Category Archives: The Writing Life

Kevin J. Anderson: Outside, In the Office

A guest post by Kevin J. Anderson

Everybody knows the best way to get writing done: put your butt in the chair, fingers on the keyboard, eyeballs on the screen…and type.

Unfortunately, with distractions everywhere (kids or pets demanding attention, phone ringing, email popping up, toilets that need cleaning…), the butt/chair/keyboard/monitor setup isn’t always the best way to be productive.

Maybe you need to think outside the keyboard.

I regularly write, and publish, an average of 300,000-500,000 words each year.  To me the word “office” is only a loose term for the place where I get my writing done.  I can sit in a bustling coffee shop with headphones on, and disappear into my story.  I can take notes on the paper tablecloth in an Italian restaurant.  I can write anywhere.

Most importantly, I have trained myself to write using a hand-held recorder while walking along beautiful trails, sinking into my imaginary worlds and characters. Yes, I talk to myself.  It’s like telling stories around a campfire, engrossed in the plot, speaking aloud, letting the sentences roll off my tongue as my hiking boots roll off the miles.  That way I can accomplish my exercise and sightseeing while being productive at the same time. A day in the mountains, forest, or desert is a day at work.

Sometimes other hikers I meet on the trail aren’t quite so accepting of my work methods.  More than once I’ve been the recipient of angry glares.  While climbing around the Flatirons near Boulder, a man snapped at me, “You shouldn’t be working out here.  Just enjoy nature!”

(As if the two are mutually exclusive?)

At a campsite on the Grand Mesa, I was surrounded by tall trees whispering in the wind, near a rushing creek.  I had my laptop out on the picnic table, reveling in the glorious surroundings as I edited chapters.  Another camper felt compelled to march over to me.  “Turn that thing off!  You’re on vacation.”

Personally, I thought he should mind his own business, but more important he was making a completely unfounded assumption.  The fact is, I wasn’t on vacation.  That was my work day.  While other people are doomed to go to the daily grind in a “dilbertville” office complex with fabric-walled cubicles, ringing phones, office gossip, and endless meetings, I get to do my work out in the Colorado mountains and canyons.  There, I am inspired rather than distracted, all my senses filled with input (some of which is even relevant to the story I’m writing).

I have written a STAR WARS novel with Han Solo and Princess Leia at the polar cap of an ice planet while snowshoeing up Quandary Peak, a 14,265-ft mountain in central Colorado.  I’ve written DUNE novels with Brian Herbert — all of them set on an arid desert planet — while trudging through the Great Sand Dunes National Park.  I’ve written about ancient ruined alien cliff cities for my “Saga of Seven Suns” while exploring Anasazi ruins in Mesa Verde.

It’s the next best thing to being in the exotic locales of my imagination.

So don’t be fooled by the stereotypical picture of writer slaving over a computer at a desk.  If you feel too self-conscious to talk to yourself and dictate finished prose, then just mull over ideas, characters, history and take notes.  Or if that doesn’t work, just try a different place-take your laptop (or even a pen and paper notepad…they still function) and go to a coffeeshop where people don’t know you, or hide in a library carrel.  My wife even sits in a car in a parking lot and dictates into her recorder when she really needs to get something done.  Think about going into the “writer protection program” and disappear for a while.

For me, the way to do it is to get miles away from anybody looking for me.

So if you see me on the trail talking to myself, intent on something inside my head, remember — I’m not on vacation, I’m working.  And I’d rather be working here outside on the trail than in any other office in the world.

Guest Writer Bio: Kevin J. Anderson is the author of more than one hundred novels, 47 of which have appeared on national or international bestseller lists. He has over 20 million books in print in thirty languages. He has won or been nominated for numerous prestigious awards, including the Nebula Award, Bram Stoker Award, the SFX Reader’s Choice Award, the American Physics Society’s Forum Award, and New York Times Notable Book. By any measure, he is one of the most popular writers currently working in the science fiction genre. Find out more about Kevin at Wordfire.com.

Sunday Reads: 8 April 2012

Welcome back! Another week gone and here’s another 10 of our favourite reads.

 

Considering writing in first person? James Scott Bell discusses some of the pitfalls in First Person Boring.

Kidlit.com talks about drawing the reader in by Eliminating the Frame.

Time to start those rewrites? Writer Unboxed has a great post about How to Think Like An Editor.

Tim Kane has a cooking-inspired post in Layering Flavors In Your Writing.

AC Wise made me stop and think hard about my current manuscript with Heroine Quest, or The Fairytale Problem.

And while we’re talking about heroines, Marcy Kennedy discusses How To Keep Strong Female Characters Likeable.

Terrible Minds highlights 25 Lies Writers Tell (And Start To Believe In).

Over at Rock Your Writing, they’re talking about How To Build a Writer’s Support Network.

Jane Friedman outlines 5 Principles for Using Facebook.

Jody Hedlund has 3 Ways To Find the Perfect Opening For Your Story.

And James V Smith Jr explains The Dos and Don’ts of Novel Endings.

 

 

Method Writing

Ever had your heart broke?  Or lost someone you love? Or been in a traumatic accident?  Or been scared witless?  Or held your baby for the first time?  Or got married? Or any host of circumstances where you felt an emotion strongly, so strong that even remembering it causes your heart to race or your skin to get goosebumps?  Method actors use sense memory to recreate an emotion they can tap into for acting scenes.  I’m going to suggest that writers do the same thing.  It’s not the only way – but it is one way.

If we can connect with our emotions to write a better scene, I think we should.  Not gonna say it can’t be exhausting, but then it depends on the emotion – right?  Being really in tune with our feelings is not always easy, remembering difficult ones  – even harder.  But, if I can make a reader cry because my character is sad over a loss, then I am doing my job.   

When I read, I read to feel a certain emotion.  David Wolverton/Farland said (and I’m paraphrasing) that we like genre fiction because of the emotions it brings out in us and they are mostly named for the sense of what they inspire in us – SciFi/Fantasy – a sense of wonder, romance – romance, mystery/suspense – a thrill of suspense….and so on…. Seems obvious, right?  But, I’ll admit I hadn’t thought of it until he said it.  And, I have to be in the right mood to read a certain genre.  And, I have to know what the genre is before starting or I will have an incorrect set of promises to be kept by the writer.

As a tangent – ever start reading something expecting one thing and then it doesn’t meet your expectations?  Every time this has happened to me, it was because the rules of the genre weren’t being met.  We make contracts with our readers (again paraphrasing Dave and others) by identifying with a genre.

When I read romance, I better know right away who my hero and heroine (h/h) are and no matter the ups and downs (required) they have to go through they better end up in love at the end.  That’s what I expect when I pick up a romance and that’s what I better get or I am going to be one unhappy camper.

Each genre has their own specific rules or expectations and we, as writers, need to follow them in order to keep our readers reading.  Tangent over.

Now – why are these emotions so important and why would I want to relive potentially painful memories in order to write?  Because if I can remember how I felt living that emotion, I may be better able to convey it to my reader.  I write romance, so when the h/h are having troubles and are feeling sad or angry over those troubles, I need to have my reader identifying with that sadness or anger.  I want them to cry or ball up their fists alongside the character.  I want them to laugh or get turned on right beside the character.  The emotion should resonate with them.  No matter what that emotion is.

So, I challenge you as writers to remember those strong emotions, recall what was going on with your body – shallow breathing, increased heart rate, tight chest, big smile, chills, and so on.  Remember and write from that place.
Gift your readers that experience.  Be a Method Writer.

 

 

I Read, Therefore I Am

I don’t know about anyone else, but I’ve found that one of the biggest drawbacks to being a professional writer is that all of the time I spend at the keyboard, or staring at the wall, or walking around in a seeming daze as I work out just how high up a tree I’m going to chase my character and how sharp the rocks that I throw at him are going to be-well, let’s just say that it really cuts into my reading time.  (How’s that for a first sentence?)  And that puts me on the horns of a dilemma, so to speak:  because I really really really want to write, and I also really really really want to read.

I’ve always been a reader, for as far back as I can remember.  Partly genetics-Mom was a pretty avid reader-and partly environment:  for a lot of reasons, I typically didn’t have many friends growing up, so I turned to books to fill the void.

I’ve said before that I came to a desire to write relatively late.  I was not someone who knew he was going to be a writer at age 8, or 12, or 18, or even 28.  But my reading prepared me for it nonetheless.  I estimate I’d read 2000-plus novels by age 21, and kept on at an increasing pace.  Somewhere along the way I soaked up a lot about writing, so that when I did finally begin writing, I had observed many examples of the craft, good and bad; all of which stood me in good stead.

When I finally did begin writing, I also began to read writers writing about writing.  It wasn’t too long before I ran into a comment that worried me:  an author stated that when he was writing a novel, he didn’t dare read anyone else’s fiction, because he didn’t want to run the risk of his work being affected by another author’s work and style.

I was new enough in the craft, and the author who made the comment was someone I liked well enough, that I accepted it as almost gospel.  I immediately tried to change my habits so that I only read non-fiction while I was writing.  And it didn’t work.  I don’t mind non-fiction-I occasionally go on non-fiction binges, in fact.  But I can’t live in non-fiction.  I can’t lose myself in a story in non-fiction.  So I kept sneaking away to some of my favorite authors and reading favorite chapters over again, feeling guilty, and all the while worried that I was somehow ruining my writing by doing so.  (Truth is, I wasn’t good enough to sell yet so it didn’t matter, but my mind didn’t know that.)

Then some time later, I read an interview with another author I liked who was asked if he read other fiction while he was writing novels.  His response was words to the effect of, “Sure!  Doesn’t everyone?”

Great relief!  My guilt evaporated, and I started enjoying fiction again while I was writing.  And the take-away I got from that experience was that there is no One True Way when it comes to writing methods and styles and practices.  Whatever works for me is what will work for me, and it may or may not work for you.  What matters is that we find what works for each one of us, and that we write.  To quote Kipling:

There are nine and sixty ways
Of constructing tribal lays,
And every single one of them is right!

So I still read lots of fiction.  Not as much as I used to, though, because the writing really does take away a lot of the time I used to devote to reading.  And sometimes when I’m reading I do still feel a little guilty, but it’s usually because I know I should be pounding the keys to finish my current project.

I’ve concluded that the reading provides the loam from which my stories sprout.  Or maybe a better metaphor is the reading is what the muse uses to charge up the batteries of my writing engine.  If I don’t read, I don’t write.

Pardon me; I just bought the latest novel by Elizabeth Moon.  I need to go charge up my batteries some more.