I've been thinking a lot lately about the methods I use to measure myself. Whether it's in my writing, my day job, or my relationships, I have an unwritten rubric against which I measure myself. Did I meet my word-goal for the day? Did I finish my to-do list? Did I accomplish everything asked of me at work? Did I spend enough time with my wife? Lately, it seems, the answer to most of these is no. I've been feeling like a car on an icy road-- the pedal is down and the motor is revving, but the wheels are just spinning against the slick. Any driver who lives in the snow knows that spinning out never helps the tires regain traction, in fact, it just makes the situation worse by solidifying the layer of ice between the car and the road. The best solution is to slow the tires and let the weight of the car bear down on the tires to give them what friction they can, then to use a rocking motion to get the car out from the icy rut.
So, what's this got to do with anything? Well, for me, it means I've got to slow myself down and get some friction between me and the things that are most important to me. I could spend endless days doing meaningless things-- there's always plenty of them-- or I could bear down on the few that actually matter.
Sounds good, right? But how to do it? That's what I want to focus on for next week. See you then.
Monday, September 17, 2012
Monday, September 10, 2012
What it takes
Wow, I'm coming off the tail end of a couple of really hard weeks. It's likely no one noticed this time around, but I hadn't realized I'd missed last week until I was already half way into the week. Yeah, I'm not thrilled to have missed one so soon after making my plans. Whenever I think of my favorite writing-blogs and how they manage to keep to their schedule, I have to realize that most of them write full-time (not that I'm suggesting that's easier, but it certainly is more focused). It's the aspiring writers who are in a difficult pinch, at least if like me, you're holding down a steady job, trying to write and blog as well, not to mention family. Yeah, it's a lot harder than I thought it would be going in. More than anything, I wish I could write full-time. That's the dream, after all. But I think it takes a set of particular somethings to get there.
It takes discipline and honing of one's life. It takes writing skill. It takes something worth saying. It takes days and days. It takes frustration. It takes a soul wrenching desire, such that it twists and ties up your innards to propel you forward. It takes practice. It takes time. Lots and lots of time.
When I was younger, I wanted to be in professional sports. It was a young child's dream and didn't last long-- particularly when I learned what it would take to get there. I don't think writing professionally is any different. It takes just as much talent, skill, practice, and sheer determination to make it.
I'm not so sure I've got all that yet, but I'm working at it. How about you?
Jameson
Monday, August 27, 2012
Scheduling and Priorities
So, I've been reading Stephen R. Covey's 7 Habits of Highly Effective People this week. Actually, I've been listening to it on audiobook. It's read by the author in a nice, presentation-style flow and tone. As some of you may already know, I've been having a really hard time with some of my priority-management-- particularly in my writing. I figured this book may help.
I've just started reading the section on the importance/urgency priority matrix. If that's new for you, let me break it down: There's a box with 4 squares inside. The top two boxes (Quadrants I and II) represent things that are important (the most urgent in the left box and the not-urgent in the right). The bottom two boxes (Q III and IV) are for unimportant things (again, urgent in the left and not-urgent in the right). Most of the time, Covey says, our lives can become dominated by the left side of the matrix, by the things that are urgent, regardless of importance. Then, items that were important/not urgent suddenly become urgent and you never quite catch up. Covey's assertion, at least as far as I've read, is to spend more time in the top boxes by (at least initially) saying 'no' to things in the bottom boxes.
Writing is a Quadrant II task for me. It's important-- vitally important to me-- but it's not urgent. And I've been letting it slide, replaced by unimportant things. So, taking Covey's idea, I've started to consider devoting some time each day for Quadrant II items. I'd like it to be at least an hour, but with school starting up for me, I may have to juggle that--
Wait a second... school just needs to be put in it's place just like everything else. Doing Quadrant II items before they become urgent is important to me, and it'll make school better as well. Plus, anything that brings writing to the forefront is valuable to me.
So, that's my goal-- an hour of Q II tasks each day, of which writing will be one. What about you? How do you make sure to get your writing done?
I've just started reading the section on the importance/urgency priority matrix. If that's new for you, let me break it down: There's a box with 4 squares inside. The top two boxes (Quadrants I and II) represent things that are important (the most urgent in the left box and the not-urgent in the right). The bottom two boxes (Q III and IV) are for unimportant things (again, urgent in the left and not-urgent in the right). Most of the time, Covey says, our lives can become dominated by the left side of the matrix, by the things that are urgent, regardless of importance. Then, items that were important/not urgent suddenly become urgent and you never quite catch up. Covey's assertion, at least as far as I've read, is to spend more time in the top boxes by (at least initially) saying 'no' to things in the bottom boxes.
Writing is a Quadrant II task for me. It's important-- vitally important to me-- but it's not urgent. And I've been letting it slide, replaced by unimportant things. So, taking Covey's idea, I've started to consider devoting some time each day for Quadrant II items. I'd like it to be at least an hour, but with school starting up for me, I may have to juggle that--
Wait a second... school just needs to be put in it's place just like everything else. Doing Quadrant II items before they become urgent is important to me, and it'll make school better as well. Plus, anything that brings writing to the forefront is valuable to me.
So, that's my goal-- an hour of Q II tasks each day, of which writing will be one. What about you? How do you make sure to get your writing done?
Monday, August 20, 2012
What you read while you write
What you read while you write...
Everything I've ever read or heard about being a writer has told me two fundamental truths: To be a writer you must write and to be a writer you must read. A lot. I wholeheartedly agree with those statements. There is no substitute.
This week, I've been reading Robert's Rules of Writing by Robert Masello. His approach to 101 writing rules seems to be a bit off the traditionally beaten path. I'd like to focus on one of his rules: #14 "Stop Reading". Now, before you take that thought too far, let me explain what he means by that statement. It's not a call to cease all reading, but a warning of how other writers' words and ideas can fill your mind and hijack your story. It's about avoiding works similar to your own while you work on it, to leave your mind free from any accidental influence.
I've seen it in my own work. Even while reading Mistborn recently, I found myself thinking that a specific plot device or character type could go well in my work in progress. It wasn't so much that Brandon Sanderson was taking over my story as I was handing it to him and saying: Please, make it better for me. It does not work that way, nor should it. My story is mine to craft.
Masello does make a suggestion (it's not like writers could easily cut themselves off, nor should we. Reading is what motivates and inspires many writers). He suggests selecting works far different from that which you are writing. Non-fiction presents a great opportunity for me, or perhaps some thriller fiction or literary. Just stay away from Fantasy while I'm writing one.
So, in that spirit, I've picked up 7 Habits of Highly Effective People as well as a book on Ancient Rome. Not to worry, I'm not planning a chapter by chapter dissection of either. What I am planning, however, is to figure out how I'm supposed to survive without reading my favorite genre while I work on my book. Maybe it'll help me work harder on my book and get it done sooner.
What about you? Do you limit what you read while you write?
Jameson
Everything I've ever read or heard about being a writer has told me two fundamental truths: To be a writer you must write and to be a writer you must read. A lot. I wholeheartedly agree with those statements. There is no substitute.
This week, I've been reading Robert's Rules of Writing by Robert Masello. His approach to 101 writing rules seems to be a bit off the traditionally beaten path. I'd like to focus on one of his rules: #14 "Stop Reading". Now, before you take that thought too far, let me explain what he means by that statement. It's not a call to cease all reading, but a warning of how other writers' words and ideas can fill your mind and hijack your story. It's about avoiding works similar to your own while you work on it, to leave your mind free from any accidental influence.
I've seen it in my own work. Even while reading Mistborn recently, I found myself thinking that a specific plot device or character type could go well in my work in progress. It wasn't so much that Brandon Sanderson was taking over my story as I was handing it to him and saying: Please, make it better for me. It does not work that way, nor should it. My story is mine to craft.
Masello does make a suggestion (it's not like writers could easily cut themselves off, nor should we. Reading is what motivates and inspires many writers). He suggests selecting works far different from that which you are writing. Non-fiction presents a great opportunity for me, or perhaps some thriller fiction or literary. Just stay away from Fantasy while I'm writing one.
So, in that spirit, I've picked up 7 Habits of Highly Effective People as well as a book on Ancient Rome. Not to worry, I'm not planning a chapter by chapter dissection of either. What I am planning, however, is to figure out how I'm supposed to survive without reading my favorite genre while I work on my book. Maybe it'll help me work harder on my book and get it done sooner.
What about you? Do you limit what you read while you write?
Jameson
Friday, August 10, 2012
MIstborn Liveblog 40
Epilogue
I've been thinking a long time about what I'm going to do after I finish with Mistborn. I've already begun reading a book about plot structure. I began it a while ago, and I've been starting to dive in since finishing Mistborn.
Now, I've really enjoyed this analysis of Mistborn. It's been hard to stick to at times, but now that I'm at the end, I'm glad I did. Sure, I missed some of the beauty of the story, but I've gained a lot more understanding for my own projects. I don't think I'll be doing another in-depth analysis right away, but I do plan to do another one at some point. I'm thinking I may go with a book I've already read-- particularly if I decide to do it chapter by chapter again. If I do a new book, though, I think I'll stick with less frequent entries and not limit how much I can read on any given day.
For now, my plan is to take a week off and then return on Mondays, starting August 20. I think I'll have a short portion on what I've been reading as well as my inexperienced analysis of story writing. This is really all just beginning for me.
On to the Spoilers:
I've been thinking a long time about what I'm going to do after I finish with Mistborn. I've already begun reading a book about plot structure. I began it a while ago, and I've been starting to dive in since finishing Mistborn.
Now, I've really enjoyed this analysis of Mistborn. It's been hard to stick to at times, but now that I'm at the end, I'm glad I did. Sure, I missed some of the beauty of the story, but I've gained a lot more understanding for my own projects. I don't think I'll be doing another in-depth analysis right away, but I do plan to do another one at some point. I'm thinking I may go with a book I've already read-- particularly if I decide to do it chapter by chapter again. If I do a new book, though, I think I'll stick with less frequent entries and not limit how much I can read on any given day.
For now, my plan is to take a week off and then return on Mondays, starting August 20. I think I'll have a short portion on what I've been reading as well as my inexperienced analysis of story writing. This is really all just beginning for me.
On to the Spoilers:
Thursday, August 9, 2012
Mistborn Liveblog 39
Chapter 38
I think climaxes are the second most important part of a book. I'd put the story-opener as the most important because I know how many people only give a book a small chance to grab them before they try something else. And I may be inclined to agree with them because there are so many books now, and with self-published e-books, there are tons and tons more. So, the opening is absolutely vital.
But the climax, that's what stays with the reader more than anything-- the ending that sounds in their mental ears whenever they think back or discuss the book with others. It's not that an explosive climax can overcome a horribly dull story, but it certainly can turn a mediocre tale into a memorable one. And part of the reason to write is to be memorable.
Let's get on to the Spoilers:
I think climaxes are the second most important part of a book. I'd put the story-opener as the most important because I know how many people only give a book a small chance to grab them before they try something else. And I may be inclined to agree with them because there are so many books now, and with self-published e-books, there are tons and tons more. So, the opening is absolutely vital.
But the climax, that's what stays with the reader more than anything-- the ending that sounds in their mental ears whenever they think back or discuss the book with others. It's not that an explosive climax can overcome a horribly dull story, but it certainly can turn a mediocre tale into a memorable one. And part of the reason to write is to be memorable.
Let's get on to the Spoilers:
Wednesday, August 8, 2012
Mistborn Liveblog 38
Chapter 37
Payoff is a pretty tall order for any writer, and now that I'm practically at the end of Mistborn, I've started to consider the challenge. Even with an extensive beta-readership, I think it must be one of the most difficult parts of a novel. I imagine Brandon likely spent a great deal of time considering and working his ending to provide the best possible payoff. But even with some feedback, there's no way to ensure the payoff is sufficient for every future reader.
I think the better measure of whether there is sufficient payoff is not in how each thread is wrapped up, but the percentage of threads that are wrapped up. I'm not referring to things that are preserved for a sequel-- I'm referring to just the things that tie into the plot and arc of the story.
Take the game Mass Effect 3, for example. There were a lot of people who were completely dissatisfied with the ending of that game because they disagreed with how it ended. Personally, I liked the way it ended because of how many threads were actually tied in and wrapped up. Certainly, it was not a perfect story, but I measured more by the sheer number of payoffs and not the quality of the final scene. For me, the payoffs in a story begin as the final climax starts it's climb. I think for those who disliked ME3, they looked only at the final scenes, not the final climax as a whole.
That's the view I'm taking with Mistborn-- it's not just the final chapter, payoffs can happen, even just in part, right now.
So let's move on to Mistborn spoilers:
Payoff is a pretty tall order for any writer, and now that I'm practically at the end of Mistborn, I've started to consider the challenge. Even with an extensive beta-readership, I think it must be one of the most difficult parts of a novel. I imagine Brandon likely spent a great deal of time considering and working his ending to provide the best possible payoff. But even with some feedback, there's no way to ensure the payoff is sufficient for every future reader.
I think the better measure of whether there is sufficient payoff is not in how each thread is wrapped up, but the percentage of threads that are wrapped up. I'm not referring to things that are preserved for a sequel-- I'm referring to just the things that tie into the plot and arc of the story.
Take the game Mass Effect 3, for example. There were a lot of people who were completely dissatisfied with the ending of that game because they disagreed with how it ended. Personally, I liked the way it ended because of how many threads were actually tied in and wrapped up. Certainly, it was not a perfect story, but I measured more by the sheer number of payoffs and not the quality of the final scene. For me, the payoffs in a story begin as the final climax starts it's climb. I think for those who disliked ME3, they looked only at the final scenes, not the final climax as a whole.
That's the view I'm taking with Mistborn-- it's not just the final chapter, payoffs can happen, even just in part, right now.
So let's move on to Mistborn spoilers:
Subscribe to:
Posts (Atom)