So close I can taste it

The cat room transition is almost complete. Yesterday I painted baseboards, then once they were thoroughly painted, I nailed ’em up. The only thing left is doing the final cut of the carpet and installing the transitions.

Oh, and everything else we can think of.

This morning, Branden suggested maybe sealing around the bottom of the baseboards with silicone. Normally, of course, that would be ludicrous, but since this is a room in which kittens are being potty-trained, and we installed vinyl flooring exactly because we wanted a non-absorptive surface: making it impossible for… undesirable substances… to get under the baseboards and subsequently under the floor“boards” is probably a good idea.

Oh, and Branden wants a new bookshelf. Oh, and I want to make a bookshelf cause I’m sorta over the $35 Target bookshelf lifestyle. So. You know. This project will be over never ever.

I want to have a bookshelf whose bottom shelf is actually a kitten habitat. A bed, a scratching surface, an agility playground… I would love that.

I really want to get the endless crap that is currently in our office, hallway, and bedroom back into the cat room where it belongs. On the other hand, why not do all these projects? Sounds fun to me. I haven’t had so much energy in a really, really long time. I’ve been super productive this whole week, and efficient, and organized. I almost feel like a real human being! I want to keep up the tidal wave of awesome, and why shouldn’t I? Maybe my real calling is craftsmanship.

We are coming up on the MuckFest so dang fast, now. Please consider donating to my team! Every dollar helps get us one step closer to a world free of MS. Plus, you’re helping me earn a warm shower on the day of the event. You don’t want me to freeze my fingers off, do you? I didn’t think so.

•••Hey, did you know? I’m fostering kittens! Come follow my tribulations on my kitten blog! Paw-Purr-azzi•••

Plantser

There is much banter in the writing industry about the terms “pantser” and “plotter.” I believe they were coined by the NaNoWriMo community. To be a “pantser” is the write by the seat of your pants, to have no set route and to go where the story takes you. To be a “plotter” is to have a comprehensive outline, to know where you’re going and how you’re getting there before you even start writing.

I’ve tried it both ways. NaNo 2014 I was a pantser. I basically had a character idea and some settings ideas and I went from there. It was the seed to my novel, and I’m super glad I just did it. But to be totally frank, the result was… unsatisfying, to be diplomatic about it. For my second and third drafts, I was (/tried to be) a plotter. Even though I loathed writing outlines and the process was disheartening and soul-sucking compared to just writing narrative, I was sure that the reason my first draft had failed was because I didn’t know where I was going when I started.

Well, my second draft, while being much better than my first, was still far off the mark of what I want to eventually end up with. I don’t believe that it benefitted from an outline as much as I had learned a lot from the first try, but after I finished it, I didn’t have that perspective. From where I was standing, it looked like I had a second draft that was much better than my first and it had had an outline: ad hoc, ergo propter hoc. But I was several chapters into my third draft when I realized that I was going at my story from completely the wrong angle.

And I realized that writing the outline had contributed to cementing this wrong angle in my head.

Not to mention that starting over after writing a comprehensive outline was… well suffice to say that I was more ready to give up writing forever than to write another comprehensive outline. More than that, though, I wasn’t sure yet where the story was going to go. I kept trying to work on an outline and getting stuck on things that I couldn’t predict. And I was getting very frustrated with not writing narrative—the only fun part of writing. (Hashtag my own opinion kthxbai.) So I decided to start writing and see if it went anywhere.

The beginning I wrote was both strong and terrible: strong because I think I started in the correct place, narratively, and terrible because it was disjointed and semi-coherent. That was partially because I was in a semi-panic while writing it and as a result was having terrible aphasia. I kept not being able to find words, so instead using the much more formal words for things than my narrative voice justified. But I said fuckit and kept writing, because it felt like running away from a predator: didn’t matter if I tripped, I fucking got away.

As I write more, my voice comes more easily; the sequence of events happens more naturally; and as ideas come to me I feel very free to incorporate them if I want to—no restrictive outline to stick to like glue. As a result I really feel like this draft is where I’ve been wanting to get to all along. I still feel like it is almost certainly not the final draft. Much polish and sanding and restoration will be needed once I’ve finished writing it. But I may have finally found the thing that I won’t have to rewrite from the ground up.

Anyway. I recently read a term that I had previously not heard of: “plantser.” This is a hybrid planner-pantser. For me, that means I know the starting point, I know the themes, I have a cast of characters (some of which may not end up making appearances), I know the twist, and I know what Cassidy needs to do to “win”—but I don’t know the exact journey she takes to get there, and to be honest, I don’t know if she wins or not, yet.

So, put me in the plantser camp, because I need a little structure—a little, but not too much.

Word count: 10,916 (⪤)

•••Hey, did you know? I’m fostering kittens! Come follow my tribulations on my kitten blog! Paw-Purr-azzi•••

Writers’ Group meetup and writing date

Whoops! I forgot to blog on Monday. That’s okay, I can make this one longer for it.

Writers’ Group meetup was this last weekend, and for the first time in a long time I actually had something to share. Branden went on a literary-critique tear; I’ve rarely seen him so enthused about giving feedback when he reviewed Rachel’s story and Becky’s book blurb. I submitted almost 9,000 words for review, and Branden has been reading them as I’ve been writing them, so he didn’t have as much feedback for me as he did for them (which is fine). But I got lots of good feedback from the girls. Few enough problems that I’m either doing really, really well or no one can bring themselves to tell me what they really think. Or maybe they’re withholding judgement.

Just for the record, I don’t actually think anyone thinks it sucks and is keeping it from me. That was a joke. Oddly enough, sharing holds no real terror for me. I know I’m not perfect and could always do a lot better, and am prepared to hear that feedback when it comes. It’s gratifying when I get less of that than I expect, and at the same time it makes me itchy for more. (Though, I think getting more quantity and more specific “I really liked this part!” would scratch that same itch.) But getting any feedback at all is a privilege and a blessing and thank you, thank you, thank you Sarah, Becky, Rachel, and Branden for your patient and dedicated reading and reacting.

But the fact that I’m going to need a whole new group of beta readers was raised during the meetup.

My friends can help me hammer out the problems. They can help me patch the holes and fix the typos. But they can’t be surprised by the story, because they already know the twist. So, I need several people who don’t already know it, who can read it and tell me if the twists and turns are any good, if it hangs together, if it delivers on its promises. I’m looking forward to having a fresh audience, when it comes time for that.

Yesterday was this week’s writing date with Becky, during which she put the finishing touches on her blurb (it’s looking really great now!) and I got some words down. Pretty exciting. Also, pretty nerve-wracking. I am wandering into uncharted territory now, and I have no outline for this version. That aspect has been really freeing, yet scary. Still, I’m enjoying seeing where my fingers take me.

Well, that’s all I’ve got for now. Happy Hump Day!

Word count: 9,656 (▸)

Writer’s block morphs and changes

Yesterday, I had an excellent day of writing. Becky and I monopolized a couch in the coffee shop from eleven am to four-thirty pm. I didn’t write every single second of that time, but I did get into a groove and managed to pump out over 1,500 words. While I was writing away, I noticed something interesting.

I was chatting with Rachel in the background. I would write my story while waiting for her to respond to whatever I’d said last. I’d made writing the time-passing activity, instead of phone games, or Netflix. It was the most freeing attitude shift: instead of using chatting as a distraction from writing, they existed non-competitively and non-stressfully, side by side. And having five hours of friendly relations with my book has, for the time being at least, altered my overall feelings towards it. Instead of feeling overwhelmed with the enormity of it, or frustrated by its inscrutability, now I feel affection with it, like we’re friends who are going to get together to do something later.

In the past I’ve written blog posts that assert theories on how to overcome writer’s block. Those blogs were correct, for me, at that time. I didn’t anticipate—didn’t understand—that the rules could and would change. I don’t think that I've seen this expressed as conventional wisdom in the multitude of writing blogs I follow. Maybe it’s because it’s self-evident to most, but it was a surprise to me. It was like having the whole floor jerked out from under me when my old tricks didn’t work anymore.

Now that I understand that the Inhibitor is an adapting creature, moving to choke off the little shoots of inspiration that manage to wind their roots through the joints in its protective carapace, I feel slightly more prepared to keep it in perspective. But (and this is an advanced philosophical realization, don’t try this at home), I realize that even this feeling of being properly armed is going to leech out too. It’s a constant growing rumble. The only way to turn down the volume is to keep trying, trying, trying. And be kind to myself.

The Inhibitor is a master of disguise. It makes itself look like inspiration to do other creative projects (my personal favorite); exhaustion or sleepiness; and when all else fails, it just starts sounding alarm bells. They are sometimes articulate, "You will never get it right! You might as well not try! You will never get it right!" or "It’s no fucking fun! Why are you even doing this! Don’t you have something better to do!" Sometimes it’s inarticulate, but I can make the screaming shut up by walking away from the writing. If I get too close to it, it keeps getting louder. And sure, there are some days when the alarm never would shut up, no matter how hard I tried; but I suspect that, most of the time, if I just pushed through it, it would eventually fade away.

It is pretty frustrating and exhausting to have to keep switching up techniques for getting around the Inhibitor. It’s not like it publishes a handbook; and I suppose if it did it probably wouldn’t include ways to disable it. You just have to keep trying different things, again and again. And sometimes, you have to keep trying things that don’t work that well, if you can’t think of anything else. It’s really not surprising that it can have so much power over you.

Anyway, happy rambling is me. More work on snails art today, followed by more writing (I hope). Happy writing!

Word count: 8,747 (∫)

Scared of my feelings

As I’ve been making (slow, slow) progress through my book, I’ve realized something that isn’t very encouraging. I’m wondering if it’s normal for other writers, or if it’s indicative of my feelings for my book.

I get really excited when I’m thinking about the story, the twists and turns, and the way the pieces fit together. I enjoy thinking about it. But when it comes time to actually write it? It all drains away. It feels dry and uninteresting, and my overwhelming feeling is that the book is going to be “nothing special,” or possibly just a giant waste of time.

I don’t want to listen to that voice, for obvious reasons. I have ideas for other stories, and I haven’t yet tried to write them, so I can’t say whether or not I have more enthusiasm for writing something else. I really, really want to finish this book before moving on to another project, so I probably won’t be receptive to “just write something different for a little while” advice. Cassidy is my baby and there are so many things I want to say with this story. I just wish the stream of good feels didn’t dry up as soon as I start trying to put words on “paper.”

My apprehensions aside, I have been writing. I got Scrivener for Christmas and I’ve been trying out the “write scenes in separate files” technique that so many people talk about. Historically, I haven’t really thought in “scenes,” but more in progression of events. Trying it this way is definitely helping me understand where scenes are delineated in my writing, and that really helps me understand the flow of tension. Because if each scene needs to be a book-in-miniature, with rising- and falling-action and a climax, then I think it helps you get a feel for if the scene is doing what it is supposed to, and if it’s necessary to the story.

Tangent: just because it has the three ingredients, doesn’t mean each of these climaxes need to be dramatic and extreme. They just need to be identifiable.

Well, that’s all for now, folks.

Word count: 4,513 (ᆡ) (NaNo in May is... not. But at least it got me writing!!)

Writing: when it rains, it drizzles pathetically

In my continuing commitment to blogging more, I am blogging today! Observe. They’re gonna be short for a while, while I get back into the swing of posting.

Yesterday, though I seemed to be trying my hardest to avoid it, I actually managed to write over 1,700 words. It sorta feels like, even when I’m writing, I’m not making any progress. I am, though. Right now, it feels like the book is going to be incredibly short. I have no sense of pacing with this version. That’s okay. It truly is a new “first” draft. I’m in no hurry (obviously).

That being said, yesterday I was thinking about my book and was suddenly overcome with a realization. It’s an obvious thing, nothing I didn’t know intellectually, but it sorta came home to me emotionally: This book doesn’t exist. It’s not out there, leaking through me onto the page. It has no rights. I’m not violating it by not writing it. It will never exist if I don’t write it. It felt both liberating and terrifying. It’s a big responsibility… a bigger responsibility than caring for plants, but probably a smaller responsibility than caring for animals.

But yeah. Your book doesn’t exist if you don’t write it. No one’s going to write it after you decide you don’t want to; it’s just going to never exist. Is that okay with you? Or would you rather just write the damn thing and be done with it? I know which side I come down on.

The Inhibitor

I believe I have a piece of hardware installed in my brain. It’s called the Inhibitor. It plugs in between my want-tos and my can-dos, and effectively shorts the circuit with overwhelming gibber signal, mostly consisting of “but that would require you to…” and yawns. I’m not unique in this way. It seems that every writer (or otherwise creative person) is asking for advice on how to bypass their inhibitor. I’ve gotten sick of whining about it. But sometimes, it feels like a very physical thing.

And then, of course, there are the have-tos. From time to time, the have-tos are chores or errands, but the largest number of have-tos are literal necessities. Going to the bathroom, eating food, sleeping, that sort of thing. When my Inhibitor starts to fail, the have-tos are the redundant fail-safe. And the have-tos are hard to argue with. They seem to eat up my days.

Right now I have a conundrum. I’m finished with my have-tos. It’s barely 9am. I’ve bathed, eaten breakfast, checked the whole internet, and essentially run out of reasonable distractions. There are so many creative endeavors I’ve been dying to do, and inspired to do, and motivated to do… when I’m unable to do them, of course. Now that I have no have-tos between me and my goals, the Inhibitor is working overtime. “But you have three unfinished Christmas stockings to do! Those count as creative!” … true, but I’ve watched so much Netflix in the last couple of months that I’m about to run out of shows. Like, all shows. It’s getting boring. “You’re really sleepy! You know you are. Go lie down.” I’m never not sleepy. If I let that affect my activities, I’d never do anything. “You know you’re not supposed to force it…” Force it, sure, but I should really at least give myself a chance to do these creative things I’m so excited about.

I’ve had writing dates with my writer friends the last few weeks. On each of these, I’ve had some excuse not to write. The first one, I spent the time moving Cassidy into Scrivener, so at least it was tangentially related. The next time, I was writing emails to people. It was actually important, don’t get me wrong, but I sometimes feel so defeated. I’d really like to write with my girls, because it seems like the only time I actually get into it.

Well, at any rate, it seems like maybe my Inhibitor has leashed my blog into its dark service. I’ma cut that bitch out, for today anyway.

TTFN dear readers!

I'm losing it.

I’ve written dribs and drabs. I’ve constructed sentences that I’m proud of. For the most part, I’ve made a thing that I’m happy with. The third try at Cassidy is the closest yet to what I started out envisioning. I’m not bored, or tired, or distracted.

What am I, then? Why is it that as I get nearer to being good I get farther from wanting to continue it?

I have a long reading list. Several books checked out from the library, and they’re ebooks, so when they expire they just... go away. I want to read them, but I’m currently reading a much longer, much heavier sci-fi book that is also commanding all of my love and interest.

After I finished Becky’s feedback letter, I had a strong feeling of liberation. Finally, I could work on my own writing! Something changed during the long break wherein I didn’t think much about Cassidy, so that when I came back to it, it wasn’t at all onorous. I had somehow managed to recapture the feeling of writing for myself, the way you do when you’re a kid and being creative is just a thing you do, no matter how anyone reacts. I wrote 2,542 words, in quick succession. Everything felt like an increase in freedom, rather than a decrease. But then, it sorta... petered out.

I’ve had a lot of things happen in my personal life: pets adjacent to me dying, foster kittens aging out, and my own personal pets having medical problems. I’ve had a lot on my plate, and a severe deficit of energy to devote to anything that isn’t self-care. The remembered feeling of goodness hasn’t been enough to bring back my desire to write. But what’s worse: I also haven’t really felt bad about that fact.

The downside to dry spells is that gnawing feeling of guilt of a job left unfinished. It brings me back, again and again, because my characters get antsy and don’t want to be ignored. But this time... I’ve felt nothing. I want that nasty guilt. I want to feel compelled to go back. And right now, I don’t.

So I’m fishing in my pool of readers. What can I do to get reinvigorated? How can I make Cassidy matter again? I want to want to. Gimme your magic writing sparkles.

Word count: 5,820 (ᚼ)

Tips for overcoming writers' paralysis and cultivating enthusiasm for your writing

Long title is long!

I was at the gym yesterday and I was finishing up my stretches. After stretches, I do ab workout—situps, crunches, leg-lifts, or jackknifes, depending on the day. Yesterday was jackknifes. After that, weights, then a half-hour of cardio. And I was lying on my back, looking at the wasp nest in the highest tippy-top of the cathedral-vaulted ceiling and dreading every single step of it with my whole self.

I probably don’t need to tell you, but dread is one of those ingredients in a workout (or any other chore) that really dominates the flavor and ruins the dish.

So I thought to myself, “Self, stop it! Why do you dread this so hard? You know it exactly. You have done it so many times you could do it in your sleep. Dreading it only makes it take longer; and when that’s not true, it sure makes it seem to take longer!”

“But, Self,” I protested, “What should I do to dispel this awful funk? You make it sound easy. I assure you, it is not.”

“Fear not, Self,” I laughed, “There is a solution! Behold!” I flourished my cape. “When you started coming to the gym, you were infused with feelings of accomplishment, pride, and self-power. These feelings have waned as the gym routine has become mundane, but in truth, the fact that the gym routine has lasted long enough to become mundane is an indication of exactly how accomplished, proud, and powerful you should feel!

“In short, do not focus on the mundanity, the sloggishness. Focus on the things that made you start coming in the first place! The way it draws into focus the ways in which your body is succeeding at being strong, beautiful, bendy—what have you. After all, what are you anxious for? Have you elsewhere to be? I think not. Now is your time. Enjoy it.”

Well, it got me through the rest of the workout, and I realized that the same technique can be applied to most things we dread. Staring at the blank page, fingers poised over the keyboard, thinking, “I know I was gonna say something… what was it again?” we have started looking at our writing as an obligation, a chore. What if we spent a few minutes right before we start writing to remember exactly why we write? If we can recapture the feeling of the joy of creation, the freedom of crafting a world to our own specifications, the way it used to be an escape rather than a prison, then writing will be a breeze.

Yesterday, after my workout, I was victim to a sustained headache and stomach ache and did not return to the world of creation, but I’m going to try out this technique today and see if it works as well for writing as it did for finishing my gym routine. Happy writing, everyone!

Word count: 2,778 (૚)

I'm gonna talk about it now.

I promised myself when I started this blog that it was not going to become mopey mopey Emoville. So I’m writing this post in the spirit of grabbing my demon by its horns and showing it to the world. Maybe doing that will help me fight it. Or maybe it’ll just get me a little leeway with my gentle readers when I don’t blog every single M/W/F or write as many words as I should.

I’ve mentioned my fatigue and my MS before. I’ve tried to downplay it, or to only give it a glancing blow on my way to more upbeat things. But I think the result of that is to make myself look like I’m failing to achieve (or even approach) my goals for… no reason. And I don’t like giving it power over me, but that doesn’t mean it doesn’t already have it.

Fatigue is a lot like depression. So much so that I don’t think I can safely say I don’t have a certain amount of depression. Fatigue is different from being tired. There are days when I feel like I have energy; I have no desire to nap, but I simply cannot bring myself to do anything productive, be it chores, errands, or writing. For chores, even the first, smallest baby step seems like a mountain, or a sheer rock face. For writing, I open my document and I read the last thing I wrote and I put my fingers on the keyboard, and then… nothing comes. I do what they tell you to do: I write nonsense or I write journal-style just to get the words flowing, but the heart isn’t beating. I can squeeze out a few drops but that doesn’t make it flow.

Fatigue is present in most people with MS even if they have no neurological symptoms or lesions, like me. For me, fatigue is crippling. I fail to fulfill social and familial obligations. I have to cancel activities that I was really looking forward to. Almost everything I do, I have to force myself to do. Except on days when that’s not true. Some days, I feel almost normal. I can do three or four whole things (or, alternatively, write a couple of thousand words) before crawling into a deep dark hole. If I’m not careful, I can spend all the energy that I have that day and overspend into the next day’s energy, leaving me twice as wrecked as I would otherwise be.

And those days are almost worse than the others, because they make me feel like I’m failing all the rest of the time.

I have a problem moderating myself, separate from MS. As long as I can remember, I’ve been inclined to follow rules that I set for myself as though they were set in stone. I think that’s because I went through a phase where having no rules resulted in me failing out of college. So, if I “break the rules,” I have no safety net. I eat a bag of Doritos, drink a 2-liter of Mountain Dew, and play Don’t Starve while Law & Order: SVU plays in the background. My therapist tells me that sometimes I can’t be productive, because, uh, I have MS. But “being kind to myself” looks, to me, a lot like breaking the rules. And the more I break the rules, the easier it is, and the harder it is to “be good.” So, being kind to myself may actually result in me losing all the good habits I’ve made over the past eight years. Can you blame me for getting mad at myself for backsliding? There are only so many things I’m proud of—I’m not going to forgive myself for losing all of them.

So, I have no energy. So I turn into a person-sized slug on the couch, incapable of doing anything else. So I get mad at myself for slugging. And that sucks more energy out of me, because (just like kids whose parents say “no” more than “yes” end up feeling like they can’t do things,) if I don’t have my own support, I’m not going to feel empowered to accomplish anything. So the next day I have even less energy. So I can’t write, or do anything else. So I get mad at myself. At a certain point, I can’t even sleep anymore, I’m too busy being pissed at myself. So, guess what? No energy. And on and on it goes.

It’s bad enough knowing that I could never support myself anymore. If Branden were to upgrade to a newer model, I’d be up a creek. It feels like I was robbed, since I was aimed at a master’s degree in architecture when I had to admit defeat to the fatigue and confusion and the lack of balance, sensation, and coordination—like the weeping angels touched me, my potential was stolen from me, and I am doomed to whatever scraps I can get now, from my tiny cage lined with wood chips. But I feel like my brain is my enemy. And when your brain is your enemy, what could an ally possibly offer?

I am trying to learn brainhax to trick myself into moderation. Make good habits of self-regulation. But when even that feels mountainous and unattainable… I feel like I’m in Inception, just falling deeper and deeper into limbo.

So… that’s where I’ve been for the last few weeks. Please stay with me. I can’t do this alone.

New and unanticipated difficulties, hooray!

I was so excited to start writing narrative. My outline was complete and finally everything made sense: all the clues pointed in all the right directions, and I’m no longer relying on Cassidy’s biases and lack of experience to create tension where there really isn’t any. I think—I really do—that this book is going to be good.

So why can’t I write it?

I think the biggest problem is that I haven’t found Cassidy’s voice yet. Exploring the feminist/sexist aspect of the story was a choice that I made from the get-go, but it’s really not fun to write the scenes, especially so early in the writing process. (Note to self: maybe I could put this scene on hold and come back to it once I’m on more secure footing?)

So, Cassidy is less inexperienced in this version. She needs to start with a good amount of confidence and authority so that when the shit hits the fan, her loss of objectivity and her feelings of being “at sea” are more powerful. There are clues gotten from interrogation, from intuition, from observation, and from hands-on investigation. (In my reading, it seems that all of these things are necessary to make the hardboiled detective who s/he is.) There is a world outside Cassidy’s investigation, and some of the people-of-interest have other shady shit going on that is unrelated to the case but will influence they way they deal with her. And, she gets to start building contacts in her new city.

But when I sit down to the keyboard, the words don’t seem to come.

Here’s the kind of stupid shit I do to avoid writing but still claim I’m “being productive”: I made an HTML version of the Google doc of my story so far. I mean, I set the page width, the font, font size, there’s a gray border around the “page,” there are page breaks and page numbers and everything. Why? I dunno. Cause. Now it’s in a format I could, theoretically, email my friends and it wouldn’t take as long to load as a Google doc. Also cause playing with CSS is fun. And it’s both easier and more technically challenging than writing. I am just so... tense about writing.

It’s super bizarre, too, because over the last few days (weeks?) I’ve really started understanding, intellectually, that I can’t “screw it up.” Text is so much kinder than any other creative medium if you make a mistake: you just hit backspace. Yes, you might end up deleting entire sentences, paragraphs, pages... or even entire drafts. But you can try, try again at virtually no cost. So why am I so freaked out?

There are no words.

But I’ve decided I’m not going to beat myself up. It really doesn’t do any good.

Word count: 1,989 (߅)

Reading complete!

I finished The Big Sleep last night. It’s a wonderful book and I’m certainly going to be reading more Raymond Chandler from now on (in fact, I have just now checked out Farewell, My Lovely from the library). He is where all the awesome hardboiled tropes come from. He warms my guts.

I feel like I am armed and armored, where before I was naked and wielded only a stick. Yes, I survived the wilderness, but I wasn’t pretty at the end.

My metaphor isn’t holding up too well. That’s okay.

I am very excited to begin writing again. Given the changes I feel are necessary to make my book not just good but great, I’m going to have to start by outlining—again. Yes, I’m starting completely over once more. But this time, I’m keeping all the same characters and they’re playing the same roles, if in different ways. This means that I will almost certainly need at least one more draft between this one and the final draft, but hey, what else am I gonna be doing? Might as well write something worth reading.

As with the first day of anything, I start out excited and quickly become overwhelmed and terrified. (Not to mention that I’m tired as balls.) My brain is trying to tell me that it’s okay to play some Don’t Starve before getting started. My brain is wrong. The metaphor for my feels about writing is, if I were to have five energetic kittens fighting each other in my lap, playing with my hair, pulling on my earrings, that’s about how focused I feel. This may be at least partially because this is actually happening to me right now. I need to put myself into an environment where I control the stimuli. It doesn’t have to be quiet but the noise and tumult should be present by my will.

I wish I had more to say about writing right now. Being at the very beginning of a new draft makes for thought storm but word drought. So I will talk about other things.

My friend and Writers’ Group cohort Becky has been participating in Twitter pitch contests, and that is most excellent! She actually has a finished book to pitch. I’m a little jealous, not gonna lie. But it’s been making me think that I could really use a community. Blogs I follow, comment on, and/or contribute to. Twitter banter. Forum friends. Self-promotion would probably be a lot easier if I felt like less of an internet spectator and more of an internet participant.

I would love to have shorter stories to share, so that people might read my work and enjoy it, and maybe long for more. I have shared a few things on deviantArt, but have never gotten any feedback. Does anyone have suggestions about where to share short fiction with a community? I’m not a writer of fanfic, though I sort of wish I were; that comes with some built-in exposure.

Later today I’m going up to the city park to sign a petition to recall all members of the Jefferson County school board, because reasons. Though I do not and will not have a child in any school district, I still believe that education is basically the most important thing when it comes to bettering one’s life, becoming a creative person, and becoming a good neighbor. Having a school board dominated by people who prioritize money and “patriotism” over quality of education will simply perpetuate the problems that exist in society today.

Anyway. I’m gonna wrap this up, I feel I may be participating in avoidance behavior at this point. Wish me luck, and happy writing, all!

Still. Reading.

So, July has begun. My high hopes of having a third draft by now are flapping, shredded, in the wind. My hopes of having a third draft sometime this year are hiding behind things, hoping to not get stomped by hard-hearted reality as it thunders past.

I finished The Maltese Falcon (67,000 words, by the way). 179 pages (the other 10 were discussion questions) never took so long to read, ugh. The book is good, and tight, and I enjoyed it, but it would never have gotten published today. The book starts off with the physical description of the protagonist, followed immediately by the physical description of the secretary, followed immediately by the physical description of the femme fatale, followed immediately by the physical description of the protagonist’s business partner… there were step-by-step descriptions of how Sam Spade rolls a cigarette, how he sits up in bed, how he eats. I can’t imagine how long the book would have been if Hammett had been forced to cut those descriptions, like he would be if he were trying to get published now. The prose is utilitarian and without flourish. You can clearly hear the whisky-and-cigarrette-smoke-ruined voice reading the book; growling, begrudging, yet trying to hide the fact that he’s enjoying himself.

It was a relief to finish the book, and I immediately tried to check out The Big Sleep, but of course it was checked out of the library. Instead I checked out a copy of K Is For Killer, a book that was picked on by Hardboiled and High Heeled as dealing directly with women filling traditionally men’s roles, their independence, and the theme of the “wrong body” that pervades the female detective genre. I read it in about three days and found it highly enjoyable, and when I finished it, The Big Sleep was still checked out. What to do now?

I read for pleasure for a few days, but today I was just starting to get an itch in my britches to start writing again. Just in time, I got an email saying that The Big Sleep was back in stock—thank god! Who knows what may have happened if I had started writing, all willy-nilly. Perish the thought.

My third draft is going to be very different from the second; all in good ways. It’s not going to be quite the reinvention that happened between Cassidy0 and Cassidy1, and I’m very happy about that. It is in my nature to look at my experiences and average them, and make predictions based on them. Like, “The first time I ever wrote a second draft, I completely rewrote the whole book from the very ground up.” So, obviously, that’s what every subsequent draft will be… until I have a larger sample size to draw from. Now, I’m looking at keeping most or all of the same characters, tweaking their roles minimally, tweaking their personalities considerably, adding scenes aimed at developing characters and themes, and generally grab the steering wheel and aim the car back onto the more acceptable, less self-involved road (where the “self” is Cassidy). It’s fascinating to me how a book can be vehicles for themes and messages that aren’t visible to the naked eye; one must unwrap them, one thin layer at a time, like an onion, to arrive at the pungent nugget of truth underneath.

Maybe it’s just true that, when you’re writing, you see the jewel of the message you’re trying to convey. The words are the wrapping paper. Your finished product is never going to look like that jewel, but that’s okay, because if it did, it wouldn’t be interesting—it’d be a necklace with no neck; a mustache with no one to twirl it. The reader needs to arrive at the jewel on their own to grasp the full impact.

Anyway, I post this and I begin The Big Sleep, as one. Happy reading to us all!

Well, this has been anticlimactic

Just as I embarked on my third draft journey, I received the feedback from my writers’ group that I had so craved. While it has been overwhelmingly positive, the things that got picked on surprised me, and to my surprise, stung me quite a bit. I don’t want to go into them at this point, since I haven’t even mustered the courage to finish reading all of it. I know that intentions matter little when writing inclusive fiction—just because you don’t realize you’re furthering a negative stereotype or trope doesn’t mean you shouldn’t correct it when it happens. Still. I feel a little picked on, which I know is something I need to get past.

I found myself reacting to some of the feedback with, “But... I feel like that’s true to the genre,” which made me realize that I’m actually not all that well-versed in the hard-boiled detective genre (previously mis-identified [by me] as noir, which is a whoopsie made by the film industry, check it out if you’re interested) despite reading many contemporary examples of same. As they say, you can’t break the rules until you know them.

I picked up a couple of academic-style books about the Hardboiled genre, Unless the Threat of Death is Behind Them by John T. Irwin and Hardboiled and High Heeled by Linda Mizejewski. So far, I’m about 82% of the way through UtToDiBT (that’s a fun acronym), and it’s really opened my eyes to what’s “important” about the genre. The tropes are fun, but they aren’t what makes it literary. It’s surprised me on many levels: one, how close I came to a lot of the marks without having been aware of them. Two, the fact that there are a lot of different ways to write correctly within this genre. Three, the best things about literature are present in the best Hardboiled and/or Noir novels.

Discovering this stuff has really raised the bar for me. I’m simultaneously invigorated and goddamned terrified. I have seriously considered straight giving up. I have reminded my writers’ group that wunderkinds are bullshit, but it seems like the inventers of the genre all wrote literary-level novels on their very first try. I have a hard time imagining juggling all those balls, to be totally honest. But, if I think through the process, I have realize that either, they actually got very lucky without realizing it (which actually is a thing that happens), or they had this in mind as they wrote, and possibly shoehorned some things in which might have felt very unnatural to them at the time in order to get that level of literary value. Dashiell Hammett may have had a notecard that said: “Theme: contrast the repetitive with the extraordinary with the singular” and then another notecard that said “parable: Flitcraft? Features: flying shrapnel, breaking machinery” and looked back at these notecards as he crafted the dialogue—certainly a final-draft problem. The Maltese Falcon didn’t spring forth from his forehead, fully formed. It was designed, and he took as much time writing it as it took to get it as close to right as he could. (And, to be fair, it wasn’t his first work in the genre.) Hammett, Chandler, Cain and other authors within the genre were all striving throughout their careers to master their craft—more than just telling stories, they were telling the Human Story, even if those who fancied themselves authorities in the world of literature considered detective novels to be pulp fiction.

Writing is a marathon, not a sprint.

I was reading UtToDiBT earlier and was suddenly overcome with the urge to fill out some notecards before I forgot all the brilliant things that had just occurred to me. So, instead of being OCD and forcing myself to keep reading, I went and got my notecards. I filled out six notecards with two character’s starting and ending points and the events that trigger the changes. I am happy that I did this. Now I’m done and am going to go back to reading. I’ll notecard again if the mood strikes me. If not, I’ll roll right into HaHH. After that, I’m going to be reading at least The Maltese Falcon by Dashiell Hammett and The Big Sleep by Raymond Chandler. And then I’ll feel at least a little more secure in asserting that something that may be considered a “bad” thing to do falls within my genre.

I may even feel empowered to do it differently.

June first! Back to the novel!

Yesterday, I was chafing against the “rules” keeping me from starting to edit my story again. I had over-filled my video game and TV meters, and was craving a creative outlet. I was sincerely frustrated, and felt thwarted in life in general. Luckily, I realized fairly quickly the cause. (That sort of existential crisis can seem world-ending if you don’t know why you’re having it.) The fact that it was May 31 and I was a mere twenty-four hours from being able to pick up my manuscript again gave me a lifeline.

In May, I had hoped to resume my four-day-a-week gym schedule, but alas, it was not to be. Branden and I went this past Saturday, skipped Sunday for sleep reasons, and today I attended the gym all on my own. I’m shaky all over because my muscles aren’t used to this kind of exertion any more. My stomach is upset, I think because I’m hungry. But for the first time in weeks, my back isn’t in searing, terrifying pain. The shakiness will subside, the hunger is treatable... I’m so glad I went.

Today has been a good day, so far. In addition to the gym, I ran a couple of errands and have knocked out about half the chores I need to do today. Although I could extend myself and finish them all before starting to write, I decided that starting the process is more important, more fulfilling. Also, if I can lasso the muse while she’s hanging around, I have a much better chance of actually being able to do something today, rather than staring bleakly at the page wondering where to begin.

Once again, I have high hopes of note cards and cork boards, and it seems slightly more likely to happen this time if only because everything is already there, waiting for me, not floating in the ether. But I don’t care too much if it doesn’t happen, because trying to force a certain method will only end up stifling me instead of helping. So I’ma let it flow as it flows, we’ll see what ends up happening. I may start out simply making notes in the margin, as it were, like “develop setting here” or “you could fit in more worldbuilding here.” I think that I may have the most luck trying to make a scaffolding for future edits, rather than trying to make the edits themselves. My idea, originally, before I knew what revision was, was that I would read a scene and rewrite it from scratch, telling the same story but in new words. Don’t know if that would help me. OMG I’m so out of my depth. At least I’m not getting graded, right?

My goal is to have my third draft, Cassidy2, done by the next Writers’ Group meetup in the end of June. I think it might be possible? I might also be proposing that I could have the Ark done by the end of June. We’ll see. Wish me luck!

When the story goes in an unexpected direction

So, last Wednesday, when I had my writesplosion, I was writing a scene that had been in my head since I re-envisioned my book and began Cassidy1. Only, when I originally mind-wrote it, it turned out very differently. So, when I finished writing it ’for reals,’ I found myself unsure of where to go from there. I toyed with the idea of redoing it in the way I’d originally conceptualized it. Eventually, with much courage and grace, I decided to leave it as it was for now and see where it took me. I can always come back and change it later if the path fades away, right?

So, unlike Robert Frost, I am taking the road less traveled. So far, it’s helping me to further ensure that the agency is in Cassidy’s hands and things aren’t happening to her, and it’s actually helping me figure out how Cassidy solves her mystery in a way that doesn’t include a villain monologue.

It does sorta feel like jumping without a net, though. Straying from the outline means that anything could happen now. Will the climax I have envisioned come to pass as the book is written now? If not, what will happen?

At times like these, I think it’s important to keep in mind several things as you go forward.

1. How do you take this and use it to reinforce your character’s... well, character?
2. How do you take this and use it to reinforce the themes of the book?
3. How does this new development work towards developing or resolving the main conflict of the book?

As long as you answer these three questions, it seems to me that you can wander as far as you like from your outline and always find your way back.

Well, it’s a short one today. Sorry, adoring fans. ♥

Word count: 36,789 (辵)

Snail crawl

Well, I wrote a bunch on Monday when I was so motivated. But once I’d finished the scene, I found myself back where I was: not sure where to go or how to get there. It was disheartening. But, having a writing binge (purge?) did help me keep my boot on fear’s neck.

I realized something: I hadn’t thought through how Cassidy was actually going to solve the mystery. There are two simultaneous mysteries going on (as there should be; see this for a good guide on how to structure a story), and I had thought my way through one of the cases entirely—the one Cassidy doesn’t know she’s solving. But the case she was hired for, I hadn’t completely figured out how she’d solve it. And now that that time is basically nigh, I’m having to figure it out as I go.

Pro-tip: don’t do this. Mysteries are hard to follow when you’re reading them. They are no less so when you’re writing them.

I’m also finding that shucking things off as #ThirdDraftProblems doesn’t actually make them non-issues. For example, Cassidy’s amnesia. This draft, I’ve mostly ignored it. Sometime recently, I realized that in my efforts to make Cassidy a mostly-well-adjusted human being in spite of her amnesia, I had managed to gloss over it completely. Because of that, I’ve managed to make it seem like she didn’t care. Because of that, I haven’t built any tension relating to it, which makes releasing that tension super hard. Even if I can stick my fingers in my ears and go “lalala I totally built that tension already by now in my third draft,” I don’t know how I’ve built it, therefor I don’t know the most powerful way to release it. Le sigh.

One of my techniques during NaNoWriMo to come back and write with momentum the next day was to stop writing right in the middle of a scene. That way, I’d be excited to finish it when I came back to it. This time around, I haven’t been very good about that. Scenes feel like capsules. When I get to the end and say “now what?” I spend quite a while going “I don’t knooowwww” and despairing. I think I need to go back to the basics and review the last thing that happened in the story.

1. What did Cassidy learn?
2. What did the readers learn?
3. What changes did these discoveries cause?

If thinking about these things doesn’t set off a spark, trying to occupy Cassidy’s head and figure out what she thinks the next move is will probably also help.

Taking myself out of my normal writing environment has also helped me at least start my writing engine on a day-to-day basis. Monday, it was as simple as sitting on my porch in a reclining lawn chair for a few hours with my laptop on my lap. (It helped that it was 80° outside.) Between that, Starbucks, and the library, I definitely have options. Going out helps discourage me from playing video games, since my desired setting while playing Don’t Starve is to have a show on in the background. Being separated from my TV helps me shut off the impulse to play games mindlessly until something better comes along.

So, I am going to finish Cassidy1 in April. This is going to happen. Hopefully early April. I’m ready for my month-long break between drafts and to tackle some of those #ThirdDraftProblems we’ve all heard so much about. Wish me luck, okay?

Word count: 35,150 (襎)

But what about when writing becomes a burden?

On Wednesday, I managed to write about 1,500 words towards my story. It wasn’t torture, it didn’t hurt; I was shocked at how much I’d built it up in my head to be this extremely “difficult” thing.

But after Wednesday, the tide ebbed and I was once more stranded on the high ground of inspirationlessness. I know as well as anyone that “waiting for inspiration” isn’t a valid strategy to writing, but I’ve been feeling almost abandoned by my muses. Thinking about writing has been frustrating, and frustration has made me feel veritably glued to my couch. Not only do I not write, I also don’t do anything else I need to do. Everything seems unapproachable, unattainable, and frankly, pointless. I really wanted to give up, but I stubbornly couldn’t accept that I could walk away from my novel, which had so much promise and so much time sunk into it, and a bunch of people whose opinions I respect waiting for it.

But not being able to walk away from it felt like a chain. I was feeling worthless, which made it worse... I’m sure most of you know how this goes. Getting stuck creatively can feel a lot like depression. (Not being a mental health professional, I’m not sure when something crosses the border into depression—does sadness have to be a part of it? I wasn’t feeling sad, at least not for lengths of time. Weekends were great. I still enjoyed things. Etc.)

Last night, as I was falling asleep, my mind wandered to where I had left Cassidy... and then it wandered farther. I “wrote,” in my head, the subsequent scene. I have greased the axles of my writing wheels and today, I’m excited to write. Nonetheless, I’m going to post here what I think regarding When Writing Becomes A Burden.

Writing can feel like a burden for a variety of reasons. I think a major one is: Life Is Happening. Something major is going on in your life that’s sucking a lot of your energy and the idea of spending any of that precious resource on “frivolous” creative endeavors simply seems overwhelming. You lost a job or got a new one. You ended a relationship, or began one, or your relationship changed. You had a baby or got pregnant. You got sick or someone you care for got sick. Whatever. You are out of emotional bandwidth. In my opinion, this is the best, most legit, reason to suspend a creative endeavor. You need to take care of you. Sometimes, when whatever it is that is sucking your bandwidth resolves, you can’t pick up your project where you left off. That’s sad, but it’s a fact of life. Unless you can recapture your headspace of the time, I would say, don’t stress it. Move on to something new.

One that I’ve struggled with a lot before Cassidy came along and introduced herself, was I’d have a tiny idea fragment—a character, a setting, a one-sentence summary—that simply didn’t have enough substance to grow into a full story idea. I would have a lot of creative energy and no targeted creative outlet. It’s easy to say “when you get like that, write something, draw something, do something,” but it’s just as frustrating when you sit down and open a text document and type “I hate this why can’t I write” a hundred times. Or scribble the same noses, eyes, lips you’ve been scribbling for years. Writing or drawing with no direction doesn’t usually feel good, at least not to me. It feels futile. And it’s a little sad because, before Cassidy, I hadn’t had a fully formed creative idea in years.

Getting to the point where writing feels like a burden while you’re still in the middle of your project is the worst, though. That’s where projects die. And it’s mostly because, working on a project is like climbing a mountain. It gets really hard. It is really easy to turn back, because behind you, the mountain has flattened out. You’ve gotten bored with it, you’ve had some other ideas, you want to do something else for a while. But I firmly believe that that voice—the bored voice, the lazy voice, the frustrated, tired, distracted voice—is a defense mechanism that is no longer useful to you as a modern human, and listening to it is nothing but destructive. If you hear that voice, that’s okay. It’s impossible not to. Hear it, listen to it, and like a teenager to her parents, reject it. Say “Okay, I’m tired. I’m frustrated. I’m bored. I hear you. But I’m working on it anyway.”

That voice will fade, the more you tune it out. And if you’re working towards an end, you might have days where you delete everything you wrote. But the next day, you’ll do it better. As long as you gave it your best try, you’ll feel accomplished—much more so than if you did nothing.

So stick with it. Fill your personal library with finished projects instead of fragments. Give yourself room to take care of you, but hold yourself accountable when your fear/frustration/boredom is trying to exert power over you. You can do it. You are powerful. And remember, you make your own inspiration.

Word count: 32,710 (翆)

Don't get bogged down in word count!!

Writers' Group was yesterday, and as per usual, it was great and awesome. For once, WIP-feedback was both gratifying and greatly needed (on my part). I was feeling really stuck and couldn't figure out where I wanted (or needed) Cassidy to go. If a book is a ski hill, I felt like I was standing on the top of the mountain where the bottom of the mountain is the reveal/climax/what have you. (I realize this is the opposite of the imagery we were taught in high school. Go with it.) Once I start sliding down that hill, the descent will be fast and blurry and kept in line with only a minimum amount of control.

And I was (/am) at only ~30k words.

My initial goal for my second draft was between 75 and 80k. My first draft was almost exactly 50, it being NaNoWriMo and all. I was baffled: how could my second draft be so much shorter‽

Of course, to answer that would be begging the question. There is no proof that my second draft will be shorter than my first draft. I can’t know that until it’s finished.

Secondly, if my second draft is shorter than my first draft, there are a lot of things I’ve left out of my second draft that I intend to go back through and re-insert: for example, worldbuilding; fleshing out her “missing year”; mood setting; a few other things. Referring to things like that, I’ve come up with my own personal hashtag: #ThirdDraftProblems. I’m super douchey about it, too. I do the Jimmy Fallon hashtag gesture and everything.

But even so—even though I know I’m leaving things out—I am still feeling paralyzed because I feel like I’m zeroing in on the end too fast. And this is not a problem I should concern myself with. Why? Thanks for asking!

They say you shouldn’t include anything in your story that doesn’t contribute to the development of the plot, the world, the character, or some combination of the three, and I strongly agree. That being said, there is probably an infinite amount of things that do contribute to the story that we choose to leave out when constructing our first, or second-first, drafts. If it ends up being short, then it probably feels short, and you’re missing the opportunity to fully flesh out your character or your world or sometimes, even the plot. There are things that you can include to make everything feel more rounded and complete. For example, in my first-first draft, I had a scene where Cassidy talks to some baristas at a coffee shop which had resisted the tide of franchise coffee shops that had swept the nation. They were insufferable hipsters, which was fun to write—but more fun was realizing that, due to the nature of her memory loss, Cassidy didn’t know how coffee was made. One of the baristas made reference to ‘slingin’ bean juice.’ After that point, Cassidy assumes that coffee is, literally, coffee bean juice, and wonders how one juices a bean.

That scene didn’t have an encore in my second-first draft, but I still love it. I want to include it, if I can. I’ve even invented the café where it would take place. But I have a feeling that, this time around, it may not make it in.

Unless the story needs lengthening. Or even rearranging, or whatever.

I realized something else at Writers’ Group that I had been honestly ignorant of until then. I’d written my first-first draft with an eye to snarky humor: serious story but told with a humorous voice, like Gun, With Occasional Music. This time around, though, I haven’t been doing that nearly as much. There are funny moments, but I haven’t done nearly the number of similes that one associates with the noir genre as I did in Cassidy0.

(<Aside> I just wrote Cassidy0, or “Cassidy prime” for you non-math-nerds out there, because I got sick of saying first-first draft. From now on, first-first draft will be Cassidy0 and second-first draft will be Cassidy1. No, it’s not easier to type, but it makes me happy. So there. </Aside>)

I asked my friends, as we were nearing the end of the discussion, “So okay, is it funny?” and everyone’s face sorta fell and they looked uncertain, and I immediately went over my writing in my head and realized... it really isn’t funny. As I said before, there are individual scenes or lines that are funny, but by and large the situation isn’t funny, the dialogue isn’t funny very often, and even Cassidy’s internal monologue usually isn’t funny. That actually makes me a little sad. I like the noir humor; it’s part of why I wanted to write a noir novel to begin with. Plus, I do feel like the noir humor is part of what makes the genre what it is; without that, it’s just grit. The humor is what shines a little light into the darkness against which our noir hero battles. I mean, the very word “noir” simply means “black.” We need to lighten it up, don’t we?

I’m going to file that under #ThirdDraftProblems.

Word Count: 29,449 (猉)

When writing gets hard

As regular readers know, I (like all writers) struggle with writer’s block. In the past, I’ve strongly believed that it was all about fear of doing it wrong. Well, I don’t think I’m wrong about that, per se, but yesterday was a humbling writing experience.

As I said in an earlier post, I am in a critical spot in the story: building tension without giving too much away; getting my heroine personally engaged without going so far that I have nothing left to crescendo to. I sat down to write, and I did. But every word I wrote was agonizing. I was sure I was revealing too much, or being redundant, or having Cassidy make leaps of logic that were not actually intuitive... I tell you, it’s very hard to write a mystery from the point of view of someone who doesn’t know what’s going on, but is actively trying to figure it out. I feel like you try so hard not to make her seem like she knows more than she should that you trend towards not allowing her to know things that she would know. It’s hard to balance while you’re in the thick of it, and I find it very stressful because, at least for me, sometimes things get set in stone once I write them. It’s very hard to uproot a false assumption, or a “great idea” that isn’t actually so great. I didn’t want to go down the wrong path; it would be very hard to find my way back.

I’m not afraid of making mistakes; I’m just afraid of not being able to fix them.

At moments like those, if you screw up, the best possible outcome is cascading-change edits down the line. Last time I had cascading-change edits, I started writing from the beginning (which ended up being a very good idea). I’m just not sure I’m up to doing that again.

But... maybe.

</tangent> Anyway. I wrote around seven hundred words yesterday, and I spent all day doing it. I spent much of that time with my head in my hands, and another large portion just reading my story over from the beginning. I felt like I was spinning a spider web... not spider-me, just normal-me. (You try spinning a web, see how well you do.)

After I found the lifeline I’d left myself earlier in the book, I wrote myself out of the corner I was afraid I’d become trapped in. Then, exhausted, I asked Branden to read it.

His reaction:

This is really good. I really like where you’re going, I think you did a great job with building tension with derp-derp-derp, and redirecting the flow... yeah, great job.

I felt my body doing the weirdest thing... I was smiling, not in control of it at all. And this weird sound was coming out of me. It was the absolutely dorkiest “hurr hurr hurr” sound. It was surreal.

I am rarely worried about whether or not my writing will be pleasing. It’s probably because I’m a narcissist, but I’m pretty confident that the people who read my writing will not ridicule it. Anything more than that is just ego, and while I try to get it just right, I don’t labor over it too much. It’s rare that there’s a crucial moment, where you can do something actually wrong with real, lasting consequences. And it really made me realize that there are a couple of different kinds of writer’s block, as well as a couple of different kinds of writing.

Volume-writing, the kind you do during NaNoWriMo, helps me get over the first kind of writer’s block. But not all writing is created equal: without the precision-writing, you build no tension, you experience no release, you end up trapped in a post-modern existential nightmare wondering if it was supposed to be this way or if you just suck. And it’s easy to get blocked with precision-writing, because it’s not as easy to fix a mistake if you make one; it makes your fear seem justified.

I will say, though, I did almost step off the path that I wanted my story to follow, and I caught myself one word in. Maybe precision writing just takes practice, like everything else. Maybe mistakes aren’t as easy to make with precision writing.

Anyway, I’m sure I will ruminate on this more throughout my writing endeavors. Thoughts on this topic? or any other? Let me know in comments!

Word count: 27,494 (武)