Writer, Will You Go Anywhere God Calls You? The Problem IS the Path to the Solution

Thanks to Pixabay.com

Warning: This post is for Christians only.You can read it if you want to, but don't get mad if it's too religious for your taste!

Now, for those of you who are still reading, here's the question that's on my mind: Are you willing to go anywhere God has called you?  (Tweet that.)

I've been reading Erica Wiggenhorn's Bible study of the first twelve chapters of the book of Acts titled The Unexplainable Life (Moody, 2016). In Acts 8:26, an angel tells Philip, who was one of the original twelve disciples of Jesus, to:

"Go South to the road--the desert road--that goes down from Jerusalem to Gaza" (Acts 8:26, NIV).

 About this, Erica writes:

For Philip to take the route the angel suggested meant heading into the middle of the desert. With no means of transportation, this could easily mean death. Once Philip obeyed this unexplainable request, he now became led solely by the Spirit. God is so merciful, isn't He? Asking Philip to head out to the middle of the desert was completely contrary to anything logical. Philip was an evangelist. Who would hear the message in the middle of the desert? Was he supposed to preach to the sand? After witnessing such revival in Samaria, I'm sure Philip was eager to go to another largely populated city to see what God might do there in the hearts of the people. But God sends him an angel telling him to head out into the middle nowhere. (page 164)

There Philip meets an Ethiopian who becomes a believer in Jesus and is baptized on the spot. Then Philip is miraculously whisked away instantaneously to Azotus. But that unnamed, probably bewildered, Ethiopian continued on his journey.

Again, from Erica's book:

Look at the incredible intricacy of God's timing. One seeking heart, one page of Scripture, and one willing servant of God resulted in the gospel being spread to an entire nation! God sent Philip completely out of his way to present the gospel to one solitary individual... 

This eunuch's request to understand God resulted in the truth of the gospel being brought to another continent. (pages 164-65)

I'm writing this on a flight to Los Angeles. I never started out to be a screenwriter. That crazy idea came about ten years into my writing journey. It took another ten years after that for me to actually start. Now, another eight years later, I'm flying to Los Angeles to meet with people about my screenplays.

I never would have dreamed I'd be doing this. (Tweet that.) Talk about God doing immeasurably more than I could ask or imagine...

"Now to him who is able to do immeasurably more than all we ask or imagine, according to his power that is at work within us, to him be glory in the church and in Christ Jesus throughout all generations, for ever and ever! Amen" (Ephesians 3:20, NIV).

I'll admit some frustration in publishing. I haven't got the books written (yet) that I've wanted to write, let alone not yet getting the book publishing contracts I've wanted to get. I'm not where I envisioned I would be this many years into my writing career. Why? I ask myself that often. I guess "life" intervenes. Plus, there are practical reasons, such as learning how not to constantly under-estimate how long things will take to complete. Or how much time we actually have to write.

I work hard five to six days a week. I'm in my office early and stay late. And  yet... projects remain unfinished.

What about you? Does this feel familiar?

But honestly, part of the reason, when it comes to book publishing, that I haven't written as much as I wanted to is because of this "side" journey of film and screenwriting. But when you get right down to it, this "side"journey isn't really that at all. It's right where the LORD has directed my steps to bring me. When I trace the steps I've walked on my writing journey, I never could have done this or gotten here on my own. (Tweet that.)I could not have orchestrated this. Where I'm at now is more than I could have ever asked or imagined.

I recently discovered an interesting television show on the Sundance channel on Sunday mornings. It's called Close Up With The Hollywood Reporter. Each show is a panel discussion with five or six Hollywood professionals, such as producers or directors or actors or writers. They discuss the challenges of their respective jobs, what they've learned, who their heroes are, etc.

On one episode, Greta Gerwig, writer and director of the film Lady Bird (with five Academy Award nominations) talked about the problems that came up on set as she was directing. (Tweet that.) She concluded that (this may not be the exact quote but it's close): "The problem IS the path."

Interesting. How often do we, as writers or other creative professionals, strive against the problems? Buck against the obstacles? Perhaps, like the characters in our stories, we should see the obstacles in our paths not as roadblocks, but rather as directing us to the right path. (Tweet that.)

What about you? Are you "detoured" too? Or are you right where you're supposed to be, even if you're not where you planned to be? (Tweet that.)

Are you fighting the direction you're going? Or could it be the LORD is directing your path? Are you willing to go wherever the LORD wants you to go, wherever God calls you? Even if it's different from where you thought you were headed?

Yeah, me too. I'll see you out there ... on the journey.

Dusting Off Those Shelved Writing Projects

Pixabay.com

Last month we talked about finishing projects we had started or have half finished but never completed. I hope you were able to work on or complete some of those projects. As usual, I didn’t get as much done as I had wished, but finishing projects is still on my agenda.

Also last month in the June article, I promised this:

“If it’s a story of your heart that you love and want to finish, but it really needs a lot of work, leave it in the closet. We’ll talk about that project next month.”

So here we are in July, the middle month of summer. Do you have writing time?

Take Out that Story You Love, Dust It Off, and Finish Writing It!

Do you have a project of your heart that’s been put on the shelf? Do you remember why you shelved it? (Tweet that!) There can be a lot of reasons. Let’s talk about why writing projects get shelved. Then let’s consider taking them down, dusting them off, and finishing the stories of our hearts that we love (no matter what others say!).

It could be you didn’t have time.

Maybe distractions — whether from life or other writing projects — drew you away until dust collected on the project and, eventually, it got put on the shelf just for a little while, just until you got your desk cleared. And, um, that was years ago and your desk never cleared.

Possibly it was simply “life” that got in the way. The business of taking care of family and jobs and responsibilities… Am I ringing any bells here?

Or, maybe it’s on the shelf for another reason. Maybe you got discouraged with the project. That happened to me.

The Story of My Shelved Writing Project

Once upon a time I had a story I really loved. It was a supernatural thriller. I worked on it. I plotted it out. I developed the characters. I really loved that story.

And then the long days came when I wrote out that story as a novel. I worked hard, starting early in the morning and working late into the night. I wrote the entire novel. And I loved it.

I dreamed of sequels. I didn’t have all the plots worked out for the next two books, but I had characters who could fill them and a basic idea.

Then things started to happen. Three things, to be exact.

1. I talked with an agent who loved the idea of my story. He was a well-known agent who had “discovered” another author, one who had been rejected by everyone else. This agent helped him and that rejected writer not only found a publisher but became a best-seller, sold millions of books, and became very famous. This was the agent who was interested in my story! He asked me to send him my book proposal and sample chapters. I couldn’t wait to send it and I did.

2. Meanwhile, a friend and critiquer asked if she could read my story. I let her, eager to hear what she thought of it. When she started sending critiques, it became clear she didn’t like my main character. The farther into the story she got, the less she liked that character. This was not good.

I remember she did not like my character because this character was not great with all the new electronics coming out in the late nineties. If she can’t keep up with the times, the critiquer said, she’s not smart.

Well… But… Wait… The character’s inability to access a password-protected web site is critical to the story.

I think the intervening years have proved that not all people can keep up with today’s electronics, don’t you? Even smart people.

Her critiques became harsh and I was devastated. Eventually I quit reading her critiques. Partly because of her words, partly because  I so strongly disagreed with them. But it was just one person’s opinion, right?

3. Then I received an invitation to join a small group of writers who would meet with a professional editor and former publisher for several days. Part of the program was that we would all critique each other’s first pages. That meant each of us would receive critiques from the professional plus the other six or so writers. We would go over our critiques in class. I accepted that invitation.

I prepared by sending my pages and reading the others’ pages, gave them my best critiques, and looked forward to hearing what they had to say about mine.

The time came for the clinic. I was the last of the writers to be critiqued. I had given the others as much encouragement as I could along with feedback I felt would help them. I had contributed to the conversation. When it came my turn, I was so nervous!

But then the unexpected: Total silence.

No one said anything. What did that mean?

Finally the professional said he didn’t think the reaction of my main character to the supernatural event that occurred was realistic. Well, um, it was supernatural. That itself might not be very realistic, don’t you think? I still think my scientific-minded character would be freaked out by this personal, supernatural event.

And that scene sets the stage for the whole book. Without that scene and that reaction, the story doesn’t work. It can’t.

I thought we weren’t supposed to argue but were to just listen to the critiques, so I stayed quiet and tried to take this critique to heart. Besides, I was too nervous to think and didn’t have a clue what to say. I was shocked by his words.

Did I not write the scene well? (To this day I think I did.) Did they not understand what I was trying to accomplish? (I thought it was clear.)

Then the other writers in the room chimed in, agreeing with the professional, basically saying, Yeah...what he said.


Oh, and about that agent? Never heard from him again. I followed up several times but got no reply. (I found out a few years later he did that to everyone, not just me. Even his clients. He just dropped out of agenting, I guess.)

These three whammies came close together, hitting me like staccato beats. Discouragement set in. (Tweet that!)

I put my project in a box and literally put it on a shelf in my closet. It’s still there to this day. More than eighteen years later.

Do you have a story like this of your own? Did discouragement get to you? Do you have a writing project you love that was put on a shelf and is gathering dust? (Tweet that!)

I told you my story to encourage you. It's not just you. (Tweet that!) These things happen. So what do we do now?

The Bright Side

Well here’s a few more things about that project.

• I still love the story. It has never left me. I think of it often. I can’t get it out of my head. I know I must write this story. It’s just a matter of when. (Tweet that!)

• In the past eighteen plus years I’ve learned a lot about writing and stories and more. I’m a better writer now, so I can do a better job with it now.  (Tweet that!)

• I’ve started screenwriting, too, which has taught me a lot about story structure. I build better stories now. And, when I look at that story I structured it well, even before I knew much about story structure. That amazes me. 

• I know more about characters now. For example, even though I couldn’t articulate it at the time back in that group, I now know the main character has to react like that because she needs a character arc. I can’t start her off at the end of her journey, the end of her character arc. Now I understand that’s what that professional and those classmates wanted. They wanted her to already know what they know, to believe what they believe. That's because they don't know the story! I do. I couldn’t answer their protests back then, about why is this scientist at odds with Christianity? It doesn’t have to be that way, they said. Now I know the answer is because that’s her character arc. To start her out as they wanted gives her nowhere to grow! It destroys her character arc and so it destroys the story. I wrote about this in my blog post back on December 1, 2015: Writing Stories: What Your Story Needs - Part 2

• I’ve developed more skills. Since I have now studied writing feature films and writing for TV, I can now write this story not only as a novel but as a movie (with series potential) or a TV, cable, or web series.

• I’ve recently re-read that opening chapter and you know what? It’s not only not bad, I still think it’s quite good. Maybe not perfect, but even after it has rested this long and my writing has grown for this long I believe it doesn't stink. Re-reading it gave me encouragement and confidence. It’s a good story. I know it, regardless of what others think. 

• It’s a new time. Things are different now in America and in the world. I truly think this story was ahead of it’s time. I thought it was relevant back then. But oh boy it is even more relevant now. (Tweet that!)

It's Time to Tell Your Story 

Maybe it’s time to take your story down off the shelf, dust it off, and finish it. (Tweet that!)

If you’re still in love with your story, I encourage you to do it. Trust yourself. Trust your writing. Trust the story you’ve been given. Don’t listen to everyone else. This is YOUR story. Trust your instincts.  (Tweet that!)

That’s what I’m going to do.

That’s my story. And I’m sticking to it.

RELATED:

• December 1, 2015: Writing Stories: What Your Story Needs - Part 2
• Visit my newly revamped web site here: www.DianneEButts.com
• Find a helpful e-book for writers here: Dianne on Amazon

Lessons in Beginnings for Writers

A swirl of books. How do you get into a story?
(VisualHunt.com)

As a writer, have you ever heard the term "throat clearing"? Over the years I've heard this term used when I met with editors at writers conferences and also in workshops. For me, this usually applied to a short piece I was showing them, like an article or devotional, but the principle applies to longer pieces like books and chapters also. The editors were telling me that I didn't really get to the heart of my piece of writing for several sentences or even paragraphs. (Tweet that!) In longer pieces, you may find your real beginning pages later.

I was reminded of this term recently by an article in the Christian Communicator:

…great beginnings often don't appear in the first draft. Or, if they do, they often aren't at the beginning. That's why the editing process is so important.

Many times you will discover that the first couple pages of your writing are no more than "throat clearing," and you get to your point somewhere around page 3. In a short piece, like a devotional or article, those first lines you type may not be the best beginning and will probably need to be deleted and replaced with a sentence currently in your fourth paragraph. 

("Your First Impression" by Linda Taylor, March-April 2017 issue of Christian Communicator, page 15.)

From my own experience, I find this principle very true for my non-fiction writing. And as I pursue writing fiction I find the same holds true. However I've learned a lot about beginnings and how to get started from working in screenwriting and making short films. (Tweet that!)

How do we get into the Story?

One of the first short films I produced was "Air Guitar." This was actually a practice film. I was preparing to shoot the first short film I produced on my own and I wanted to run through the whole procedure once just to perform the process from start to finish — including filming, capturing sound, then the film editing. I also wanted to run through the whole process with my small film crew — camera man, sound person, actors, film editor. So one day I gathered my camera man, sound, casting and acting coach with a couple young actors and we did a run-through. I'd worked with the camera man on a short film the previous year, so we both had that experience. He would also be my film editor.

In order to have something to shoot and practice with, I wrote a one-page script. It was actually a joke I'd made up and then wrote it to play it out with actors. I opened the script in a kitchen with my actors cooking brownies for a birthday party. We set up to film in my kitchen.

Then my camera man hit me with a question: Yes, it's a story about a birthday party, but how do you want to open up the film? What's our first image? What do we show?

Until then I didn't even realized that I had never considered how to get into the story. How do we get started? (Tweet that!) How do we introduce this world we're in and our story's characters. Thankfully my camera man also had a suggestion: he did a close shot of just our hands passing out festive-colored plates and napkins. In the editing he put jazzy music under the scene. And, of course, he added the title and opening credits. That's how we got started.

Had I left it as I had it, we would have just jumped into cooking and dialog. No title. No opening credits. The audience would not have known it was a party. We would not have set the festive tone with the jazzy music. My script probably would have stumbled around with some meaningless dialog — "throat clearing" — trying to get into the story.

If you'd like to see the short film we made that day, it's here: "Air Guitar" short film

Since then I've tried to think much more about how to start my stories, articles, and books — both fiction and nonfiction — as well as each chapter. How is it best to get into them?

Establishing shots

In film, it used to be popular to show what is called an "establishing shot." I'm sure you've seen them, you just didn't know what they were called. An establishing shot is usually a camera shot showing a city skyline or the outside of a building or house — something that shows, and establishes, where we are. The tone is often also given: a storm is brewing, or a sunny day, or scary bad-guy music. But there is no dialog or anything that moves the story forward.

For the film I'm currently producing, a documentary of a true-life event, so far my best thought for opening the film is to show an establishing shot of a certain street intersection in the small city where I live. Then we'll widen the shot to show more of the city skyline and mountains beyond. I'm thinking I may even superimpose the city's name, state, and population. Of course the audience won't understand the importance of any of this information at the beginning, but it's all important and relevant. It will tell them where we are (city and state). Then through the story they will learn that this busy traffic intersection is actually where the event took place, in a city of sufficient size that it's very interesting that so many people are connected to what happened that night. This establishing shot will help me introduce and get into the story. (By the way, I also plan to come full circle and end the film here at this intersection … with one important change that has taken place since the event happened.)

Films and television shows don't use establishing shots as much as they used to. In writing, it may be good to have a character in this "establishing shot" or something that moves the story forward, but that is one way to get into the story. (Tweet that!)

Thesis Statements

In non-fiction writing, whether articles or a chapter in a book, it's good to focus the piece of writing with a focus statement or thesis statement. I wrote on this topic in a previous post so you can find more help with that here:

• Keep Your Eye on the Ball: One Sentence that Can Elevate Your Writing to New Heights

The thesis statement typically goes near the beginning of the piece and then the rest of the article or chapter supports that statement. So finding an introduction that introduces or "gets to" that thesis statement is needed, and is the path to a good beginning. (Tweet that!) However finding that path is still challenging.

"Throat Clearing" is Necessary to Find Your Beginning

You may need to do a lot of writing, allowing yourself to do a lot of "throat clearing," before you find the best path into your article, chapter, or story. That's okay. Do it. (Tweet that!) Just be sure to let it rest (days, weeks if you have the time), and then go back and edit. Let it rest. Edit. It will most likely take several rounds before you get to a great beginning.


What about you? Do you struggle with great beginnings? Do you need to do some "throat clearing" in writing before you can find your best starting place? (Tweet that!) It's not bad or wrong to write this "throat clearing." I actually think it's necessary in order to find the best starting place. We just can't leave it like that. We need to edit all the throat clearing out and find our best beginning before we turn in a project or let a prospective editor or publisher read it.

That doesn't mean we can't let anyone read it. We often need the help of another writer. A friend and fellow traveler on the writing journey, because they understand what a great beginning is. And they can spot "throat clearing" in our writing far better than we can see it in our own.

Take a look at the beginnings of your previously written stories or articles. Can you see any "throat clearing" going on? How would you now edit that beginning?

Then take a look at your work(s) in progress. Have you found the best beginning yet? Or do you need to do some "throat clearing" to find a it? (Tweet that!)

When you look at your previously written projects and your current works in progress, what lessons in beginnings can you learn?

Related Article and Link:

• Thesis statements: Keep Your Eye on the Ball: One Sentence that Can Elevate Your Writing to New Heights

• "Air Guitar" short film

The Fear of Writing

© Maxim Golubchikov
Dreamstime Stock Photos

It was one of those email newsletters from authors for authors. I had just signed up for it and got my first edition on the first of the month. I opened it. But the lead article stopped me in my tracks.

The feature article was by a well known author. I like her writing and I've even met her in person. But the title of the article screamed that I dared not write if I was "behind-the-times." If I wrote, and if I wasn't up-to-date in my understanding of how things are done today, I might as well not write or else I'll become a laughingstock!

I tried reading the article. I really tried. But the first few lines told me I was doing it all wrong. (Tweet that!)

You're Doing It All Wrong!

My punctuation. My point-of-view. All wrong.

If I'm doing that wrong, what else am I doing wrong that I don't know about? And where do I go to find out?

The idea of having to figure out how to research in order to find out all the things I'm doing wrong and learn the current "right" way to do it seemed like such a huge, mountainous learning curve. I was overwhelmed.

Then I Felt Angry

Then I felt angry. Who was this author to tell me I'm doing it all wrong? (Tweet that!) I've been writing for publication since the late 80s. It angered me to have someone telling me I don't know what I'm doing. I've fallen behind. Get out of the way and let the younger people do it right.

What about the novel I wanted to start writing? The one I've wanted to write for years. The novel of my heart. Is it going to be a waste of time? Because I'm so old-fashioned and out of date and times have changed so much that I'm doing it all wrong? Good grief. Why even start?

I don't have a chance.

I Don't Have a chance?

For heaven's sake I don't want to write the novel of my heart and then find out it has made me a laughing stock. Nobody wants to be a laughingstock, right?

Can someone please tell me where does an author go to learn the so-called "right" way of writing?

The fear of doing it all wrong stopped me. I was dead in the water. I feared writing a single word. (Tweet that!)

Never thought that would happen to me.

But I'm a Good Writer

But wait a minute. I'm a good writer. I know I am. I've been off on other adventures the past few years: screenwriting and filmmaking and all kinds of exciting things. Now that I want to come back to write one of the novels I've always wanted to write, I'm told I'll never make it because I'm "behind the times"?! (Tweet that!)

Have you ever felt like that? (I hope not.) But have you ever feared writing? (Tweet that!) Maybe you've experienced it for a different reason. Like fearing what people will think of your story. Or fearing putting yourself out there. Or fearing something else.

Fortunately I have a friend who calmed me down and offered to help. "Just write your story the way you want to," she said. "Forget all that stuff. Write it and show it to me and I'll show you how to fix whatever is needed. I'll help you."

I melted. What a relief. What a great friend.

After she talked me down off the ledge, I could see that I'm not that behind-the-times. The few things that are different from twenty years ago are easy to change. I can make the transition. I'm going to be okay!

When the Fear of Writing Strikes, What Can We Do?

Looking back on my time of fear, I can see three things that can help in our time of panic when we feel afraid to write. (Tweet that!) I hope these will help you when you need it:

1.) Find a Friend

Writing is a lonely business. Writers spend hours at a stretch alone with our stories. When we finally come up for air, we can discover others don't "get" what we're doing. Or they don't "get" our story. Or they think they have better ideas.

Critiquing is good. It's a good way to grow and learn and help each other. But we also need a friend who isn't going to rip our writing apart. We need a writing friend who can help us.

My friend and I meet regularly -- at least twice a month. (Tweet that!) We talk about what we're working on, what difficulties we're having, and what we want to accomplish before the next time we meet. We help each other. I've been helped over stumbling blocks. I've been encouraged to try big things. I've offered her ideas which I hope help her. More than anything, I'm not in this alone. Someone is there with me, struggling along beside me. And on the rare occasion when I really need it, she talks me down on off the ledge.

2.) Write it Your Way

This takes courage. It takes daring. But I dare you! Do it. Go for it. Try it. (Tweet that!)

I learned a great lesson last fall when I had a new and exciting adventure. A film crew was filming a feature movie in a town about 30 miles from me. I applied to work as an extra on the film and was hired to work two days. What a great opportunity!

The film was based on a novel titled Our Souls at Night by Kent Haruf. Of course I had to find out more about this book and how it became a movie. In my research I discovered some interesting information.

The author was actually born in the city I live in now. He lived in Colorado and wrote several novels about a fictional Colorado town.

He also wrote without quotation marks.

"No quotation marks – ever. He said he liked the way it looked on the page,” according to an interview with the author's wife in The Mountain Mail (Salida, Colorado).

His wife did his editing before it went to his publisher, Vintage / Penguin Random House. I thought that meant she would put in the quotation marks. But when I ran over to Barnes & Nobel to get the book I discovered no, she did not put in any quotation marks. Nor did the publisher. There isn't a set of quotation marks in the book.

To spoof a line from the movie Back to the Future: "Rules? Where we're going, we don't need rules!"

This is what I mean when I say "write it your way." Ditch the so-called rules.

3.) Don't Let It Stop You!

The other thing I learned when I researched Our Souls at Night is that when the author wrote the book, he was dying. (Tweet that!) Kent Haruf learned it was terminal in February. Previously it had taken him six years to write a book. But he decided to write another story. He didn't tell his publisher.

By August 1 he had a draft. By September 15th he was ready to send it to his editor at the publishing house, as a surprise. In late November the publisher sent back a surprise: a mock-up of the book so Kent could see it. He died the following day, on November 30, 2014. His wife finished the final edits the next day.

You can read more about this story in the article, "'Our Souls at Night': Interview with Cathy Haruf reveals insight into author's work," The Mountain Mail, August 31, 2016.

This author knew he was dying and yet he wrote another book. And now his book is being made into a Netflix movie, Netflix's first theatrical release, starring Robert Redford and Jane Fonda.

Now that's a writer who didn't let anything stop him.

May I Have Another Cup of Creativity, Please?

Are you still learning about yourself? I tend to think I know me and then I'm astounded (or confounded) when I discover something new. Actually it's not something new. It's something that has been there all along but I'm just now identifying it. Such was the case recently.

I have a hunch this is not just about me. My hunch is that it probably applies to all creative-type people. But you can let me know if I'm right on that. And if you're educated in this area or have read up on it, you may already know this. To me, it was a revelation.

What I've finally figured out is:  I seem to have a limited amount of creativity in me per week.   Tweet that here:
Once I've used this week's creativity, it's gone. That's it. That's all there is. No more. Until next week.

It took me a long time to grasp onto what was happening with me. It started when I noticed that every Wednesday seemed to be a "down" day for me. I don't mean down in the dumps; I mean I just couldn't seem to get anything done. I'd go great guns on Monday and Tuesday, accomplish a lot, and then came Wednesday and I couldn't seem to get anything done at all. Thursday would pick back up again and Friday could be a good day of solid work. And if I don't have any obligations for Saturday, I work that day too and so my Friday - Saturday can be as productive as my Monday - Tuesday.

But what about those Wednesdays?  What's happening there?

When I first started noticing my "down Wednesdays," I went through what I'm guessing is probably a fairly normal cycle. I scolded myself. I pushed myself. I determined to do better. I promised myself I wouldn't dilly-dally. I swore I wouldn't mess around and waste time. I bribed myself ... I would treat myself if I accomplished a certain list of things on Wednesday. Nothing worked.  (Tweet it: )

The next Wednesday would come and same thing: No matter what I told myself or tried to trick myself into, I just couldn't manage to get much done.

I have a new theory. 

It's not that I'm being lazy or goofing off. My new theory is that we can only do so much creative work (or possibly other types of work too) before we run out of ... whatever you want to call it. Creativity? Energy? Gumption?  Tweet it:

I kept asking the creativity / energy / gumption gods:

May I have another cup of Creativity, please?

The answer was clear:

No.  You may not.
You may not have more creativity. Sorry.

So I stopped scolding myself. It's a real thing. I can give myself a break. It's okay! Once I spend my creativity on something, that's it. It's gone. There is no more.

Wait until next week. Then I'll get another dose.

I meet with another writer-friend a couple times a month. Recently when we met at Starbucks I lamented, "I only get so much creativity per week. I can't force myself to conjure up any more. If I spend it all on the blog, I have nothing left."  (Tweet that!)

She nodded. She not only understood, she agreed.

So, now that I recognize the reality that I only get so much creativity per week, what can I do with that bit of information? Here are some thoughts:

Take care about where you spend your creativity.

I think sometimes we spend our best creative juice on the wrong things.  (Tweet that!)

For example, many times we work for other people. Whether it's helping out a friend with a free critique or blog post, or doing social media or other tasks for pay to make ends meet, we're spending our week's worth of creativity. Then when it's time to work on our own project -- that magazine article, book chapter, or screenplay -- we can't seem to get going on it.  (Tweet that!)

That's because we've spent our creative energy on somebody else's project. If we spend it all doing work for others, there's nothing left for us.

If this is where you are, this post may be of more help: "When Writing Makes You Feel Tired, Anxious, or Stressed."

Or we may work on our own projects that aren't the most important. I tend to do this when I think I'll do all those "other things" first, clearing the way to spend large amounts of time on my current big, fun priority project. But by the time I finished all those "other things," I've got nothing left.

Another place where I'm good at spending my creative capital is on worthy projects that require my regular attention. For example my Bible prophecy blog. I love blogging on that topic. And in these days we're living in, there's a never-ending supply of topics to write on. Each week I thought I'd quickly write the week's three posts and then move on to my priority writing project. But it hardly ever seemed to work that way. Those three posts would always take longer than I'd want them to. And when I was done, I couldn't get going on my priority project.

So I'd switch it up and work on my priority project first and then at the end of the week I'd be in an anxious panic because I needed blog posts and didn't have any prepared ... and had no energy or time to get some done.

At the first of the year I put that blog on hold. What a relief! I've learned I only have so much creativity in me and when it's gone, it's gone. Although I hated to put my prophecy blog on hold, it has been a time of rest for me since I did. And I've been able to get more writing done on my priority projects.

So, my writer friend, I encourage you to think about this. How are you spending your creativity?

Spend it wisely. It's like an allowance. That's all you get. Once you spend it, you don't get any more until next week.  (Tweet that!)

Be creative about what you do with your down days.

So if it's true that we are going to have some days when we can't get anything creative accomplished, or at least very little, what can we do with that?

For me, I'm able to do other tasks that don't require as much creativity. There are so many other things that we must do as professional writers besides writing or brainstorming or creating. We can give our creativity a rest by doing other "business" tasks.

Here are some examples of what I might spend that "down" day on:  Tweet it:  

• Catching up on emails.
• "Mindless" tasks, such as cleaning my office or needed filing.
• Reading emailed newsletters and the linked articles that sounded so interesting. These are usually writing-related, so I'm growing and learning as a writer.
• Researching those points I need to know when I go back to writing.
• Creating marketing items that don't take much creative capital but are fun (and needed), such as making a new book trailer at animoto.com or a new marketing image of a book cover at photofunia.com.
• Creating "share squares" to use on social media, such as a great quote from one of my books on a beautiful photo background using canva.com or picmonkey.com.
• Creating a new header for Facebook or Twitter.
• Loading some posts to go live in the future on my Facebook Page or on Hootsuite for Twitter.
• Updating a web site, blog bio, or Amazon author page bio.
• Going to Starbuck's and having a passion iced tea. (Just kidding.)

Anything that is more automatic or business-related rather than having to create, as in putting words on paper / screen, is much easier for me to do on my down days. The creative projects listed above are fun, not hard creative work.

There are so many other things a writer needs to do besides write, the list of non- or less-creative items we can be working on is truly endless.

What would be on your list of things you need to do when you're having a creatively down day? Why not go ahead and make a list? Why not allow yourself to work on these on your down day? Be sure to include some fun things. Our work on down days should not be drudgery or we'll not want to take a day when we really need to.

Get more done on your creative days.

I truly believe I'm getting more done creatively since I've discovered my new theory on a limited amount of creativity each week. And I'm not scolding myself when I'm not able to make progress on a priority project. I give myself a break and know I'll be able to do more the next day.

Does your creative energy ebb and flow?

Which days do you have the most creative energy? 

Which hours of the day are your best for creating words on paper / screen?

How can you use this information to boost your creative output (while giving yourself a break)?

"May I have another cup of creativity, please?" 

To Tweet this, click the birdie:

Writing Stories: What Your Story Needs - Part 2

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Last month we talked about four things that your story needs to have to be an effective story or a story that "works." This month we're going to go further in story telling and talk about Main Characters that are not effective and how to make them work. But first...

Special Note:

Before we get to this month's topic, however, I want to tell you I've found a fantastic product for writers that has helped me so much it's incredible. I'll tell you more about it at the end of this post, or if you don't want to wait, visit the new page on this blog: click the tab above or click here: Amazing Product for Writers.


Now, let's talk about Main Characters that are not effective. (Tweet that!) Last month I mentioned "passive characters" -- characters that are victims. They have sad stories and a lot has happened to them, but they are not active in wanting something. Passive characters have no movement so they don't carry the story forward.

Another problem character is the main character who is too good. For example, what if your main character has already "arrived," meaning he or she seems to already "know it all."  (Tweet that!)

One example of a character who has already "arrived" is the character many Christian writers want to put in their stories. That is, the Christian character who is already "saved." This character wants to share what they have and show the rest of the world that they need to be saved too. This is a formula for a preachy, overbearing story. (Tweet that!)

What do you need to do with these problem character to save your story?

Back Up Your Main Character

For know-it-all characters who have already "arrived," and for passive characters, you need to back that character up to a place or point in time before s/he knew that information, before s/he learned it, before s/he "arrived." (Tweet that!)

Then, let your character coming to that knowledge be part of the story. (Tweet that!) Showing your character acquiring this knowledge also allows you to show that growth in the character. When your audience sees that character learn it, they will also learn it and you will achieve the "theme" or "message" of your story (see previous post) without coming off as preachy.

Including this part of your character's story will also help you flesh out the middle part or Act 2 of your story, which is often a problem area. Some call it a middle that "sags."

How to Back Your Main Character Up

Just how do you back a character up like this? How can you use this to help improve your story and your character? What do you do with them?

Here are four ideas. This is not necessarily a "pick one" list. It may be best to do all of these!

As an example, I'm using one of my recent stories. It's a story about forgiveness. My main character could not move forward and do what she needed to do until she forgave a certain person in her life. But how does she come to that knowledge?

First, I gave her some common (but wrong) ideas about forgiveness, including these thoughts:

•  "That can never be forgiven." 
• And "Somethings are unforgiveable."

Then, I used these four ways to help her discover more about forgiveness:

1.) The Character Has a Need for It or Needs to Know It

I gave my character something huge in her past that she needs to be forgiven for, although she doesn't know that is even possible.

2.)  Another Character Models It

Then, my main character witnesses another character in the story forgiving someone else (not the main character). In seeing this modeled, the main character becomes aware that some people are willing to forgive, even though a big part of her distrusts that it's for real.

3.) The Character Experiences It for Her/Himself

Then, my main character experiences being forgiven. She is forgiven by someone other than the character in #2 above.

Had she not seen that other character (in #2 above) forgive someone else, she would not have known or believed it were possible. But because she witnessed it, the closed door in her heart opened just a crack and so when she herself is forgiven, though it is "unbelievable" (according to her former self), she believes it (this is her new, changed self).

4.) S/He Wants To Do That Herself

Because she has experienced forgiveness for that huge secret in her past, she now not only believes forgiveness -- and forgiving -- is possible, but has also experienced the unbelievable feeling of freedom from that burden. This has opened in her a freedom to love and so much more. She now knows it as only someone with first-hand experience possibly can.

With this new-found knowledge and experience, she now knows what she must do -- and she is determined to do it.

In 3-Act structure, this point is the end of Act 2 and the beginning of Act 3. This is the point where she moves forward to the climax of the story, where she puts everything on the line and everything is at stake. She will either gain everything or lose everything. But either way, she moves forward to the climax of the story and there's no looking back, no going back.


All of these different learning experiences become subplots utilizing your secondary characters to carry them out. This, then, fleshes out your story and gives strong support to the middle of your story.

If you're having trouble with your story, I suggest you take a look at your main character. Make sure that their learning and changing is ahead of them, not behind them. Back them up if you need to. Then use the four ideas above to find a way for them to learn what they need to know. You audience will learn with them. Then you can move ahead with your story!

An Amazing Product for Writers:

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• It's a software that you can put your notes into and then move them around and add to them like index cards on a cork board. (Yes, a lot like Scrivener, but...)

• It also has a series of questions that you can apply to your story that are amazing. This part, for me, has been pure gold. This is what has helped me develop my stories to a point where I can easily write them. I love this!

I've never gone out of my way to ask to be a sales affiliate of a product before, but I so love Plot Control that I actually did ask them if I could be an affiliate market for them. Disclosure: Please know that if you buy through my link I will receive a commission on your purchase.  But I believe in this product so much I really wanted to bring it to you.

I offer all my best advice on this blog for free. Any commissions I receive will help pay for my time I spend bringing helpful articles to you, so if you choose to purchase Plot Control or their other products I hope you will honor me with a click through my affiliate link.

To learn more you can click the tab at the top of this blog or click here: "Amazing Product for Writers"

To go straight to the product page to learn more about it, click here:

PLOT CONTROL

My Christmas book on sale this month:

I have a limited quantity of my popular Christmas book still available. This book makes a great Christmas study and a great gift. If you'd like one, please order through Amazon's "See All Buying Options" and choose "Connect Books":

Prophecies Fulfilled in the Birth of Jesus
by
Dianne E. Butts
Please order from Connect Books.

(Tweet this please!)

Also available, e-books for Writers:

Cutting the Passive Voice

How to Get Published

Book Signings

Related Article:

• Writing Stories: What Your Story Needs - Part 1

Writing Stories: What Your Story Needs - Part 1

iStock (c) Albany Pictures

Recently I participated in the 168 Film Project's "Write of Passage" contest as a Development Executive (DE). This is a volunteer position which is a sort of "mentor" for those participating in the contest. This is the third year I've mentored writers in this contest as a DE. Serving as a mentor has put me in an excellent position to see what stories need in order to "work." (Tweet that!)

The 168 Film Project is an organization that runs two contests: one for film producers, the other for writers. Both contests run one week (which is 168 hours, hence the name). Both contests require contestants to base their stories on an assigned Bible verse. Once the verse is assigned, that marks the beginning of the 168 hours of the contest. In the 168 Film Project contest, participants produce a short film (limit 10 minutes) in 168 hours. Teams write the script as well as accomplish all pre- and post- production. In the "Write of Passage" (WOP) contest, each writer (or team) writes a short film (limit 12 pages) in 168 hours.

In the WOP, a Development Executive is assigned to guide a group of six writers, who work individually, through the week. The DE reads and critiques their scripts multiple times throughout the week. It's a great learning experience for writers if you have any interest in screenwriting. It's also valuable for learning how to tell an effective story because story structure is crucial in a short story or short film.

I hope no one tuned out at the words "story structure." Even if you're a writer -- whether for print for for screen -- who, as they say, writes "by the seat of your pants" (meaning, no outline, no synopsis, you just follow the characters and see what they do), you still must have structure to your story for it to work. Okay, I can hear the arguments swarming, but I believe that wholeheartedly. No story structure = no effective, working story. You can argue among yourselves while I move on.

Being the mentoring guide, the Development Executive, for six writers in each of the past three years has taught me a lot about what a story needs in order to be effective, or to "work."

Now, one interesting thing is, these are things we all probably already know. We've heard them in writing classes and workshops. We've read them in books. But when you see it in practice, you learn it better. That's what has happened for me. I keep telling my writers whom I mentor through the contest that I learn at least as much from them as they do from me. It's true, whether they believe me or not.

Even so, let me share some of the things I have learned about what a story needs to have. Even if these sound familiar, I'm sure I'll say them in a different way and hopefully they will help you grow in your story telling, whether you're writing fiction for print, writing for the screen, or even writing nonfiction that uses story-telling techniques.

This is by no means an exhaustive list, or a complete formula, of what a story needs. These are just four items I've seen that a story need to have in order to "succeed."

1.) A Story Needs to Have Conflict

No conflict = no story. If there is no conflict, then it's just a list of facts:

"Johnny went to the story. Johnny saw Suzy. They went for coffee. They spent the day together..."

B o r i n g. This leaves the reader asking, "So what? Why am I reading this?" A story always has to answer the "so what?" question. Otherwise you're wasting the reader's time. (Tweet that!) The only way to have a "so what" in your story is to have conflict ... something that needs to be dealt with, a problem that needs to be overcome. That's conflict. The bigger the conflict, the better the story.

When you're designing your story (yes, seat-of-the-pants-writers, I mean you too), avoid "internal conflicts," especially when writing for the screen. Yes, there can be stories with internal conflicts but external conflicts -- meaning involving other people -- are easier to portray and to write. You can have internal dialog to convey internal conflict in a written story but, as you know, it's far better story-telling to "show rather than tell." For internal conflicts you must tell the reader what is happening by telling the character's internal thoughts. It's just better to show the story through action.

But if you are writing for the screen, you really need external conflict. Suppose I'm your producer and/or director. If all you have is internal conflict going on, how am I supposed to put that on the screen?

If you've studied story structure, you may have heard these terms:

• Ordinary World
• Inciting Incident

A story starts by showing the main character's ordinary world -- things as they are before any conflict happens.

Then something happens that changes the ordinary world and sets the story in motion. That incident incites the story.

That's conflict. Don't leave this out of your story or else you don't have a story.

2.) A Story Needs a Theme or Message

I know what you're thinking. You've always heard or been taught, "Don't start with the message." You've heard when we start with the message, the story comes off "preachy" or at least cheesy.

You know me. I tend to go rogue. So I disagree with this. If I don't have a message or a theme, what's the point of writing the story? (Tweet that!)

I'm not completely sure about this, but I think perhaps if you're writing ONLY for entertainment, then it's okay to not have a theme or a message. And it is okay to write solely for entertainment if that's what you want to do. But still, the really good stories, the ones that we love and that stick with us and that we want to see over and over, have a theme or a message.

And if you are like me, a Christian who writes to make Christ known, then why write something "only" for entertainment? It's a waste of my time here on earth. (Tweet that!)

Your theme or message answers the questions: What are you really trying to say through your story? What important points are you communicating? What is the message of your story?

You may not start with the message. Your theme/message may come out and become clear to you as you develop your story.

If you start with a message and develop a story around it, you may have to work double-hard to develop and authentic story so it's not simply preaching a sermon. But that's okay. You can do it.

I'm just saying, in my opinion, it's best to have a message. Tell it well. Through story.

And here's a hint: When you've nailed down your theme/message, have a secondary character state it early on in your screenplay. I think that might work well for novels, short stories, and novellas, too. (Watch for that in your favorite movies and see if you don't discover it.)

3.) A Story Needs a Main Character Who WANTS Something

Here's one I struggle with every time I design a story. This is something I've been learning and when I realize this is what I'm missing in my story, it helps me tremendously.

The main character in the story needs to want something. This want gives forward motion to the story. There also needs to be something that prevents your main character from getting what they want. This creates conflict. (You remember #1, right?)

Thanks Morguefile.com 

If your character does not want something, you may have a character that is too passive. A passive character is one who is not doing anything but has everything done to them. For example, the abused character, the crime victim, or the widowed character. A passive character is a problem because there is no forward motion to carry the story forward. (Tweet that!) Give your character a "want," then let them go after it.

A character's "want" could be revenge, justice, or new love. Or his or her want could be wanting to move up in his company or own her own business.

Now, this "want" is different from what they are going to actually get through the story. But what they get in the story is infinitely better for them, they just don't know it at the outset of the story.

When, through your story, the character gets this better thing instead of what they originally wanted, they are a changed character. They have changed. Which leads to #4...

4.) A Story Needs a Character to CHANGE

If you do not have a change in a character, then you do not have a story. (Tweet that!)

Most often the changed character is the main character, however in some stories the main character does not change but instead changes others around them. As I was trying to think of an example of that, I thought of the story of Jesus.

When Jesus came to earth, He wanted people to know the one true God (which He was -- God come in the flesh) and He wanted to bring salvation to the world through His sacrificial death for sin on the cross. Jesus had a lot of opposition -- both from enemies and even from His friends and family. These things could have changed Him, but they did not. Instead, Him coming in flesh changed all the people around Him -- some for good as they followed Him, others for bad as their evil hearts were revealed. In the end, And the world has been changed ever since.

This change is your story or character arc. This arc makes the story. It means it is all going somewhere. This somewhere the story is taking us gives the story meaning and purpose and answers the question, "So what?"



Next month we'll talk more about what stories need to be successful. Specifically, we'll talk about what to do when your main character is already too good or has already "arrived." What do you need to do with that character to save your story? I have some ideas and I'll share them in my next post.

How to Get Unstuck When You're Stalled In Your Writing (Beating "Writer's Block")

iStock © alvarez

This month I'm wondering who needs this article. (Maybe it's you. Maybe it's me!) Have you ever been stuck or stalled in your writing? Have you ever experienced "writer's block"? Here are some thoughts to help.

This is a rerun from my former newsletter from August 2010. It's a timeless topic and I know there's help here for someone who needs it. Maybe that will be you, if not now...then perhaps another time soon.

Getting Unstuck When You're Stalled

I had conversations with two different writers recently. Both talked about being stalled or blocked on big projects. We talked a little about why this might happen and what we can do about it when it does. (Tweet that!)

One fellow, when he learned I was a writer, asked me, "How do you get past writer's block?" (Tweet that!) He has a large project in mind and he's looking for help in getting it done.

As I tried to talk with this writer, he did a lot of talking and very little listening. He lamented that he couldn't get anything done. He was frustrated that he couldn’t get anyone interested in his project.

I asked him what he had written so far. He didn't answer, but went on about how the people in charge who should want his project wouldn't get on board with him. Hmmm. I began to wonder if this fellow has ever actually written anything.

What is Writer's Block?

Sometimes I think would-be writers try to write, find it extremely difficult, and conclude they have writer's block.

I’ll make a confession here that I've never made out loud before because I have the impression it could possibly be quite controversial. Here it is: I don’t know what writer's block is. (Tweet that!)

There. I said it.

Years ago I remember reading an article in a popular writer’s magazine where the author stated he didn't think writer's block existed. Oh what an uproar ensued! I was stunned such a statement would elicit such a strong, negative response! I'm still not sure I understand why. I just know a lot of writers were offended.

I've heard writers say when they are blocked they "can't" write. Okay, maybe so. I've never experienced that so I won't claim to understand it.

What I have experienced is that writing, for me, is really, really hard. (Tweet that!) It's work. It never comes easy.

I've heard some writers say their words flow so easily onto paper. Well, lucky them, I guess. For me, it's hard, physical labor to get my ideas out of my head and onto paper. I can say that I've had enough practice now that it's easier. I now understand my own process I must go through to get it done. But it's never easy.

Writing is clear thinking.

If you can't think a thought or idea clearly, then you can't nail it down on paper. (Tweet that!) Getting to the point of being able to clearly state what you're thinking is hard work. (Tweet that!)

I have to wonder if that writer who told me he was blocked really was blocked. Or did he discover how difficult it is to write and conclude something else was wrong?

What to do about it.

Recognize writing is hard.

If you're blocked or feeling stuck, the first thing to do, I think, is to recognize writing is very difficult. If it wasn't, everybody would be doing this. (Tweet that!)

Clarify what you want to say.

The next thing I would suggest is to clarify what it is you want to say. Remember that exercise we're told to do? Say it in one sentence.

Whether it's a book, an article, or a short story, say it in one sentence. If you can't, it's not clear enough yet in your own mind to nail it down on paper. (Tweet that!)

It will take time and effort and a hundred (or a thousand) failed tries before you're able to say it in one sentence. (Tweet that!) That's just the way it is. But once you start getting close, you'll sense it. And once you nail it, you'll know it. So don't quit prematurely.

Say it in one sentence. Just do it. Now.

[For help writing this one sentence, visit the December 2014 post, "Keep Your Eye on the Ball: One Sentence that Can Elevate Your Writing to New Heights."]

Some suggestions...

The second writer I talked with I know to be an accomplished writer. She said she was burned out. Boy do I understand that. She works a lot on other people's projects and really wants to work more on her own, but she's not getting going on those.

I asked her, "What's your passion?" She thought for a moment before she told me about a project she has wanted to write for years. But it's too big, she said. She doesn't know where to start.

We talked about some things she could do. Here are some of my suggestions:

• Break it down.

Figure out what you need to do. Make a list. List the items that would need to be done to accomplish (or even start) this project.

• Make a plan.

• Work the plan.

• Do what you can.

By the time you get to some of the things that can’t be done, you will have found the help you need or a way to do it. Start with doing what you can. The rest will work out.

Remember your passion.

And whenever you’re feeling burned out, stalled, or stuck. I suggest this:

• Return to your passion.

I think as writers we're asked to do more and more to please publishers, all with lower and lower pay. Or no pay. We're expected to start a blog, be a public speaker, market online, attend conferences, write on spec, take assignments… No wonder we’re feeling burned out, overwhelmed, and stalled.

But I fear that's a topic for another article. For now, ponder these questions:

• Why did you start writing? Or why do you want to write?

• What is your passion? What topics, projects, or type of writing are you passionate about?

• Are you working on what you're passionate about, or have other projects taken over and crowded out what you really want to be writing?

• How can you take steps to return to what you wanted to write when you started, to those projects you're passionate about?

There you have it. Get reconnected to your writing passion and takes steps to get back to that. I really believe when you do, you'll get unstuck.

* * *

I hope this rerun article has helped you get unstuck if you're stalled in your writing. If you're experiencing writers' block, I hope you've found some help here to beat writer's block.

If you would like more help with your writing, check out my ebooks for writers here:

• How to Get Published by Magazines & Book Publishers
• Cutting the Passive Voice -- Only $ .99!
• Have a print book out? You need Book Signings!

By the time we meet here again next month, I'll hope you're well on your way in writing your passion and your dream project! God bless you and your writing.