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kinetic-elaboration · 3 years

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100 Days of Writing: Day Sixty-Three

I decided to catch up on The 100 Days of Writing and then I... accidentally wrote a large number of words. In my defense, this is like 2 weeks’ worth of questions. Also I skipped the ones I didn’t have anything to say about so actually this could be worse.

(I’m not even kidding, this is really long. I talk about writing rituals, tools for plotting, my thoughts on opening with dialogue and why I don’t like it, my favorite topics, the weather, and what length of fic I like to write.)

I’m tagging, and apologizing to, @the-wip-project and fellow participants @she-who-the-river-could-not-hold, @thelittlefanpire, @hopskipaway, @easilydistractedbyfanfic, @dylanobrienisbatman, and @fontainebleau22.

Day 49: How do you get yourself in the mood to write? Do you have a ritual?

Every time I tell myself I’m going to get back into doing these questions, I see this one in my bookmarks and go nope! and turn around. It’s not a hard question; I’ve just been having trouble consistently getting into the mood to write, so I feel like any answer I try to give to it will be, in some sense, a lie. Like do I ever get “in the mood” to write? Really?? Also, I feel like I’m relying too much on ‘ritual,’ building up ‘the perfect writing situation’ in my head, which at the end of the day is less important than just saying ‘I’m going to do this now’ and then doing it.

I do have some things I always do when I sit down to a writing session. I write on my couch. Almost always (unless I’m on an event deadline where I just have to write in bits and pieces whenever possible), I write in sprints—I use write or die to keep me actually typing and not staring into space. I write in order, and I often write a whole scene at a time. So before I start I need to have at least a couple solid opening sentences in mind, plus some kind of idea about what happens/needs to happen in the scene. In order to get in the right headspace, I usually spend some time just thinking before I actually get to writing. I reread my outline or notes, and skim whatever I might have already written on the project. Sometimes I look at images that help me get in the right mood. Sometimes I just imagine or daydream for a bit. The difficulty, especially recently, is in making sure I do this just enough and not too much, because then I get too caught up in my head and I can no longer translate what I’m seeing into words.

In a broader sense, I also have a building up to writing ritual—again, I think this is part of my problem, that I don’t know how to balance this build up with actual writing. In the hours/days before writing something, I turn it over in my head a lot. I practice different versions of those critical opening sentences. I play it out like a fantasy just to see if there’s a possible flow, even if the final version is different. Basically, I try to turn it into something that just needs to be written, that just needs to get out. But again—this can lead to overthinking and frustration.

The best way I can describe writing for me is that, when it goes well, I find a rhythm, or enter into a zone, where I can describe the images in my head in a way that’s both accurate and pleasant to read. But entering that zone or finding that rhythm is like jumping into a game of jump rope. If you don’t do it right, you’re just going to trip over your feet and get tangled in the rope. But if you do it correctly, it’s fun and exhilarating and you can keep jumping for a long time. Sometimes it takes me some false starts to jump in. And recently I’ve been having days where I just can’t at all, where I tangle the rope up so much I can’t unknot it. Those are the days I just have the same sentences repeating over and over in my head, sounding wrong, and I can’t do anything about it. On the other hand, I write in much longer sprints than I did a couple years ago. I used to only write partial scenes, maybe a few hundred words. Now I can write whole scenes without stopping, and on a few occasions, I’ve written multiple scenes or even whole stories without stopping. So in other words, when it works, it really works. But it doesn’t always, and there’s not a lot of in between.

Day 50 What fic/story made you?

Um… honestly I’ve been writing, in general and fic specifically, for such a long time that I didn’t have a ‘maybe I can do this’ moment. I mean one problem I’ve never had is thinking I can’t do this. I had positive reinforcement for my school and academic writing, and for a long time my fictional stories were just for me, and I knew what I liked. Even just thinking about my fic writing… I’ve been posting fic online since 2006, and I’ve been in multiple fandoms. I don’t really have much connection to a lot of those early stories anymore. They feel like they were written by someone else, a little. I’ve also moved on from most of the fandoms I wrote for in my early fic days so I don’t feel like I can really judge them anymore.

That said… there is kinda an obvious answer for my Star Trek fic lol. I also have favorite stories, and stories that stick out even years after I wrote them, in all (or at least most) of the fandoms I’ve been in. But I’m not sure if that’s the same.

Also, I had two teachers who were really encouraging of me and who I still think about often. One was my seventh grade English teacher, who had us do a lot of writing exercises of various types, both large and small, including keeping writing journals we wrote in every day at the start of class. He once told my mom that I wrote well, not for a seventh grader, but in general, and to be honest I still think of that with some regularity and take a lot of pride and comfort in it. The other was my creative writing professor in college. I don’t think I did my best work for that class, but she was very encouraging and seemed to like what I did. At the end of the semester, as I was preparing my portfolio, she told me that if I didn’t want to do much editing, I didn’t have to, because my unedited work would stand on its own. Again, especially considering all the problems that I saw with my writing for that class even then, I really took that comment to heart. When I’m feeling very self-critical, I remind myself that even my raw scribblings have, perhaps, something to them, and it helps ease the excessive and unwarranted pressure I put on myself. These aren’t really stories about specific writing pieces that ‘made’ me but I do think they speak to that ‘maybe I can do this’ feeling.

Day 51: Do you use tools for plotting and what are they?

So, generally, no. Sometimes I’ll look at various writing/plotting/organizational tools as a method of distraction, but my actual process is very simple. I use plain old notebooks and pens, and word documents on my computer, to plan all my fics, from the one-shots to the multi-chapters. I start by writing down general thoughts and brainstorming, then I build a scene list and/or outline, and then, if necessary, I separate the scenes lists into chapters. Sometimes I break down the scenes even more, if I have additional ideas I don’t wan to forget or if I know I need to hit certain points in a specific scene. The process varies a little bit from project to project, but that’s basically all I do.

I did use Evernote to plan the (still unwritten….) Ark AU. I don’t know if that was the best program choice or if something else exists that would have more precisely met my needs. But that’s what I used and that’s how it is. It’s a little annoying that every time I open it, it’s been updated, and the interface looks totally different and I have to relearn where everything is. But the tagging system has worked decently to allow me to see the big picture of this complex, multi-strand, multi-character, multi-ship disaster epic of a story. I struggled to plot it for a long time because I didn’t know how to balance all of the different parts. In Evernote, I made one ‘note’ for each character, and one for each scene (in addition to miscellaneous notes about sub plots, relationships, questions, etc.). Then I tagged each of them, including tagging the scenes by chapter. So now I can look at a list of all the characters, or all the scenes, or all of the scenes in chapter 8, or whatever, but I can also look at just one particular note at a time, and not be distracted by anything else. That said, I do also have one note that is just a total scene list for the whole fic, which is pretty reminiscent of my usual outlining process.

So… somehow this helped me plot (tentatively) the whole thing, but as I’ve written almost none of it—I finished outlining this in February 2020 so in my defense… I think you can see why it stalled—I’m not yet sure if it was a successful experiment in a ‘plotting tool.’

Day 60: How do you start your chapters? Do you start with dialogue? Why or why not?

While I am definitely against prescriptive “writing rues” generally, as my own personal rule, I try not to start with dialogue unless I have a very good reason.

To be quite honest, I think it’s lazy. I do think that dialogue openings can be used well, if the writer acknowledges that they are intensely stylistic and, from a reader’s perspective, quite difficult. Even within fanfiction, where a line of dialogue (especially if accompanied by a dialogue tag or swiftly followed by a reference to the speaker) gives a lot more information to the reader than in original fiction, opening with dialogue still shoves the reader directly into the deep end of the scene, with very little to orient her. WHERE is the speaker? WHO is being addressed in the dialogue? WHAT is the context of the conversation? Who ELSE might be present in the scene?

There are reasons you might want to throw the reader in the aforementioned deep-end. Maybe it’s an in media res situation and you want to emphasize the overwhelming nature of the action—starting a scene with “Get down!” for example. Or maybe the overall mood is one of disorientation or floating or uncertainty, and you want to create the same effect in the reader.

But I think if you’re starting a scene with dialogue because that’s the first thing that comes to mind for you—the person who conveniently already has the setting, character list, and even future plot already in mind—and it’s just simplest and easiest to start that way, you’re doing a disservice to the reader.

For example, I actually am planning to start the next chapter of the Sleeping Beauty AU with dialogue. My POV character is in a room with multiple other characters, and she’s examining something meaningful to her and not fully listening to the conversation around her. So I want the dialogue to float around in the background, to feel unmoored, and to stand in contrast to the very precise, detailed thoughts and memories that she’s experiencing, which are grounded in physical sensations like touch.

I haven’t quite gotten it to work yet, though, in part because opening with dialogue and doing it well is, in my opinion, quite hard. The difficulty lies in alleviating the challenges the reader is experiencing and making the text fluid and easy to picture. You need to get all of that scene-setting information—the who, what, when, where, and why—in very quickly, but without being jarring. In this scene in particular, I have multiple characters, all in a comparatively unusual location, and I need to establish where they are, who exactly is there, how they’ve come to meet my POV character (which happens ‘off screen’ between the end of Ch5 and the beginning of Ch6), all on top of the character’s thoughts and feelings.

I know all of this very well. To picture the scene in my own head takes only a moment. I just think about it and I see all seven of the characters, where they’re sitting, how they’re positioned, what their facial expressions are, and I also know roughly what each of them is thinking and feeling. To describe all of this in words would take several sentences. Do I put all those sentences on the front end? Do I weave them in among other description and dialogue? Is all of it even necessary—maybe we don’t need to know who’s sitting in what order on the couch, for example.

I’ve gone over a couple of different ways to do this in my head, and I’m sure it is possible, but I’m struggling to get it all down in a coherent way. (Admittedly, I’ve only made one solid attempt. As I was describing above, I’m probably going to jump in with several false starts, and then it will suddenly click.)

My initial attempt to set up the scene relied heavily on dialogue, but when I read it over, what sounded snappy and interesting in my head just fell completely flat—because it lacked context and thus, any meaning. I think the gulf between how dialogue openings feel to the writer and how they feel to the reader is large. To the writer, they feel easy and natural. To the reader, they can feel forced and, contrary to the writer’s intention, serve as an additional reminder that this is a constructed narrative rather than an immersive experience—the opposite of natural. In other words, as I said, they’re a highly stylized form of writing.

To illustrate, this was my first try at the Chapter 6 intro:

"I still can't believe it," a lightly awed voice says from somewhere behind Clarke. "The Princess of Alpha Station really used to live in our quarters.”

She pictures Miller, sunk into the couch cushions, slowly shaking his head, the expression on his face equal parts satisfied and amused.

"Really? That's what you think is the oddest part of all this?"

"Yeah, Bry, I do. Would you prefer I gloat? About being right this whole time? Who says she's just a legend now?"

My current idea is to still start with dialogue, but to move back into a significant amount of description pretty immediately afterward, and only then add more dialogue. Even this is a little hazy, since I haven’t thought much about this fic in a while. But I do think it’s quite clear this won’t work.

As for how I DO start chapters/scenes/stories… I like to start with a strong image that sets the scene and mood of the story, and hopefully leaves the reader wanting to know more. Here are some examples of story openings I’ve written recently, which I like a lot:

When Bellamy is angered, deafening bouts of thunder shake the heavens.

The cawing of the crows—high, sharp, angry shots of sound. The buzzing of the telephone wires.

Marcus Kane's body shows up again in June, skeletal and rotting, six months after his disappearance at the turn of the year.

The sky has turned a bruised yellow, like the inside of a plum, by the time Bellamy starts seeing the robots in the fields.

At noon on the third-to-last day before Christmas, Murphy leaves the cafe, with a single peppermint mocha and a small paper bag, and heads right, walking parallel to the ocean.

The last one doesn’t seem as interesting but consider: you get the who, what, when, and where, the mystery of the paper bag and where he might be going, and also the immediate understanding that this is probably going to be a Fluffy Beach Christmas story—which is correct, that’s exactly what it is.

I’m not saying that I’m always creative or unique. I often start stories off with descriptions of the weather. And I have committed the ~~cardinal sin~~ of starting with a character waking up, heaven forbid. I don’t have any hard and fast rules for myself other than that I try to avoid dialogue, or at least, be careful about its use (another example: I use dialogue to start off Mad Women—but it reads like narration, until it’s rudely interrupted, a sort of in-joke/reference/twist). I try to match the mood of the story and, as I said, include something that will create a question for the reader, some version of why, that the rest of the story will answer.

Day 61: Do you describe the weather? Try changing a scene you wrote by adding weather effects.

After writing a book for the last question, here’s an easy one! Yes, I describe the weather. A lot. Often. In detail.

(Though if we’re talking about the Sleeping Beauty AU as my “current wip,” I actually don’t do much weather describing there, because 4 of the 6 chapters take place in a location with no weather.)

Day 62: What is your favorite thing to write about?

Honestly I like to write about people being dramatic about their emotions. That’s what I’ve discovered while writing my surprisingly self-indulgent Troped fic: I want to describe people acting as if Everything was the Most Ever. It’s fun. Part of this is getting into the usual romantic tropes—longing, pining, exaggerated touches and glances and the like—but why stop at romance when you also have stuff like The Weather and Random Feelings to contemplate?

I also like setting scenes that I find soothing, which is part of why I like Seasonal Stories.

Day 63: Are you more of a drabble/flash or a longfic/novel kind of writer?

I’m in the middle. I mostly write one-shots, and I’ve noticed that a lot of them fall in the 4-6k range. Long one-shots can get all the way to 10-12k but I feel like most of those are, semi-objectively speaking, too long, and would probably have been stronger if they were pruned down to 6k, or, better yet, never made it past 6k in the first place.

I have written some multi-chapters, or, uh, started multi-chapters, but I’m VERY bad at it. The only thing that makes me slightly less bad is being stubborn. Hence the existence of a WIP that I’ve had going for over 10 years now and refuse to call abandoned. Hence this year’s extended angst about the Sleeping Beauty AU, which is only 6 chapters but has taken me literally years to write. I don’t honestly know if I’ve ever finished a multi-chapter WIP, like, properly speaking. I’ve done some short multi-chapters that I wrote as if they were one-shots and then split up for ease of reading or, I dunno, just because. I wrote a Big Bang once, but it’s not very good. Nor very long, if I remember correctly. Generally speaking I probably shouldn’t be allowed to write novels lol—I have a lot of them in my ‘I should write this one day’ idea list—but as it so happens, no one can stop me, so here we are. I definitely have wild fantasies of writing multi-chapters with ease but I’m just a very slow writer and my ideas can’t keep up with my actual-writing. Thus one shots are much easier than multi-chaps, and one-shots on a deadline are much easier than ‘I’ll finish this whenever’ one-shots. One-shots written for events or exchanges also tend to be shorter (and, imo, better) because of the deadlines they’re written on, and are thus more likely to hit that sweet 4-6k spot than stories where I’m allowed to ramble at will.

All that said, I ALSO write a good number of drabbles/writing exercises. I used to write them more often than I do now, but still over the last five years I’ve produced 110,000+ words in free-standing scenes so like… that’s also a thing I guess.

#100 days of writing #my 100 days of writing #100daysofwriting

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