Writers in the Storm

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Writing Agreement # 4: Always Do Your Best

Kathryn Craft

Turning Whine into Gold

 

I had just turned in my second novel after an intense ten months of 15-hour days. Since most of that time was spent sitting, my first celebratory act was taking a walk with my husband to brainstorm ideas for this blog post, the fourth and last installment adapting Don Miguel Ruiz’s Four Agreements for writers.

And I couldn’t think of the fourth agreement.

I ramped up for momentum:

  1. Be impeccable with your word.
  2. Don’t take anything personally.
  3. Don’t make assumptions.
  4. and…still drew a blank.

Dave pulled out his smartphone and looked up the fourth agreement—and started laughing.

He finally paused to take a breath. “The fourth is, Always do your best,” he said. “That one’s so ingrained in you it’s no wonder you couldn’t remember it.”

Dave was referring to my tendency toward perfectionism (But I am not a perfectionist! I am a “recovering” perfectionist!), a condition that can, over time, destroy one’s soul and relationships.

Read what Don Miguel Ruiz has to say on doing your best, and you will see the difference between that and perfectionism:

 Always do your best

Your best is going to change from moment to moment; it will be different when you are healthy as opposed to sick. Under any circumstance, simply do your best, and you will avoid self-judgment, self-abuse and regret.

If you’re a perfectionist, your life is all about self-judgment, self-abuse and regret.

My circumstances

Seventeen years ago I butted up against the toughest circumstances of my life when my first husband killed himself after a daylong standoff at our idyllic little farm. He was an alcoholic, and even though he had plunged our family into financial jeopardy, and I was going to divorce him, I still went to the wall again and again to get him the help he needed, making the standoff’s violent conclusion all the more shocking.

I learned a tough truth: there are forces in this world that are more powerful than any one high-achiever’s means to combat them. But my actions absolved me of what could have been a horrific load of guilt and regret after his suicide. I knew I had done my best.

I also knew I would one day write this story, and when my agent presented The Far End of Happy as my option book, Sourcebooks gave me the opportunity to publish its novelization.

Ruiz cautions us to do our best “under any circumstance.” Writing this novel, which as anyone could imagine was emotionally wrenching, came with its own set of extreme circumstances:

The Far End of Happy

• After writing The Art of Falling over the course of eight years, I had ten months to write The Far End of Happy—under contract.

• Those rights my agent sold? She did so with a sketchy 2-1/2 page synopsis and an author’s note. No sample pages. Meaning I had very few approved guiderails for the writing of it.

• In the midst of that ten-month period I had to suspend writing on it altogether for six weeks so I could complete my blog tour and launch for The Art of Falling.

• I had to wed fact and fiction and come up with something that felt true.

• I experimented with backstory and failed. I had integrated prior events in reverse order, which seemed the best way to get the story down on paper—but I hadn’t done my best at meeting my readers’ needs for an emotionally relatable journey. After my first delivery date I had three weeks to rip out all the backstory, re-order, and re-insert, revising to make all that work.

• At the moment of my second developmental deadline—when it seemed all was coming together—I discovered the manuscript had corrupted, garbling three days worth of changes, which demanded a 21-1/2–hour marathon to correct.

Despite all that I refused to exhibit the dreaded yet well-known sophomore slump, and wanted to meet or exceed the bar I’d set with The Art of Falling. Now that the book has been delivered, I must rest knowing I did my best given these circumstances.

Will it be perfect? No. There was nothing perfect about that goddawful day anyway. It was very human, and the book and the way it’s written will reflect that.

Was it simply “good enough?" Hell no. I have not, and will never, aspire to mediocrity. In a tough competitive industry, I do not believe that this is how one stays published.

I fretted a bit—but only a bit, because the fretting happens when you are NOT doing the work, and I didn’t have much time off! But I never panicked. I just wrote every day, enjoying the process as always, pushing into the sleeping hours when need be so I had the time to do my best. As it turned out, this past week I had a chance to polish it to my usual standards—and turned it in a day early.

I am simply a writer, doing my best. I encourage you to do the same. Don Miguel Ruiz promises, “If you do your best always, transformation will happen as a matter of course.”

To that I say, "Amen."

Do you have perfectionist tendencies? Have they injured your self-esteem? How do you work around it when it comes to your writing?

About Kathryn

Kathryn Craft

Kathryn Craft is the author of two novels from Sourcebooks: The Art of Falling, and The Far End of Happy, due May 2015.

Her work as a developmental editor at Writing-Partner.com, specializing in storytelling structure and writing craft, follows a nineteen-year career as a dance critic. Long a leader in the southeastern Pennsylvania writing scene, she now serves as book club liaison for the Women’s Fiction Writers Association. She hosts lakeside writing retreats for women in northern New York State, leads workshops, and speaks often about writing.

Kathryn lives with her husband in Bucks County, PA. Although a member of The Liars Club, she swears that everything in this bio is true.

Website: http://www.kathryncraft.com/

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Margie's Rule # 4: Add Power To Blah

Margie Lawson

 A huge THANK YOU to Laura Drake for inviting me to be a guest blogger, and big miss-you hugs to all the WITS gals!

If you wish review the rule that started it all... Margie-Rule #1: Never Take Any Word for Granted

 

Are you an NCIS fan? A Jethro Gibbs fan? A Mark Harmon fan?

If you said YES, you know Jethro Gibbs has rules. Smart rules. I wanted smart rules too.

Margie’s Rule #4: First things first. Add power to blah.

None of us want to read blah.

I’ll share five examples, and show how you can give blah a boost.

We’ll focus on an interaction between characters most writers have written several times.

Bron Jones and Lisa Miller Tight Hug in Immersion Class, April, 2013 287 (966x1024)

A hug. 

That’s right. Just a hug.

We’ve read sentences like:

  • They hugged.
  • She gave him a quick hug.
  • He pulled her into a tight hug.
  • She threw her arms around him in a quick hug.
  • He grabbed his brother in a one-armed hug.

Nothing special there. No subtext. No power.

Check out these examples of hugs:

Live Wire, Harlan Coben, 3 examples

Mom hugs grandson and son:

Mom was at the door. She hugged Mickey first, the way only Mom could. When Mom hugged, she gave it her all—holding nothing back. Mickey closed his eyes and soaked it in. Myron waited for the kid to cry, but Mickey wasn’t one for waterworks. Mom finally released him and threw the hug at her son. Then she stepped back, blocked their entrance, and fixed them both with a killer glare.

Deep Editing Analysis:

The first hug is amplified. The second hug is shared in a fresh way:and threw the hug at her son. We feel her intense love.

But between those hugs, Harlan slipped in two goodies for the reader. First, Harlan felt his mom’s love for her grandson:

Mickey closed his eyes and soaked it in.

Second, he slipped in a hint of a Humor Hit that deepened characterization:

Myron waited for the kid to cry, but Mickey wasn’t one for waterworks.

It’s barely a snicker, and it’s quintessential Harlan. Plus, it informs the reader how close Mickey is to his grandmother, that Myron expected Mickey to cry.

The last sentence carries news-of-a-difference power. It’s backloaded with killer glare.The emotional set of the scene shifts.

Did you notice that Harlan slipped in three words in the middle of that last sentence, three words that add power?

…blocked their entrance…

We all know what is implied with that little hit of choreography.

Mom is strong. And she’s not letting them in the house until she knows everything.

Look at all Harlan Coben accomplished with that paragraph.

Harlan showed the love mom had for Mickey and Myron, they’d done something dangerous and she’d been crazy-worried.

He showed the depth of the relationships.

Harlan also showed that after mom knew they were safe, her anger surfaced, big time, and now she’s crazy-mad.

Emphasis on the word SHOWED.

Harlan didn’t give us a paragraph that TOLD the reader that Myron knew how much his mom loved Mickey, and blah-de-blah-blah-blah…

You all know those TELLING paragraphs. If it’s more than four or five lines long, you probably skim. You get the gist. You don’t miss anything important.

What if Harlan had written it like this.

Nikki and Margie, Dreamin In Dallas (Medium)

Margie’s Blah Rewrite:

Mom was at the door. She gave Mickey a hug and held him close for a long time. Mom finally released him and pulled Myron into her arms. Then she stepped back and fixed them both with a cold stare.

The same message is shared in my version, but that paragraph wouldn’t rank high on interest. Nothing fresh. If longer, definitely an invitation to skim.

Would you skim Harlan’s paragraph?

I’ll share four more hugs, but I won’t dig deep. I’ll just add a few points.

Live Wire, Harlan Coben

Girl hugs guy friend:

She came over to him, spread her arms, and hugged him. Myron held her tight, feeling the warm belly against him. He didn’t know if that was weird. But as the hug lasted, it started to feel good, therapeutic. Suzie lowered her head into Myron’s chest and stayed there for a while. Myron just held her.

What did Harlan accomplish?

  • Shared fresh writing
  • Deepened relationship
  • Took what could have been blah, and added power!

 

Hug between two best guy friends:

Myron hugged Win. Win hugged back. The hug was fierce and tight and lasted a long time. No words were exchanged—they would have just been superfluous.

  • Short and powerful!
  • Masterful writing.
  • Fresh content. Compelling cadence.
  • Used polysyndeton: The hug was fierce and tight and lasted a long time.

Polysyndeton -- one of thirty rhetorical devices in my Deep Editing class.

 

He pulled his brother into an awkward embrace. His arms trapped at his sides.

Test of Faith, Christa Allan, multi-Margie-grad, 2 examples

Carried by the irrational current of the moment, Julia embraced her. As could be expected, there was a reciprocal effort—the teacher treated hugs like a contagious illness—but Julia didn’t care

  • Fresh writing
  • Deepened characterization
  • Compelling cadence
  • Humor Hit
  • Universal theme. We know this feeling. Most of us have been super excited, and hugged someone we wouldn’t usually hug.

 

She passed around her signature faux-hug, one hand on your shoulder and enough forward body movement to suggest hugging.

Wow!

  • Fresh writing
  • Compelling cadence
  • Clear choreography – not always easy to convey
  • Deepened characterization

You can see the difference between a shares-no-power hug, and a makes-your-scene-strong hug.

I could have focused on any scene element for this blog—facial expressions, dialogue cues, proximity, internalizations, dialogue, setting, action, character descriptions, visceral responses….

If it’s important, add power!

You can add power with subtext, internalizations that deepen characterization, rhetorical devices, humor hits, choreography, fresh writing, and cadence, cadence, cadence.

You can add power with everything I teach.

BLOG GUESTS: IT’S YOUR TURN!

Want to share a fresh hug?

Or comment on these hugs?

Or just say Hi?

Post a comment, and you’ll be in the drawing to win an online course from Lawson Writer’s Academy!

Due to a health issue, Margie will be not be here to comment today but she will answer your comments when she returns. Her drawing for a class will still be chosen using the comments on this blog.

Check out the courses we’re offering in September:

  1. Submissions That Sell, Instructor: Laura Drake
  2. Story Structure Safari, Instructor: Lisa Miller
  3. From Blah to Beats: Giving Chapters a Pulse, Instructor: Rhay Christou
  4. The Hero’s Journey in YA Fiction, Instructors: Jennifer McAndrews and Linda Gerber  
  5. Mastering the Synopsis, Instructor: Jennifer Archer
  6. Virtues, Vices, and Plots, Instructor: Sarah Hamer
  7. Getting Serious About Writing A Series, Instructor: Lisa Wells

The drawing will be Sunday, August 24, 8:00 PM Mountain Time.

See you on the blog!

All smiles................Margie

 

About Margie

margie-lawson-1-reading

Margie Lawson teaches writers how to use her psychologically-based editing systems and deep editing techniques to create page turners. Margie has presented over ninety full day master classes for writers in the U.S., Canada, Australia, and New Zealand.

Margie is excited to share that Romance Writers of Australia is bringing her back to present at their conference next summer!
To learn about Lawson Writer’s Academy, Margie’s 4-day Immersion Master Classes (in Denver, Atlanta, Philadelphia, Dallas, Seattle, San Antonio, Columbus, Jacksonville, Houston, and on Whidbey Island), her full day Master Class presentations, keynote speeches, on-line courses, lecture packets, and newsletter, please visit www.MargieLawson.com.

 

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Braiding Your Book's Three Parts

Laurie Schnebly

When you think about the three elements needed to braid your story together, you probably think of plot and character first.

That makes sense. If you had to write a book using just those two items, you could do a pretty good job of keeping it interesting and entertaining.

Sure, readers might be even happier if they get to see your voice. And the way you describe the setting. And the kind of dialogue your characters use. And the humor, the drama, the tension, the emotion, the -- well, all those other colorful things.

So why aren't those other things as big on the Must-Have list of items to consider when writing your book?

Maybe because we're all writing such different types of stories.

It's not just the plot which makes 'em different, although that certainly contributes.

Nor is it just the characters which make 'em different, although they certainly contribute as well.

But what really sets one book apart from another is how that plot and those characters come together.

Let's call that the situation.

http://www.freestockphotos.biz/stockphoto/15896
http://www.freestockphotos.biz/stockphoto/15896

Think about it. If your story is about the heroine facing ninja assassins, it's in a completely different league than your story about that same heroine facing her prom date falling for her best friend

And that's completely different from a story about James Bond facing ninja assassins, or Bond discovering that his prom date (hmm, his casino date?) is falling for HIS best friend. (Hmm, who would that be?)

Anyway, you get the idea. The plots, whether they involve ninjas or a prom date, take an enormous shift when you envision them involving Cinderella or Bond.

Just as the characters, whether Cindy or James, vary tremendously depending on whether they're facing assassins or a love tangle.

http://www.freestockphotos.biz/stockphoto/17137
http://www.freestockphotos.biz/stockphoto/17137

Or -- just imagine it -- both.

 

Those are basic scenarios, sure. And basic characters whose personalities we already have a pretty good idea about...but you see what a difference the situation makes?

That's the third strand of your braid.

 Maybe your heroine is a wanna-be Cinderella at the office party.

Or maybe she's a ninja assassin.

Maybe she's an elderly widow who bakes cookies for the neighborhood children.

http://www.freestockphotos.biz/stockphoto/15900
http://www.freestockphotos.biz/stockphoto/15900

Maybe she's forced by a wizard to put arsenic in the cookies.

Maybe she's a cop looking for the poisoner.

Maybe she's a nurse looking for the antidote.

Maybe she's a terrified mother looking for poisoned Emily's favorite doll.

Maybe she's Emily, all grown up and looking for a BDSM costume party.

 

Notice how all these situations move your story into a whole different category?

 

http://www.freestockphotos.biz/stockphoto/15897
http://www.freestockphotos.biz/stockphoto/15897

 

Each one of them contains a character and a plot idea you could transfer into some other book...but just think how that story would change.

This is where the magic comes in. The situation -- or even, to use a broader term, the genre -- influences your plot and characters to such an extent that it might be considered the most important element of your story braid.

What happens once you've got your strands?

 That depends on when you get 'em.

 

http://www.freestockphotos.biz/stockphoto/15902
http://www.freestockphotos.biz/stockphoto/15902

Some people start by planning each one, knowing their situation and plot and characters before they ever start writing. ("Yes, this'll be about the cop looking for the poison-cookie baker but falling in love with the evil wizard's innocent niece.")

Some people start with a situation ("Okay, this'll be about a BDSM costume party") and shape the plot and characters to fit it.

Some people start with a character ("I want to write about a nurse who dreams of making a difference") and build a plot around that person, while others start with a plot ("What would happen if a wizard made people carry out his dastardly schemes but got overthrown from within?")

All those ways of building a story work just fine. But sometimes the elements don't quite line up as smoothly as we'd like.

http://www.freestockphotos.biz/stockphoto/15890
http://www.freestockphotos.biz/stockphoto/15890

 

Prize-drawing question: What do you do?

When parts of your book don't line up as neatly as you want them to, what's the first thing you try? Or the second / third / 26th / whatever?

It's fine to mention techniques that HAVE worked for you, and also things that HAVEN'T. Because you know how we all operate differently? Something that didn't quite do the job for you might be the perfect "fix" for a writer who reads your comment!

 

 

http://www.freestockphotos.biz/stockphoto/15894
http://www.freestockphotos.biz/stockphoto/15894

 

So if you have any tips you'd like to share, please pass them along. (And if you'd rather I didn't quote you in next month's class on Your Plot-Character-Story Braid, just mention that in your comment.)

Thanks.

Laurie, who is always intrigued at seeing how other people do it

 

 

 About Laurie

LaurieSchnebly

Laurie Schnebly Campbell always loves teaching a brand-new class, so when a writer asked about "braiding" she was delighted at the chance to explore an untouched subject starting September 1 at WriterUniv.com's http://bit.ly/BraidClass.

Although she enjoyed braiding her own books, including one that beat out Nora Roberts for "Best Special Edition of the Year," she enjoys teaching even more. That's why she now has 15 novels on her bookshelf with acknowledgments from authors inspired by her classes!

 

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