3 New Additions At Knights of Writ in 2018

Fiction MusingThe week (and year) started well, working on the second novel in my fantasy trilogy, and adding the final polish to a couple short stories in preparation to market.

The first book of the trilogy, The Returning, which I’ve mentioned a few times, is currently with my writing friend, James, who has the task of critiquing the 3rd quarter of the 125,000-word tale. I am also critiquing his novel, and as I’ve written before, the process is an enlightening experience.

I stopped working on the novel (and any short stories) Monday evening. Halting my work was a conscious decision.

The Holiday Season and New Year had nothing to do with not writing (though there were extra events and happenings), nor was my decision caused by the mythical Writer’s Block, or even that the current novel project hit the dreaded lagging middle: I stopped writing to get organized.

The need to organize began innocently enough. I decided that in 2018 the Knights of Writ will include more to assist readers during their writing journey. I determined links to a variety of writing sources (agents and editors, magazines seeking stories, grammar assistance, and anything else to do with the craft) would be an invaluable addition. The problem was my bookmarks were a mess.

Whenever I see an article, blog post, or news story that catches my interest, I bookmark it with the intention of revisiting and studying the ideas and platitudes at a later time. Several folders are in my Bookmarks drop-down menu (Writing, History, Odd-Ball News Stories, etc.), and each have sub-folders to break the topics further. Disarrayed is how to best describe the bookmark menagerie.

Tuesday I tackled the History folder as practice—hundreds of places to visit awaited me. After a moment of panic at the sheer volume, I decided to organize the sub-folders by time reference (Ancient, Bronze Age, Medieval, etc.), areas and world civilizations (Greek, Egypt, Roman), or generalized topic (Science, Timelines, Miscellaneous, etc.) and shifted the individual bookmarks into the appropriate folders.

Some did not immediately offer a particular placement; I followed the link, quickly perused the content, and determined where it belonged. There were links that did not work or were old or were wrong and no longer interested me—those I discarded. Bye-bye.

Wednesday I wrestled with my largest inventory and the reason I chose this course of action—the Writing folder.

I bookmark a great many writing sites (many are also in my email folders, but that’s for another day). This is where the real work began.

I determined my folders: Agents and Publishers, Novel and Short Story helps (How-To’s), Reading, Markets, Writing Quotes (a new writer quote will accompany blog posts beginning in 2018 as well), General Writing, Organizations, Grammar, Blogs, and a few other less specific ones.

Each bookmark was given a home: special ones were moved to the top, others fell to the bottom. I added a few sub-sub-folders, which became my next job—as I said, I’m organizing; having the bookmarks entirely random in a general folder does not satisfy the task goal.

I worked most of Thursday, and Friday finally finished the Writing bookmark remapping—it was tedious work, but necessary. Months ago I did the same with all my Word doc writing files—it was also tedious.

What did I learn, and what can you learn from getting organized?

  1. Organization speeds up accomplishment, and adds confidence you can find what you need when you finish the allotted writing time. The last thing you want to do when writing is stop the flow to find some minutiae clarification; it’s always better to do it after writing. Make a quick note and come back later.
  2. It’s necessary to move bookmarks to their designated area promptly after saving it in the first place—seconds at the beginning over thousands of instances would have saved me hours and hours of organization this past week.

As I’ve written before, research is critical in all aspects of writing, and having the information location readily available saves time, effort, and frustration. In the future, locating the necessary research will be far easier.

I also reacquainted myself with a few interesting forgotten topics, and used them to make notes on new ideas and plans.

New for 2018 at Knights of Writ

Links to worthy writing sites
Writing Quotes, because we all need a little inspiration
Offers

Offers are not mine in most cases, but those of value as I search the internet and my in-box. Last year I received an offer from Writer’s Digest for a deeply discounted subscription of only $8 a year (10 issues, currently $19.99 or about $40 at the newsstand) with an offer to extend another year for $8, which I did.

I should have shared the offer, but neglected to in a timely manner. This year, should an offer brighten my door, I’ll let you know. There could be several, and not all will appeal to everybody—they don’t all appeal to me, for sure—but I’ll let you make those decisions.

There will be other additions as the year progresses, and I hope they will be of benefit in your growth to become a better fiction writer.

Below are this week’s links and a writing quote.

See you on the next page,

Rick

Writing Quote:
“Every hour you spend writing is an hour spent not fretting about your writing.” Dennis Palumbo

Links: Having learned a great deal through the critique process, I’ll start 2018 with a list of critique groups. Read how each operates and see if any appeal to you. I have participated in the first one, though it has been awhile; at the time I found the help valuable. So, wrap yourself in what James Scott Bell calls the Rhino Skin and dive right in, and remember, growth hurts sometimes.

Online Writing Workshop
Critters Writers Workshop
Critique Circle

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Gifts for Writers on a Budget

For thirty years, the PNC has calculated the cost of items in the Christmas song, The Twelve Days of Christmas. Their website states, “. . . a unique and whimsical holiday tradition that makes learning about the economy fun.”

This year’s tally to purchase one of every item in the song: $34,558.65 (up from $27,673.22 in 2014), and if every number of items were purchased for your “true love,” the cost would be a staggering $157,558.00 (up over $40k from $116,273.06 three years ago).

Who needs six geese a-laying anyway? Five golden rings? I think not. Heck, who even needs one of any of the listed items? Not writers, at least not to improve their craft—that’s where my list helps.

So, gifts for writers that will help boost their output and increase their skills: here are my suggestions of Gifts for Writers on a Budget.

$. Small notebooks to take with you everywhere. I use a 3′ x 6′ I can stick in my back pocket–fits easily into purses as well. One never knows when a great idea or observation strikes. Get it down or you might lose it. This is a mainstay of my writer’s tools; I usually buy three or four, one to carry with me at all times and the others placed where I might need them–by the couch, in the car, on the front porch where I sit and read in the summer.

$. Make sure you have enough pens and pencils. I use a mechanical pencil to jot notes; make sure to get extra leads and erasures–erasing is a big thing for me. These are great stocking stuffers and will cost less than a latte.

$. Purchase a larger notebook. I use a 6′ x 9′ steno notebook; some of my friends use regular 8 ½’ by 11′ ringed notebooks. I keep the notebook next to me when I am at the keyboard in case an idea arrives that is not affiliated with what I am currently working on–a quick note will remind me of things I can focus on later. These can also be used as a journal; many writers feel manually writing in a journal helps catapult them into creation.

$. Get a new writing book to help you with your craft. Recommendations here.

$. Join favorite writer blogs. (Do not forget to join Knights of Writ if you have not already).

$. Get a new novel that you have been putting off. Here  are a few suggestions for fantasy writers and readers.

$. Subscribe to Writer’s Digest Magazine.

Of course there are an infinite number of items writers can find useful, anything from bookmarks to writing programs, computers, notepads (the electric kind), Kindles, and a host more. The less expensive items listed will service a writer well into the new year.

Happy Shopping, and

See You on the Next page,

Rick

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Why Word Count is Important

The first draft of my story totaled just under 6,000 words; the second draft sliced wordage to 5,191 words, and subsequent editing chopped the story to 4,980, 4,845, and 4,621 words.

Still too long.

I am not obsessed with the number of words it takes to tell a story; what I do care about is succinctly telling a story with the least number of words possible—unnecessary verbiage is my enemy during the editing cycles.

Other people (like editors) do care how many words your story totals, and they can be a bit myopic when it comes to the decision to purchase your story for publication. Why?

When I wrote for newspapers (and also published a couple small zines), I was keenly aware of space limitations, not only for artwork and stories and articles, but for paid advertising, the life-blood of keeping a publication afloat.

When laying out a daily, weekly, or monthly publication, the editor has to find a spot for each of the articles, stories, artwork and/or photos, and advertising space. Decisions are based on logistical space issues as well as aesthetic value—breaking up the publication’s pages and making them appealing while being informative (and keeping readers interested) both fall within the editor’s duties.

Planning a publication is done with a “Mock-Up,” an empty layout where each space is designated by a symbol: large X where art and photos will be placed, the headline’s font and size at the beginning of each article or story, often an arrow drawn down columns or pages for text (or lettered gibberish as in the graphic above), all without the specifics to be inserted at a later date.

So, an editor looks and sees he needs a story or article to fit within each of those arrowed slots, and a quick glance reveals the text on pages 4-7 (wrapped around the planned graphics) cannot surpass 850 words due to space allowance, and the two pages at the back must be saved for advertisers sponsoring future events, and . . . . you get the idea.

In these cases, word count is critical.

While researching a market for your planned story, one of the first delineated requirements is word count (1,500 to 3,000 words), usually following the “types” or genre the publication accepts, as well as what they are not interested in receiving. Pay attention to each guideline, and always strive to accommodate their wishes—to do otherwise will cause your story to be rejected outright, regardless how well it is written.

Note: Book publishers are not normally so defined, but there are still basic needs and guidelines you should follow. Publishing is, after all, a business, and a 225,000-word novel by a new writer will have a hard time finding a house willing to take such a chance.

As far as my story is concerned, cutting needless words—even scenes—has improved the tale. This particular story is being readied for a Writer’s Digest short story contest. The last time I entered the contest, my story placed in the top hundred, but even more importantly, the story was later purchased by a major publisher. I can only hope the same will be true for the current story, this time a fantasy rather than a mystery.

Alas, the Writer’s Digest contest requires all stories to be “no more than 4,000 words” so I have more work to do. Can I? At this point I’m not sure, having been through the story several times, cutting all the proverbial “fat” in the form of unnecessary “thats” and -ing verbs, replacing lazy prepositional phrases with active phrasing, using colons and semi-colons to eliminate conjunctions connecting phrases (not too often or they can make the writing choppy), removing weak adjectives and adverbs, and other little tricks I have learned—all without affecting the story’s central thrust.

All that being said, do not jeopardize your story just to match a periodical length requirements; if a story must incorporate 3,000 words after several edits, and the magazines of interest only accepts up to 2,500 words, find a different publication to submit your work—telling your story the best way possible takes precedence, regardless.

At magazines, deadlines are another part of the process. As writers, we need to define our own deadlines—in an effort to accomplish our goals—even when we are not producing with a predetermined timeline. Nonetheless, the deadline for the Writer’s Digest contest is October, so I better get busy cutting some more weak words and phrases . . . .

See you on the next page,

Rick

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The Writer’s Garden, or 4 Lessons Learned From Tolkien

My wife, Linda, loves to garden. Many days I’ll glance up from my computer and see her love-labor: watering (daily), pulling weeds (often), trimming branches (Spring and Fall), or starting a new planting project. Our yard is her passion, a passion slowly realized over a course of many years.

Writing is the same.

We’ve lived in our house nestled at the base of the Oregon Cascades for eleven years. The other day Linda and I discovered—separately—that one of the trees lining the front yard is a fruit-bearing plum.

Eleven years and it finally bore fruit. Eleven years. We shook our heads in amazement.

I thought of Tolkien: The Hobbit was published in 1937 to a moderate response, thankfully enough so that he was asked to write a sequel. He published Lord of the Rings in 1954-55: again, a good but not great response. It wasn’t until the 1960’s that the Professor’s popularity sky-rocketed, thanks in part to the hippy generation and their attraction to the peculiar.

The Hobbit and the Lord of the Rings trilogy are now considered the standard for fantasy literature, and J.R.R. Tolkien the pinnacle of the genre. I would hazard to say most fantasy writers have read the wondrous tales of Middle Earth (as well as millions of others). The making of the movies by Peter Jackson further solidified Tolkien’s standing.

J.R.R. never thought The Hobbit and Middle Earth would gain the popularity they enjoy today, and would not have if The Hobbit did not find its way into the right hands at the right time, quite by accident. We are forever grateful it did.

He wrote The Hobbit for his children. In 1936 the incomplete book came to the attention of Susan Dagnall, an employee of the London publisher, George Allen & Unwin. She persuaded Tolkien to finish and submit the manuscript for publication, the book was published a year later, and surprisingly (to J.R.R, at least) attracted as many adult readers as his intended audience, children.

What if Susan Dagnall—now only a historical footnote—had not encouraged the Professor to submit The Hobbit?

Between the times The Hobbit was published and Tolkien completed The Lord of the Rings, his garden flourished as he made additional seed-notes about a wide variety of characters, languages, Middle Earth histories, plots and sub-plots totaling thousands of pages.

Not all his work bore fruit before his death, but his son, Christopher, tended the fields of his father’s garden, giving us The Silmarillion as well as other Middle Earth stories his father created.

I learned four valuable lessons reading about J.R.R. Tolkien and his success.

Think long about your topic
Write for your audience (and you may be surprised who that encompasses)
Submit your work
Be Patient

Think Long About Your Topic (Plan Your Garden)

When planning and planting a garden, one needs to ascertain many variables—soil components, distance between plantings, growing season, time of year, etc.—and the same is true of writing.

Planning a story or novel includes extensive notes, character sketches, time-lines, plots and subplots, and a host of other intricacies. When writing fantasy, world-building and magic need to be consistent in addition to all else that entails story-writing. All these and more are your seeds when planning a story or novel.

Write For Your Audience (Tend the Garden)

Daily garden maintenance parallels daily writing needs—editing reminds me of removing encroaching weeds that do damage and strangle otherwise healthy plants.

Read voraciously within your chosen genre to understand what has been done before, then twist the idea into your own worldview. If, as with fantasy fiction where there are numerous sub-genres, read in the one you enjoy, but don’t ignore the others. Whether Epic or Heroic or Urban Fantasy, you will see similarities between genres as well as specialties within each sub-group.

Once you grasp the leanings of your choice genre, create a unique story for that audience, and don’t be afraid to experiment. Like Tolkien, you might be surprised of the true readership and the expansive market potential.

Submit Your Work (Plant the Garden)

No matter how much you think about planting a garden, the ground remains barren if you don’t get your hands dirty and actually put the seeds or starter plants in the ground.

The same is true when it comes to writing.

As I wrote in a previous post: Writers Write: Authors Submit.

Your career remains barren if you do not submit your work, your writing forever lost to readers everywhere.

If just beginning your career, seek out by-lines rather than dollars. Unpaid published work is still published. Use the by-lines to promote your skills, like heirloom plants whose seeds give birth to future generations (ie., paid-for writing).

Which brings up the fourth item I learned from Tolkien:

Patience (Wait For Harvest)

It’s exciting to watch the fruits and vegetables ripen, plucking succulent tomatoes or golden raspberries when they reach maturity, and it requires patience.

Likewise, the writing craft embodies patience, which begins by waiting for a seed-idea to germinate before bursting forth to blossom into a fully realized story.

Once a story is completed and submitted to the first potential publisher on your list, it is time to get to work on the next project (similar to rotating crops).

Great writers get rejected, masterpieces hidden from the world until a courageous, far-sighted editor takes a chance on an unknown—You.

Plant the garden, tend the seedlings, wait, and you, too, shall reap the harvest.

See You on the Next Page,

Rick

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Writing Time and Character Death

Our lives are rubber bands pulled taut, each day threatening to snap with the next unplanned event.

Some days spiral out of control.

Even without catastrophic events pounding our lives, the daily requirements are daunting: work to pay the bills (for me, 9 hours a day, including lunch), sleep (I’m old; I need at least 8 hours), then there’s spending time with family and friends, caring for one’s animals, preparing meals and eating, showering, staring blankly at the walls, and dozens of other “events” that require our attention.

Every day is a package waiting to be unwrapped. I wake at 5:30 AM and begin  peeling back the paper that is plot and characters before I delve into the package of my life. Much of the package’s interior consists of routine and monotony, the kind that sucks creativity like a vacuum—exactly why the first hours are so precious, alone-time when everything is fresh and full of hope.

I am also acutely aware that we only have so many packages to unwrap.

The day before the last post, I learned a friend of Linda and mine died weeks earlier. A car accident took his life, a sudden, spontaneous tragedy caused by an unlicensed driver smoking crack—the pipe was found still between his legs when emergency crews arrived. The young man spent a week or two in the hospital with a punctured lung, and upon release from the care of nurses and doctors, his cushy surroundings were replaced by a wafer-thin cot and bars. He will likely spend a portion of his life in prison. As for our friend, he is no more . . . . his rubber band snapped, and unbeknownst to him, he opened his final package when he climbed in his car that fateful day.

Richard was a year and few days older than me when he died. At the scene, he asked the emergency crews to make sure the other driver was okay—that was Richard, kind and gentle, and speaks to his character.

Death causes reflection, followed by questions, and adds an urgency to how best spend what days we have left. Whether religious, philosophical, or just from a human standpoint, death’s awareness is unique to our species. Keep that in mind when writing.

The same is true of your characters. Death shapes your character’s psyche—their fears and how they cope with the inevitability. Nothing ramps up a story’s tension like a character’s view of their impending death.

Death haunts each character. Some writers shy away from killing off beloved characters, others derive satisfaction in the emotion evoked when a highly-thought-of character succumbs.

J.K. Rowling killed off several popular characters, as did George R.R. Martin, only more so. Tolkien, on the other hand, kept his main characters intact for the most part. Each instance is different, but it is a decision we writers need to contemplate.

Whether they are to die or not, the probability the character will should take center stage, a veiled unknown huddling on the horizon, just like for each one of us.

How do you feel about death? Dig deep. I’m not saying perceive the end of life as a gloomy cloud, but as a reality. Ask others how they feel about death, and you will see a cacophony of perspectives, some riddled with fear, others brightened by hope.

One’s feelings on death impacts their life. Realize that each day Death’s Door opens a bit wider: how do your characters feel about that?

Often a character’s feelings manifest when one close to them, including a beloved pet, dies. Shock, sadness, helplessness, a dull mind haze: all are symptoms of grief. Reactions change, ebb through stages, heartbreak to anger, regret and joy (at having known them), laughter blended with tears of pain. Yes, we know these feelings, these sensations, and your characters need to as well. Make your characters hurt, and thereby show the reader their humanity and their passion. To cause readers to cry is a great gift, perhaps more so than making them laugh.

In all things, use life’s joys and pains as the lifeblood of your stories, and readers will be grateful.

Take those feelings about death, appreciate the day you have before you, and write a story to draw the reader’s emotions—their fear of what might happen to their favorite character—into your story.

Live the life you wish, and write what you feel. Don’t shy away from the topic of death as all readers face the same questions; it’s an excellent way to garner their attention and hold it throughout your tale.

See you on the next page,

Rick

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Daring Do’s and Dangerous Dont’s

As writers, we must stretch beyond our comfort zones, learn new aspects of the craft, implement the new knowledge, and rework sentences until they serenade our inner ear.

We must be Daring

Write something completely different from your norm: try dialogue using dialect without changin’ and wranglin’ the language; if you write macho-man sword-and-sandal pulp fiction, craft a tender romance where vulnerabilities keep a destined couple apart; romance writers can learn a great deal developing relationships in deep space.

Take sentences, the building blocks of prose, and twist them this way or that: beginning a sentence with a gerund can brighten necessary focus; articulating something in a sentence by setting it off with commas, like this, changes the entire tempo in the reader’s mind; experiment with colons and semi-colons, ellipsis . . . dashes even—each changes the pace and sentence focal point.

Have fun—it will prove profitable and time well spent.

Writing fantasy, many of my sentences flow long, use descriptive modifiers and parenthetical phrases, so I decided to write a story lacking those attributes—instead, short and pithy. The flash fiction story, “Boys ‘N Berries,” is now making the rounds. I learned a great many things during the process, some of which I will weave into future writings.

Beware the Dangerous Don’ts

All writers have reached a certain skill level. It’s impossible to know on what rung of the publishing ladder you now reside, or the untold number of rungs that lay before you.

Gee, Rick, thanks; that really helps (sigh).

There is a mystery to the writing craft no one can solve, a question all writers ask themselves, their agents (if lucky enough to have one), and their writing partners: How talented am I? Put another way, “Do I have what it takes?” The problem is the question itself.

Talent is weighed and diced into a million different pieces, and it depends on the audience, whether one or a thousand.

Talent and skill perception are arbitrary, and in the end, only an opinion.

The first Dangerous Don’t is asking the question in the first place. One could call it mental masturbation: editors and readers will determine your skill and the value of your stories. Your job is to write.

Write and your skill level improves, and thereby, you climb the talent ladder. How could it be any other way? The more you do something, the better you become—this is a natural progression.

The second (and nearly as important) Dangerous Don’t is attempting more than your capabilities.

I know, this post began by encouraging you to stretch and attempt writing in ways and types unfamiliar, and I stand by that.

Let me explain the concept of avoiding projects you are not yet capable of undertaking:

Most fiction writers begin writing short stories. The reason short stories are the first choice is because one can dash off a short story first draft in a few hours or a day compared to months (even years) it takes to create a 70,000 to 100,000 word novel.

A short story follows a single character (normally) and a pretty straight-line plot path. Even the simplest novel involves numerous characters, perhaps multiple POV’s, and a central plot underscored by any number of sub-plots depending on the complexity determined by the writer’s wishes.

This is daunting. My advice: don’t plunge into a fully developed novel until you have written a dozen or more short stories.

Writing short stories teaches brevity as every word must have a bearing on the character, plot, or theme—there is no space to meander from the chosen path like a novel can allow. (Some would say you should not “meander” in a novel either, but there is more room to take a side trail and make it pertinent to one of the novel’s plot paths).

Third Dangerous Don’t: don’t plunge into an idea without determining the costs

I have a novel idea deemed viable (see my post on determining writing projects) that is currently beyond both my skill and time requirements.

The story is a YA fantasy novel set in the ancient Mayan culture that thrived (and mysteriously disappeared) in Mexico’s Yucatan peninsula.

Having started the preliminary research, and despite a semi-complete outline, I realize at this time, the project is beyond my means.

Working full-time, I do not have the resources required to immerse myself into the research and writing necessary to complete such a project. An excuse? No, a reality.

That does not mean I ignore the idea; the idea simmers in my subconscious, and on occasion I scratch the research surface and jot notes toward a future when I will delve into such a complex and research-heavy project. Understanding that now is not the time is as important as knowing when a story has percolated long enough so the idea can be successful.

The Fourth Dangerous Don’t

Banish the critic that resides in all of us. The critic is a tempter, brow-beater, and thug. My friend, Richard Weir, wrote a terrific post dealing with the problems writers face when allowing the critic a foothold that quickly metamorphoses into a stranglehold. You can find the post here.

Why are the four Don’ts dangerous?

Time is every writer’s adversary: each of the four Don’ts involve wasting precious time.

Calculate your strengths, your weaknesses, use your abilities in the best way possible, and write. Experimentation conjures its own reward, but don’t undertake a project that is beyond your current capabilities or time allowance; only heartache will follow.

See you on the next page,

Rick

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Writer’s Block is a Myth

(To celebrate Knights of Writ’s 100th blog post, I offer this lie-buster)

Every week of every year writers compose articles and blogs about how to defeat the dreaded Writers Block. Each is a lie—Writer’s Block does not exist.

“Wait,” you cry out, “I’ve stared at the blank page for hours, paced the room, succumbed to a shot of Jack Daniels to loosen the thoughts. Nothing works.”

Before you scoff and click away—jettisoned to the next article entitled “Defeating Writer’s Block the Last Time,”—realize this: claiming Writer’s Block is only an excuse to not write.

You have bought the lie, and the price is a heavy burden indeed . . . inactivity.

Writer’s Block has grown to legendary status among writers (and by those composing articles to perpetrate the lie) and is a fodder field of articles entitled, “8 Ways to Guarantee You Don’t Get Writer’s Block,” or “10 Ways to Avoid Writer’s Block.” A recent Writer’s Digest Magazine published three articles under the umbrella heading, “Beating Writer’s Block.”

Although many articles about Writer’s Block contain nifty exercises or prompts to help creativity, their assumption is misplaced.

Why? Because writers have bought into the existence of the dragon.

The reason you feel gripped by Writer’s Block is simple—you have limited your options.

A well-known anecdote about Isaac Asimov explains how he had several typewriters in his office—this is in the 1940’s and 50’s before computers—each with a different writing project. When one did not shake his world, he went to another and worked. He explained the mind needs excitement and becomes weary when working day after day on the same subject.

Professional writers create whether or not they are “in the mood.” Does a doctor only operate when he’s in-the-mood, a lawyer defend when the mood suits them? Have you ever heard of a plumber’s block, or a longshoreman’s block, or a bartender’s block (heaven forbid!)? None exist; neither does Writer’s Block.

Writer’s Block is an imaginary entity we give credence. Perhaps it is our way of dealing with terror or maybe a self-worth issue. Although that may be the case, I usually find writers bemoan the “Block” when their work encompasses too few options.

So entranced and focused on a minimum of choices, a writer rolls over and over the same information, trying to fix the same problem, come up with the right idea, when all that’s needed is to let the subconscious sort it all out.

Writer’s Block is caused by an over-simplified expectation: you are ready to work on this particular project right now. Sorry, it doesn’t always work that way.

Often it does, and that’s when you stream through the story, fingers a blur, white spaced fill with squiggly black letters. Other times you have to take a deep breath, open a new folder, and work on a different project.

I have 5 books (3 fiction and 2 non-fiction) in varied degrees of completion, 5 times that many short stories, a dozen article ideas, 18 blog topics I wish to pursue—when I’m not tuned with a particular one, I find another.

I have a couple projects I work on most every day, but if I run into a wall for some reason, I have others to fall back to until I’m ready to re-tackle the primary item.

The point is this: writing every day is a given, and we must be ready to improvise and juggle when something goes awry, ie., when a specific piece of writing needs more simmer time.

This is a natural process, not a Block, writer or otherwise.

We must not give the Myth wings and let it carry away our sensibilities. It’s time to refuse to go along for the ride; instead, open another folder and work on a different project. In the end you will find you complete more, and in the process, improve your skills.

As a last word on the subject, I turn to Stephen King: “Amateurs sit and wait for inspiration. The rest of us just sit down and get to work.”

See you on the next page,

Rick

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