, I call my former, amazing ability to accomplish my superpower…one I've almost completely lost as I age.

In my youth, my superpower allowed me to write five full-length novels and five (usually very long) novellas in a single year--completing all the steps involved from outline to final polish for all these stories in that year. I'm not sure how long I'll continue to freak out that I have such trouble finishing a mere three novels (and no novellas at all) in a year's time now. Oh, how the mighty have fallen.

As you can tell, there's some grief and discouragement involved, but I've nearly reached the stage of acceptance in this process as well as the ability to reevaluate the best way to go about completing the activities I expend my diminished energy on. One such review involves a topic that has been a favorite of mine throughout my career: Namely, the pros and cons of taking a break from writing. The reason I started thinking about this recently is because I'm constantly looking at what I want to get done versus what I'm actually accomplishing over time. I assess this from one year to the next as well as from one month to the next, since most of the steps in my writing projects take around a month to complete. In the middle of any given year, I want to check on my progress. Doing this allows me take a long view of my progress as well as to gauge my momentum (or lack therefore) over time.

I've talked about this before in this column, so some of you already know that I'm counting down to writing the final books in my last two series. At that point, I intend to retire from writing, and I'd like to begin illustrating children's books indefinitely. To that end, for the last couple years, I've been taking online art courses in several mediums, trying out different things, finding out what interests me the most and where my talents lie. I try to fit a week or so of "art practice" into my schedule each month. It's not easy to do this because during the short time (usually the last week of the month) I allot to applying my love of art, it threatens to steal all my interest from writing. So I need to keep it contained; I have to decide what's possible in that short time I give myself to devote to art. This new love threatens to overtake me if I indulge it even for a short time and too often. While I want to be learning art craft during this time before I retire from writing, I can't let it take over. I have to get back to my writing sooner rather than later because I'm determined to finish these final two series to provide myself and readers closure before I retire from writing.

2024 was my goal year for making the transition between the two disciplines of writing and art. At the end of 2023, I figured out that it was possible to outline and write during the course of the next year what I thought at the time were three books. I might not have time to revise and polish all of them until early 2024, but I could at least get the first drafts written. I started 2023 pretty optimistic. In the first few months, I accomplished an admirable amount of tasks. I finished off the books I'd started in 2022 after getting critiques from my partners on several of them. I wasn't happy with how much work all of those required, taking more effort and longer time than I ever intended to complete them. Again, that seems to be a new thing in this aging process. But, alas, several things got done and dusted. I also outlined the final story in my Peaceful Pilgrims Series and felt really good about how that series would end. I had to pause in progress on my novels to get ahead on a couple months' worth of articles for this weekly column, something I used to be able to slam out in no time and I wouldn't have to think about it again for the next year. Ugh, ugh, ugh.

I finally got back to business on my novel writing goals for the year in May 2023. While outlining (again what I initially thought was) the second to the last book in my Bloodmoon Cove Spirits Series, I hit my first real snag in upsetting the goals I'd set for the year: I realized I still had too much material to cover to finish the series with a single book. Although I felt pretty far from solidifying the specific details on what was needed to wrap up the loose threads still dangling in this series (and still do at the time of this writing), I couldn't escape that there was no way to get it all into one book. Believe me, I tried. I definitely did not want the final offering of the series to end up 500 pages. I came to the conclusion that, with the number of viewpoints I would need to complete the series, it might be better to divide them into two separate parts. So one final book to finish this series became two, or one that will be presented in two separate parts. The two separate parts could end up novels or novellas, or one of each. At this point, I'm too early in the process to know how that will turn out. Bottom line: I definitely had a major setback to finishing what I wanted to in 2023.

At the six month juncture of 2023, I realized I'd fallen further behind than I wanted to be in my annual achievements by that time. I'd taken an entire month off because we had family members visit that we only get to spend a few weeks at a time with during the summer. While I had no regrets in doing that, it was a little depressing to think that my plan to finish writing the last books of the two series I have left to complete before I retire from writing might not get written this year after all. That means that my intention to begin illustrating children's books once all the stories I ever want to write are finished will have to wait. That was the second snag and undeniably a major setback.

In my discouragement (kneejerk reaction, I think, left over from my former superpower), I instinctively decided to pull the fire alarm so my goals for the year wouldn't be thwarted. Incidentally, I also had no time at all in the months of June and July to get any art practice in. Potentially, I might not be able to squeeze that time in during the months of August and September either, since I'd figured out during the first six months of the year that I was spreading myself out very thin with all I wanted to accomplish every month--between writing, art, articles for Alien Romances, and playing piano. Every single day was jam-packed, which is part of the reason why June ended up such a bust for me in terms of accomplishment. Even if I'd had time, I was mentally and physically too tired to do much of anything.

With a solid rest under my belt, I was determined to get back on track: I decided I'd write the two novels I'd outlined earlier in the year back to back. In July I would write the final book in my Peaceful Pilgrims Series. This was the shorter novel of the two and a pretty straightforward romance. I allotted writing 2-3 scenes on weekdays in July to the task of completing the first draft of that novel. The second novel would be longer and infinitely more complicated given that it would ultimately be a romantic paranormal horror suspense story, so I planned to give myself two months--August and September--to complete the first draft by writing only 1-2 scenes a day. That way I wouldn't become overwhelmed to the point that my daily writing would suffer.

July was, to say the least, an exhausting month. My writing quality each day was high, and that's about the best thing I can say. I was doing a lot, getting close to overreaching with how much I was producing on a daily basis (up to 27 pages/8000 words a day sometimes!). By the time the last week of the month rolled around, I was still looking at finishing the final eight scenes before the month concluded and several new things both writing and non-writing related threatened to give me even more to do each day that I wasn't sure I could handle.

The thought of finishing the Peaceful Pilgrims story in July and instantly moving into writing the next in my final series in August and September was intimidating, demoralizing. My brain screamed mutiny at the mere prospect. I was grateful that the last Peaceful Pilgrims book promises to become one of my best (after I wrap up the other steps I'll need to perform in the course of completing it). However, it was very clear to me even before I got to the last week of finishing the novel that I couldn't move into writing the next novel without a break. How much of a break, I wasn't exactly sure, but I knew burnout was inevitable. I was at a crossroads: If I couldn't accomplish all I'd intended to in 2023, my retirement and beginning my next career would have to wait, but I couldn't take the risk that my writing would suffer if I rushed ahead and forced myself to plow right into the next project without taking some kind of a break.

My poor husband heard my angst over this issue on a daily basis for the last two weeks in July, as I tried to decide the best course of action concerning my dilemma. He surprised me one morning when he told me about a weekly podcast he watches devoted to the discipline of swimming. In this particular video, the host talked about the pros and cons of taking a break from swimming. Although I've spent years thinking I understood the issue of the indisputable value breaks provide in writing, as well as the damage protracted absences can also do, I learned something as my husband summarized the points the swimming instructor brought up.

In next week's part of this article, I'll cover the general connections we can make and extrapolations that can be applied when studying the pros and cons of taking a break in nearly any discipline, and I'll conclude the status of my 2023 goals.

Karen Wiesner is an award-winning, multi-genre author of over 150 titles and 16 series.

Visit her website here: https://karenwiesner.weebly.com/

and https://karenwiesner.weebly.com/karens-quill-blog

Find out more about her books and see her art here: http://www.facebook.com/KarenWiesnerAuthor

Visit her publisher here: https://www.writers-exchange.com/Karen-Wiesner/

Friday, March 25, 2022

Karen S. Wiesner: Advance Your Career: Writing in Stages, Part 4

 Writer's Craft Article by Karen S. Wiesner

Advance Your Career:

Writing in Stages, Part 4 

Based on CPR for Dead or Lifeless Fiction {A Writer's Guide to Deep and Multifaceted Development and Progression of Characters, Plot, and Relationships} 


This is the final of four articles with techniques to advance your writing career. 

In the previous part of this article, we talked about the steps 4-7 in writing in stages. Let's continue. 

Stage 8: Setting aside 

This latter setting aside, though, is slightly different in that this is usually a good stage to get critique partners and beta readers involved. Everyone knows writers can get too close to their own work. It’s an occupational hazard. While you're hopefully feeling you’ve got a story beyond compare, it may need a little more work and you simply can’t see it (or vice versa--you think it's manure, but it's actually really good, and you're too close to be able to see that). That’s why it’s so important to turn your beloved opus over to a trusted spouse, friend, or, preferably, a critique partner (or three) for a critical read. The opinion of others is very important. You’re probably not ready to send that book out to a publisher or agent until you’ve had enough reader reactions to judge the strength of your accomplishment.

During this project downtime, you might be sick of your book and/or stinging from some of the glaring holes others saw that you somehow managed to miss. I highly recommend that you give yourself this shelf-time time to digest the comments made about your beloved baby. When you return for the final editing and polishing, perhaps for the last time before you submit it, you might even agree with your friend on several points…but you may also disagree. Ultimately, what you decide is best for your book is up to you. You'll hopefully feel confident enough to evaluate, unbiased, what needs to be done to shine it up.

In Steps 4 and 6 mentioned in Part 2 of this article is pertinent here as well.

Stage 9: Editing and polishing 

What most writers call revising is actually just editing and polishing. Writers get excited about their stories at nearly every stage, since they have a picture in their mind’s eye of what will emerge. The "editing" portion of this task is called copyediting in publishing circles and entails the correction and enhancement of grammar, vocabulary, and punctuation details. Editing and polishing are a lot like turning a rough gemstone into a finished one. You’re cutting the bad, replacing it with the good, and polishing up what remains until it shines. A writer unquestionably does also need to remove clutter to make a story understandable, to prevent a reader from tripping over clumsy prose, and to infuse a story with vivid, interesting narration that speaks succinctly to the reader, concurrently bringing the whole story to life. Editing and polishing add a very definite extra layer to your story. Without it, your story probably won’t read smoothly, nor will it shine. The process of editing and polishing can also involve any or all of the following: 

·         Ensuring a completeness of three-dimensionality in character, plot, and relationship

·         Rearranging sentences or paragraphs

·         Showing (more frequently) and telling (at times), where these are most needed

·         Tightening sentences and individual words (such as changing passive to active and dull to impacting; cleaning up repetitiveness)

·         Smoothing out roughness and making your writing more natural or interesting

·         Punching up tension and suspense

·         Ensuring variation in sentence construction and length

·         Diversifying and enriching words 

Editing and polishing should be almost as simple as reading through the manuscript and making minor adjustments that allow the words to flow like music to the ear. A solid outline followed by a rich first draft virtually ensures that. The difference between revising and editing and polishing is generally in the amount of work you'll do for each. 

Stage 10: Setting aside (optional) 

While I’ll get into the in-depth reasons for continuing past Stage 9 in Stage 11, the basic reason for this shelf time for the project is obvious. You just finished editing and polishing. You’d have to be insane to want to read the book again right after you finished going over it from start to finish. You’ll have gained no distance from it if you jump directly into Stage 11 at this point. So give yourself another few weeks or more, if your deadlines allow, before moving on to Stage 11. See Stages 4, 6, and 8 for more details.

One other thing I alluded to earlier is that writers don’t want to get burned out when it comes to any specific project. When writers say they’re burned out, they mean they’ve been working too much and not taking the time off to refresh themselves and keep their creative energy flowing. (This is completely different from writer’s block, which can stem from situations like a story not ready to be worked on, not enough brainstorming or inspiration, or sheer laziness usually attributed to a fickle muse.) This is especially true if you're working on one project, doing all these stages back-to-back, without taking a break from the project or from work in general. You bring back your own love for a project each time you set it aside and then come back to it fresh. Don't underestimate the importance of doing that. You and your stories will suffer for it eventually if you skip over the setting-aside stages.

There's another reason for avoiding burnout whenever you can. The soil in your brain is like the soil farmers sow crops in. It needs rest and rotation (writing in stages, for the author) in order to become fertile and nutrient rich again. When you work up your yearly goals, you're not only deciding what you’re going to be working on during that year, but you're also planning your breaks from writing. If taking weekends off doesn’t refresh you, take a week, weeks, or even a month off during the year. Read, watch movies, relax, and reenergize your creativity. (This doesn't mean you can't be brainstorming or researching for upcoming projects during this time.) By the time your vacation is up, you’ll be raring to go on your next writing project. Take your scheduled vacations when you’ve planned them, unless something wonderful happens (an editor contracts a series from you, you're asked to write a screenplay of your book…fill in the blank for your own idea of wonderful) in your career or life, and you can’t let the opportunity pass you by. As soon as that thing is finished, take the vacation you planned. Reward yourself by allowing your creative soil to become fertile again. 

Stage 11: The final read-through (optional)

Following Stage 9, some authors may be ready to get the book out where readers can buy and fall in love with it. A couple situations prompted me to add two steps to my original nine-stage process, though, that I think even savvy, confident authors might want to evaluate before letting the book be released. First, we live in a digital world. Everything is started, managed, and completed on the computer. But the very real and inescapable fact is that human eyes are fallible. They aren't capable of seeing everything on a computer (or something similar to this) screen and frequently what you see on the screen isn't necessary what's in the hard copy--spacing, formatting, and other issues may crop up from one medium to the other. We need the hardcopy to truly catch everything that demands our attention (like typos and "Track Changes" errors) in the final draft of a manuscript. Our eyes may only see some of these things on the printed version of the book. This is essential, and I guarantee if you're not getting this hardcopy (from your own printer of the final proof after edits, directly from your publisher, or from another means like the one I'll describe in a second), you're missing a (possibly) tremendous number of issues that readers are going to catch. Do yourself a favor: Get a hardcopy to do your final read-through from.

Second, the current state of the industry--exploding with indie publishers and authors--requires another stage in which to find the errors that seem to creep into our stories like lice. The fact is, there are very few legitimately professional editors and/or copyeditors working at publishing houses these days--especially at smaller publishers--and authors who are self-publishing their own works may even skip the professional-editor-input altogether. For that reason, it’s even more crucial to have a stage where the writer sees his book in this final form (and this is true even if the book is only released as an ebook without a paper companion), where he can catch (probably not all but most) typos. We'll talk more about the current and future state of the industry in the conclusion chapter.

As soon as I'm done with the editing and polishing, and the story is as clean as I think it can get "digitally", I'll put the book into a value-priced trade paperback format (what I call my print test paperback) and order a copy. When I'm ready for this final read-through, I like to put myself in the position of being the first reader for this book. As much as possible, I try to ignore the fact that I have a very personal affiliation with the book and I simply read it--in both a critical and savoring mind frame This isn’t easy, but I consider this my very last chance to make changes before my editor sees it; I want her to find the finished product almost perfect. I take my time reading, as well, sometimes lingering for weeks if the deadline I have to submit it to my editor is way out there, to evaluate how the story goes over in this unhurried mode.

When I get to this stage in the process, I usually find very few changes are required. The story is brimming with life, and there’s almost nothing left to stumble over or smooth out. Most important, though, in nearly every case I come out loving the story more than I ever have before. It exceeds the expectations I had for it when it was little more than a spark that incited me to write. Truthfully, I don't consider that conceit. I'd worry if I didn't have that reaction. If you don't love your own work, don't become immersed in the worlds, characters, conflicts, and relationships contained in your stories, how can you expect readers to?

Each of these stages is a layer of your story--nine to eleven strong layers that, for career authors, should be the first step in ensuring multidimensional writing that has strong CPR development. Each time you add something new during these stages, you're creating another vital layer that makes the whole story stronger, richer, with almost guaranteed strong, three-dimensional CPR elements.

All of my projects are done in these eleven stages. I love that I’m never doing the same thing in terms of outlining, writing, revising, or editing and polishing a project. I move from outlining one book, to revising a different one, to writing something else altogether, layering and building and developing each project into something wonderfully three-dimensional.

I also love that I rarely have to start from scratch on any project. While I do set the book aside multiple times, the rest of the steps are done once. I can't remember the last time I had to outline, write a draft, revise, and edit and polish more than once for each project. I’m always fresh, always enthusiastic, always eager to complete a book a little more at each stage, knowing my work will be solid, lifelike, and ready to send to editors when I'm at last ready to let go.

One other thing I want to point out is that I generally spend each year (though the year isn't necessarily January through December) working on five novels--in some years I also write at least five novellas--all in various stages in this process. To give you a point of reference, visit my WIP page at https://karenwiesner.weebly.com/works-in-progress.html, which includes not only my accomplishments every year but also several past years' and the current year's works-in-progress. You'll see, broken down month by month, how I juggled each project through the various stages, to complete everything.  Note that my vacations aren't included on the monthly breakdown but, rest assured, I am taking long and short ones in between projects to prevent me from becoming overwhelmed and burned out on writing. I recommend studying my WIP page to see how I did this with individual projects. You can see the juggling act there of all my books over the course of a year or more, allowing every single project all the stages needed to get solid, three-dimensional stories with all the proper layering for CPR development every single time.

There's a quote by Orison Marden that says, "The waste of life occasioned by trying to do too many things at once is appalling." Obviously there's a lot I accomplish during the course of a year and all of that includes breaks and long vacations. People tend to assume I must work 24 hours a day based on my high level of production, but--if you've looked at my WIP page and read through all this--you know differently now, don't you? Writing in stages is more of a science than a phenomenon once you see how it works. I don't believe in trying to do too much. I've found a way to do all I can without becoming harried, overworked, or overwhelmed. Individual authors need to find ways to get maximum output without turning their creative soil into ash because they're so burned out.

An author who uses full-proof methods to create layered stories with strong CPR development and utilizes an outlines, allows for sufficient shelf time, and sets goals will never have to suffer from missed opportunities or deadlines let alone low-quality work. In fact, each book may get better than the last, and you may get far enough ahead that you can fit just-for-fun projects into your schedule or take longer breaks.

Finally, what I do and what you ultimately do will be completely different, and you want to find what works best for you. The point is to make progress. If you want to write quality stories for the long haul that are undeniably memorable to readers, there is no better way to get started.

Karen S. Wiesner is the author of CPR for Dead or Lifeless Fiction {A Writer's Guide to Deep and Multifaceted Development and Progression of Characters, Plot, and Relationships}

Volume 6 of the 3D Fiction Fundamentals Collection 

http://www.writers-exchange.com/3d-fiction-fundamentals-series/

https://karenwiesner.weebly.com/writing-reference-titles.html 

Happy writing!

Karen Wiesner is an award-winning, multi-genre author of over 140 titles and 16 series. Visit her here:

https://karenwiesner.weebly.com/

https://karenwiesner.weebly.com/karens-quill-blog

http://www.facebook.com/KarenWiesnerAuthor

Friday, March 18, 2022

Karen S. Wiesner: Advance Your Career: Writing in Stages, Part 3

 Writer's Craft Article by Karen S. Wiesner

Advance Your Career:

Writing in Stages, Part 3

Based on CPR for Dead or Lifeless Fiction {A Writer's Guide to Deep and Multifaceted Development and Progression of Characters, Plot, and Relationships}


This is the third of four articles with techniques to advance your writing career. 

In the previous part of this article, we talked about the first three steps in writing in stages. Let's continue. 

Stage 4: Setting aside the project 

You’ve probably noticed that three of the nine (four if you use all eleven) stages are setting the project aside. Letting your project sit, out of sight and out of mind, for a couple weeks--or even months--in between stages will provide you with a completely fresh perspective. Distance gives you objectivity and the ability to read your own work so you can progress further with it, adding more layers and dimensions to your characters, plots, and relationships. Another reason for setting projects aside between stages is that writers may reach a point where their motivation lags, and they want to abandon the story. Sometimes the author may not feel inspired to write a book he's just spent weeks or even months outlining (note that I've never spent more than 1-3 weeks outlining but other authors might not have the same experience I have), just as he may not want to revise something he's spent weeks or months writing.

Setting a project aside between the various stages it goes through also allows your creativity to be at its peak. The process becomes easier, too, and your writing will be the best it can be. Putting a work-in-progress on a back burner for an extended period of time will allow you to see more of the connections that make a story multidimensional.

To set your project aside between stages, return everything to your story folder. Keep this book on a shelf and on the back burner in your mind for as long as you possibly can. Get to work on something else so you won’t concentrate too much on this project, making it the center of your attention again.

As a general rule, every book I write gets a few months between stages, a break I really need from each project. I can't imagine going through all the steps in finishing a book back-to-back. I get so sick of a story when one stage carries into the next without pause that I can no longer see whether anything I'm doing is improving or ruining it. When one stage of a work-in-progress is complete, I'm eager to get away from it. Many times I leave a stage certain the whole thing is fit only for burning in the nearest fireplace, but, when I come back to it months later, I discover that all my previous hard work was well worth the effort.

Stage 5: Writing the first draft

Once you take the project out to begin writing the true first draft of the story, you’ll notice that you have everything you need to begin. The outline you created for yourself should contain everything your book will, only on a much smaller scale, and will include a scene-by-scene breakdown of the entire story, hopefully rich with dimensions and CPR development.

If your outline was solid when you finished it, that should translate into a book that needs only minor revision and editing to add a few more crucial layers once you write the draft. This isn’t to say that the book won't come to life, growing and fleshing out more deeply and vividly as you write the first draft. It does or should immeasurably. So there goes the argument that writing an outline will kill your enthusiasm for the book. If anything, it becomes even more exciting because you're taking the framework and foundation you set down in an outline and made it powerful, multidimensional, and cohesive with prose. I want to challenge those who say an outline kills your enthusiasm for writing the book to try this method anyway--a couple of times, if you’re willing. You really do have to experience this to understand it, but, when I write a book based on a “first draft” outline, magic happens because I watch the outline-skeleton taking on flesh and blood and becoming a walking, talking, breathing story right before my very eyes. If anything, it’s more exciting this way--and a whole lot easier. Life and soul are infused into the story and I'm free to explore possibilities that I may have only just touched on in the outline. It’s organic.

One thing I want to note is that at no time during my first draft do I ever, ever, ever go backward and start revising. Writing and revising are two very different processes and a simple need for revising can so easily become an outright overhaul. Not only does this stop your progress in its tracks, but you may not be doing your story a favor by trying to be in two separate mind-sets at the same time. But more about revising later.

Stage 6: Setting aside

Stephen King calls this “recuperation time”, and it really is that, considering the blood, sweat, and tears you’ve expended thus far (half done in the writing in stages process!). When you take the manuscript down again to begin revisions, followed by editing and polishing, “you’ll find reading your book over after a…layoff to be a strange, often exhilarating experience. It’s yours, you’ll recognize it as yours…and yet it will also be like reading the work of someone else. …This is the way it should be, the reason you waited.” See Stage 4 for more details about setting a project aside.

Stage 7: Revising

Ray Bradbury described this stage as the time, after letting the story cool off, of "reliving" rather than "rewriting". Revision is, ideally, the process of reworking material in an effort to make what’s already there better and stronger. If an author jumps directly into writing a story without brainstorming, researching, outlining, setting aside before and after the first draft, this revision will be a mere second layer of the story and, inevitably, the author has left himself with the torturous work of untangling, organizing, reshaping, revising, and searching for three-dimensionality in three hundred or more disjointed pages. Many an author who employs this method of working may need to do multiple drafts or revisions to develop an editor-quality manuscript that is consistent, well layered, and mostly coherent. Whether or not it’s three-dimensional and the CPR elements are properly developed is up for debate.

In a midway version of best- and worst-case scenarios, revision may mean making significant changes to a draft, such as adding or deleting plot threads, completely rewriting certain sections, or fleshing out characters and relationships to make them three-dimensional. In a milder form (usually after the author starts with a solid outline he used to write the first draft), revision could translate into tweaking the three-dimensionality of characters, plots, and relationships to reinforce them, maybe incorporating last-minute research.

As I said previously, writing and revision are two completely separate processes that require different mind-sets, and therefore shouldn’t be done at the same time. While writing a book, a simple need to polish words, sentences, or paragraphs can become a complete rewrite. This isn’t a productive way to work when you’re attempting to finish the first draft of the book.

An unfortunate side effect of revising, editing, and polishing while you’re still writing (and, yes, so many writers attempt to do all four of these at the same time instead of separately, in their own distinct stages) is that you don’t get the necessary distance from the project in order to be able to revise effectively. You need to enter the revision phase with fresh, objective eyes once the first draft of the book is finished. In some ways, you need to view that first draft as if it's not your own work so you can perform the hard work that may be necessary. Only then can you see the story without rose-colored glasses, as it really is.

Let’s first talk about the difference between the revision process and the editing and polishing process, because these, too, are separate jobs that can--but ideally shouldn’t--take place at the same time. On the road to writing a book, you want to minimize major changes like rewriting an entire story thread; adding, deleting, or revising multiple chapters; and infusing three-dimensionality of characters, plots, and relationships. These kinds of major fixes will cost you a lot of time and effort (hence the need for an outline first). If you've utilized your outlined scenes while writing the first draft to make sure your story is progressing, the chance of detecting problems early will allow you to take corrective action in a way that isn't overwhelming. This prevents major revisions at the end of a project, when you’ve already committed hundreds of pages to a solid structure.

That said, yes, during this time you’ll be working on fixing more serious problems, but you probably will be doing some editing and polishing during this stage as well. You’re there; it wouldn’t make sense not to clean up some minor issue that isn't quite right, yet clearly needs a little elbow grease. However, what you’re really looking for during the revision is fixing anything in your story that doesn’t work or make sense. When you revise, you evaluate (and fix) any of the following: 

·         Three-dimensionality of characters, settings, plots, and relationships

·         Structure

·         Character, plot, and setting credibility, and the cohesion of these elements

·         Scene worthiness

·         Pacing

·         Effectiveness of hints, tension and suspense, and resolutions

·         Transitions

·         Emotion

·         Hooks and cliff-hangers

·         Character voice

·         Consistency

·         Adequacy of research

·         Properly unfurled, developed, and concluded story threads

·         Deepening of character enhancements/contrasts and their relevant symbols

Revision is a necessary, natural part of writing. Every first draft needs it. Revision will help you smooth out any rough edges in your first draft. Information dumps or illogical leaps (or critique partners that point out such things) will alert you to the sections that need to be reworked. You could put the information overload elsewhere in the book, break it up and scatter it throughout several scenes, or cut, condense, and polish it so it flows better and makes more sense. As for illogical leaps, you can fill in, tweak, or modify throughout a story to shore up weak areas and provide the justification for a specific element. You’ll also add layers as you do this, building on the three-dimensional qualities of your CPR elements.

I strongly believe that once an author begins this stage revision should be done as quickly as possible, with as little interruption from the material as possible. This won’t compromise the quality of your revision, I promise--just the opposite, in fact. Ideally, if you can set aside a block of time of about a week to work exclusively on revision, you’ll find that your story will be more consistent, and you’ll remember details much better. In my case, during revision days, I may be woken from sound sleep because a glaring error in some portion of the book will emerge from my subconscious. The whole book is quite literally laid out in my mind, ready to be accessed at a moment’s notice during this short revision period. If revision on a project is broken up by a period of weeks or months, especially if you’re working on other projects during this time, the book may suffer from consistency issues and possibly even structural and cohesion problems. If you can set aside a crucial, uninterrupted block of time (preferably one week) to focus on revision, your story will benefit from it immeasurably.

The revision stage is almost always the point where I can see the finish line--essentially when I'm ready to let it go. I think that's an important part of the writing in stages process. Unless and until you feel you're ready to let the book go because it's as flawless as you can make it, don't let it go. You'll probably feel the same way as I do at the revision step if you follow the writing-in-stages method in the order I've laid out. Getting to the letting-go point might be much harder if you're not using this process.

In the next part, we'll talk about stages 8-11.

Karen S. Wiesner is the author of CPR for Dead or Lifeless Fiction {A Writer's Guide to Deep and Multifaceted Development and Progression of Characters, Plot, and Relationships}

Volume 6 of the 3D Fiction Fundamentals Collection 

http://www.writers-exchange.com/3d-fiction-fundamentals-series/

https://karenwiesner.weebly.com/writing-reference-titles.html 

Happy writing!

Karen Wiesner is an award-winning, multi-genre author of over 140 titles and 16 series. Visit her here:

https://karenwiesner.weebly.com/

https://karenwiesner.weebly.com/karens-quill-blog

http://www.facebook.com/KarenWiesnerAuthor