Scenes That Refuse To Be Written: Writer's Block or Lack of Focus?

My mind's astounding ability to be recalcitrant and adamantly refuse to focus is what makes a scene "difficult to write." I've yet to encounter a scene that's "too emotional" or "too...too" to put into words. I've written scenes that made me cry--which I consider a good thing. If they don't provoke an emotional response from me, the creator of the characters and world, I can't expect the reader to care nearly as much, right? I've written such detailed fight scenes that I've acted out the staging to ensure plausibility. Do the readers care as much as I do that it's left foot forward, right shoulder back? Possibly not. Didn't stop me from spending a lot of creative time penning that scene.

Are there scenes that didn't turn out the way I'd thought they would? Oh sure. Are there scenes that didn't come remotely close to what the outline said they should? ~slaps knee~ Oh, so very many. Are there scenes that ripped out my heart that exist only in a Cut Scenes file? Ayup.

Now, what do I do when my mind says, "Yeah, no, no we're not holding a steady train of thought today"?  Oh, dear reader, I wish I had some glib sure-fire solution. I wish I could say those No Words days only lasted a day or two. I don't classify those days as "writer's block," because I know what should happen in that scene. I'm not creatively stumped, I'm unable to focus. Different problems.

Writer's block is akin to having no pulse from your creativity feed. Solution? Immerse yourself in the creativity of others. Let their spark be your jolt. Let their imaginations be the yeast that helps yours grow. Rest. Let that yeast ferment, let your creativity proof, rise. Pretty soon the story is ready to bake. No guilt. No time wasted. It's all part of the process.

Lack of focus? Gah! It's opening the doc, staring at the chapter header and knowing that the opening paragraph is setting the scene...yet envisioning the setting opens all thirteen-hundred tabs in your mental browser and now you're wondering if you should be planting the wildflower seeds or if you've properly calculated the time and budget for Universal Design modifications on the off chance your aging parents will need to relocate and if you release four books a year you might be able to get to that series about those characters that have that thing but... By the time you shut down all the extraneous tabs, you've blown through your day, your eyes are barely open, and the cursor is still flashing after the chapter header. That...that is my challenge, dear reader. I don't know the answer. Meditation? Discipline? Mindfulness? Uh. For some, maybe? But, if you too suffer from Squirrel!, you're not alone. It just takes us a little longer to get to The End.

When Writers Block Means to Dig Deeper

Our topic at the SFF Seven this week is: "The most difficult scene you ever wrote and why."

I'm guessing that's why was it difficult, not why we wrote it. Though I do think the why we wrote the scene in the first place is relevant.

There's a school of thought among writers and writerly-advice givers that if a story becomes difficult - if the writer hits a block and grinds to a stop - then that's an indicator of Something Gone Wrong. I see this advice a lot. Writers will say - often in response to questions about how they handle Writer's Block - "When I hit a block, I know I've done something wrong, taken a wrong turn somewhere, so I go back and rework the plot."

You all have heard a version of this, right?

Makes me cringe every time. I'll tell you why.

What I hear in this dubious advice is writers advocating walking away from the hard parts and looking for an easier path forward. Now, I know this isn't always the case. Part of becoming a professional writer is learning to decipher your own internal voices - to differentiate between laziness and being truly depleted. To separate painfully accurate critique from toxic attempts to undermine you. To know when resistance means you took a wrong turn - OR when it means you need to dig deeper.

{{{Important caveat: Sometimes writers block can mean depression. Or physical or emotional exhaustion. I'm talking about if those factors have been ruled out. That's a whole 'nother kettle of fish and Mary Robinette Kowal has a great post about it.}}}

For me, resistance has always meant I need to put my nose to the grindstone. Keep picking at that wall. Make myself walk through the fire. Pick your metaphor: in my experience, the best stuff lies on the other side of that wall. I've experienced it repeatedly.

My friend and SFF author Kelly Robson talks about not taking the Monkey Bypass. That's a great essay she wrote about it at the link. In essence, the Monkey Bypass is an opportunity to avoid filth and damage. Robson argues, and I agree, that you can't let your characters bypass danger. I think an author also can't allow herself to retreat from pain and difficulty.

Why have I persisted in writing those difficult scenes? Because the story required it.

I have never once been sorry that I kept pushing through those blockades.

I recently released THE FATE OF THE TALA, the climactic book in my Twelve Kingdoms and Uncharted Realms series. Those who follow me regularly - especially those who listen to my daily (almost) podcast, First Cup of Coffee - know that I had a hell of a time writing this book. I'm not sure if I can point to a specific scene, because the whole freaking book was mostly picking at that wall. And kicking it, pummeling it, then collapsing in a sobbing heap and scraping myself together to try again.

At one point, my mom - who listens to my podcast with the loyalty of a mom - asked if I couldn't just put the book down, walk away from it and write something else for a while. "Isn't this supposed to be fun?" she asked.

Well... no. I don't believe that good art only comes from suffering, but sometimes writers DO need to hold their own feet to the fire to get to the good stuff.

I discovered a lot of things in writing that book - and not just that it's a bitch to write a novel that ties up a 16-episode thread (counting novels and shorter works in the arc). I realized I was working out emotional issues in my own life and marriage that I hadn't faced. And I discovered amazing things from the seeds I'd planted ten years ago, when I began writing THE MARK OF THE TALA.

Now I have readers coming back and telling me how they loved the way I tied this up. Here's one from this morning:

I am amazed at how well you brought it all together in this last book! It was so good; I cried several times. It got me through a very difficult week, when I’m not sure any other book would have held my attention. Thank you!!

— SonomaLass *Warren for Majority Leader* (@SonomaLass) March 8, 2020

Totally worth that slog through the monkey enclosure!

Lack of Trust Isn't the Issue

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This week at the SFF Seven, we're asking: how do you know who to trust with your writing, especially early drafts and idea bouncing.

It’s not a question of trust for me, it’s a question of the way I work, which is that I never share a work in progress with anyone, ever. I’m not afraid of ideas being stolen but rather that whatever story I’m telling is MY story, with my characters and I’m not interested in how anyone else might think the story should go. Ooh, you might be saying, crochety much? No, just stubborn and confident in my story telling abilities. Not trying to sound arrogant but I don’t need or want other opinions when it comes to exercising my creativity and telling my version of a story at the ancestral campfire. (For sure no one beta read or critiqued those first story tellers LOL!)

 I brainstorm with myself if I encounter plot challenges along the way- I actually use a couple of techniques I was taught when I led teams and did process improvement, although in a much scaled down way since it’s only me in the room now, thinking through the alternatives and the ‘If this, then what?’ and the ‘Why?' questions, with the occasional Venn diagram thrown in.

 I also don’t feel any need to share my writing until the point where I regard it as being a complete and finished work. When it’s done, I’m thrilled to put the book out into the world, let it receive reviews from readers as to their experience with the story, and move on to writing my next novel.

Part of this attitude of mine may be that since I’m not a person who plots in advance, the story unspools for me as I write it and therefore it’d be pointless to show the manuscript to anyone else prior to the work being complete because even I don’t always know all the ins and outs of the plot ahead. I do always know the ending, however.

Writing is kind of a fragile thing to me and the finished story is a strong enough edifice to withstand reader reviews and the opinions of others, whereas a story in progress doesn’t yet have that strength and if I got feedback that derailed or distracted me, I’d probably never finish the thing.

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Maybe I’m missing out on a whole set of wonderful, rich experiences by not gathering with other authors and exchanging ideas on WIP’s…but I can only do me and my Muse doesn’t think writing is a group activity. She shuts down and goes into silent running mode. I'm happy for people who flourish in that collaborative group environment and find writing partners who share and enhance each other's creative sparks but I know my own limits.

(Pretty much Rule One of Writing to me is that there's no one perfect or right way that everyone MUST write...thank goodness!)

I do give the book to my developmental editor once it’s complete and has gone through several edits by me. She provides very useful feedback and I have made changes or added or deleted things in response at times…but I’ve also chosen to ignore the inputs completely at other times where I’m happy with the story as it was. Having the dev editor’s comments certainly enables me to grow as a writer and to avoid repeating some mistakes as I go forward with more books.

I don’t do beta reading or critiquing for anyone else either with very rare exceptions that had unique circumstances. I can probably count those instances on one hand. Normally I refuse requests to beta read as kindly as I can.

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I’m a solitary person up there in my cold garret, writing away and telling my stories! (Well, okay sitting here in my cozy and warm apartment if you must know…)

Happy reading to everyone!

Who to Trust With Your Work - The Junior High Dance Edition

How do you know who to trust with your writing, especially early drafts and idea bouncing.

Yikes. This is such a process of trial and error. It's like those middle school and junior high dances where everyone's awkwardly hugging the edges of the room afraid to ask anyone to dance for fear of rejection or ridicule. Figuring out who you can trust with your well being as well as your heart is part of growing up as a human being. Figuring out who to trust with your writing is part of growing as a writer. And yes. The process is about as painful.

There's so much to learn.What's acceptable behavior. What isn't. What builds you up. What tears you down. That last is really hard because what's soul-killing to one writer will be nourishing for another. I will say this, though. When you find someone you can trust to give you the unvarnished truth about your work in a kind, constructive way, that person will be worth their weight in gold. It took me three dysfunctional groups before I fell by accident into one that taught me not only how to critique, it taught me how to take critique. The authors who welcomed me into that group had hundreds (not kidding) of books pubbed between them. I had zero, and I was still several years away from selling anything. These ladies ripped my manuscript to shreds. It would have been demoralizing except for the fact that they also painstakingly explained what was wrong and how I could fix it. Fantastic learning experience. Still, I could see where it might have been crushing had it come any earlier in my development.

I'll own up to mistakes made along the way, too. There were groups I joined simply because I could. They weren't a good match. Like trying to figure out dating, there's just no way to get out of it without hurting someone else or being hurt yourself. It's part of learning who your matches are. All you can do is try. And then try again. I'm lucky. Persistence paid off in spades. I have so many great critique and beta reading options - people writing and reading in my genre who know the market I'm writing for. Not a one of them is afraid to pull a punch because I'm tougher now. As my confidence has grown and as my trust in my crit readers has likewise grown, I want the bandages ripped off my story wounds. No candy coating. I know these people have my back and want my story to be the best it can be. So I want to get on with making my story better.

It took years to get here. It took some tears. I wish there was a formula for instantly detecting trustworthiness I could offer you. But I'm afraid this is all one grand experiment. Pretty much like the rest of life.

Need a CP you can trust, but don't know where to start?

There is nothing more frightful than handing off what you’ve written to someone else for critique. 

*insert cringing, nail-biting, hiding under a blanket*

As a writer, critique is absolutely what you need. Why? Well, there’s only so much you can do for your manuscript, only so many typos you’ll be able to catch, and only so many errors/plot holes you’ll be able to see.

Trust me, I know it’s tempting as soon as you type The End to send that book baby off to agents/publishers/format it for Amazon. But don’t. You need another set, or sets, of eyes on it.

*side note* Another set of eyes, not your mother (sorry Mom, and all moms out there, but you’re biased because you love us and will always believe what we do is amazing, therefore you’re not a good sounding board).

My fellow SFF Seven have shared insight on how they decide who to trust. Personally, I believe it all comes down to following your gut. But what if you don’t know where to start to find a critique partner? Or maybe the thought of handing your words over to someone you know, and have have to see IRL, terrifies you. If that’s you, then I have some options for you:

Absolute Write Water Cooler. This is a very active community for all types of writing. You’ll find a lot of articles about publishing and their online writer community forum is loaded with discussion a variety of discussion topics and writing prompts. 

NaNoWriMo. National Novel Writing Month takes place in November, but their community is active year round. #NaNoWriMo makes it easy to find people who are participating, and NaNo’s website allows you to search for people and ‘buddy’ up. I know many authors that’ve found writing buddies to cheer for them and critique for them this way. 

Discord is a way to interact with a large group and chat with like-minded individuals. Yes, there’s a ton of groups for gaming, minecraft, manga, etc. on Discord, but they also have BetaMe for writers who want to give and receive feedback on their work!

writing.com. This online community is a great place to post your writing for member feedback. Once your words are up all members can read and leave comments, so if that’s too broad for you…

Inked Voices may be a good option. This space is set up for writing groups, usually 5-15 members. They do have lectures and can connect you with professional editors if that’s intriguing to you. 

Since this is the SFF Seven blog, you may be interested in: SFFChronicles.com. This sci-fi fantasy community has a lot of forums, feel free to join and geek out, and they have a robust writing forum with a Critiques section. Note, you must have done 30 posts before you can post your own for critique. 

Reddit is huge, but did you know how many subreddits there are? I don’t, sorry if you were getting excited over getting an actual number. But they have some very popular writing subreddits if you’re looking for a particular niche!

r/writing

r/fantasywriters

r/writerchat

r/selfpublish

And last, not that this list is even the least for writing communities by far, but I’ve got to wrap this up before I lose your attention, are the social medias.

Twitter has become home to one of the largest #writingcommunity groups. Search by the hashtags, a few are #amwriting, #writerslife, #writersnetwork and #5amwritersclub. Twitter can turn into a negative cess pool at times, so if that gets to you…

Instagram uses the same hashtags and has a more positive vibe to it. Facebook, is Facebook, and can also be searched. 

It’s petrifying to share your work. But you can do it! Prepare yourself for feedback, buy some wine or bourbon, and settle in. The more you do/participate, the quicker you’re gut will learn to spot the hatters and those who aren’t a good critique-partner fit. Plus, your writing will get stronger and you’ll likely end up making some great friends! 

Have you tried any of these communities? Do you have a writing community that I didn't mention? 

When to ask for crit, and when not to

I have a great critique-partner team: four writers who read my stuff at various points in development and have applicable skills. These people have helped me a whole lot with the three books I've put out into the world, and I can never thank them enough.

But I haven't sent the stuff I'm working on right now to any of them. And I'm not sure I'm able to say why.

It's not like I've never gotten crit before.

It's not like seeing "Eeeeew!" in the margin deflated my writerly balloon.

It's not like I just want to write my own thing, how I want to write it, and goldarnit people are going to adore my genius, just you wait.

It's not like my CPs aren't craft geniuses. (See above.)

It's more like... see, I don't know. Maybe I was more confident back when I was sending folks pages? I'm not entirely sure what I fear would happen if I shared my current story with them. They wouldn't be mean, and I know their insights could help me create a better story, but ... dunno. I'm still nervous.

So that's my advice, I guess: share when it doesn't scare you. Share when you can handle the eeew in the margin. Share with people you trust because they are seriously skilled writers and/or marketers, and you know they have your best interests at heart.

And this especially: definitely share that manuscript with someone skilled in craft BEFORE you publish. Never, under any circumstances, write a book and then self-publish it before you have someone -- many someones, ideally -- read it. The last thing you want is some reviewer to be your harshest critic when it's too late to fix the book in any appreciable way.

In the mean time, if you're cringing in the corner and hugging your book to your chest, please know I get you. You aren't alone.

Feedback: When is it DNGAF vs Useful

How do I know who to trust with my work, at which stages, and how much weight do I give their input?

~rubs neck~

This is sort of a work-backward topic for me. First question is: do I have a legal obligation to someone? E.g, a publishing contract. If yes, then they get to have input in concept, completed draft, and final edits. There's a legal document that says who gets to have a say, in what, and what the consequence are for ignoring them. Easy answers there.

If I don't have a contract, but I have an agent, I am likely to seek their input on "what's next." Eg. I'm tossing around three concepts, which is the one they feel most able to sell?  To me, an agent is there to help me plan my career short and long term as well as sell my manuscript(s) to publishers. Some people have agents who also provide editorial feedback in addition to career planning and mss sales. If edits are part of the established relationship, then value your agent's opinion or get a different agent.

If I have neither a contract nor an agent and all decisions are mine, then I default to my gut. I'm not a sharer of concepts or incomplete works. I'm the Critique Partner who will hand over a completed draft before I solicit feedback. In reverse, I'm the Critique Partner who is most effective when I have your completed draft. My editorial strengths are in the development of plot and character. If I don't know where your character is headed, I can't really tell you if an explosive action response is the best next step. I have had potential CPs who worked best exchanging chapters so they were receiving near-constant feedback. I wasn't the right fit for them. I didn't like them any less as people, we simply weren't compatible as CPs.

Beyond the CP stage, I trust the professional editors I've paid. I've had one crappy dev editor, and the rest have been amazing. I've learned that I need to tell my editors if I have specific questions or perceived story issues, so they know--that in addition to whatever they find--they need to also acknowledge whether my issues are legit or "just me."

That's my process. While I don't like brainstorming my concepts with other people, I love brainstorming other people's ideas. Yes, it's a double standard.

Dear Readers, if you're questing for sources of feedback, the first question you must ask yourself is "what do I want from the people with whom I'm sharing my ideas/work?" Be honest; otherwise, you're in for a boatload of butthurt on both sides. Some authors need adulation, encouragement, and positive feedback only. They're not emotionally prepared for someone to respond with constructive criticism. Similarly, the "constructive" part of criticism is a skill that requires practice. Tact and tone are hard to convey in "track changes." If you're open to critique, great, but everyone has different thresholds and tolerances for how much and how phrased. Communication is key to fine-tuning any relationship. It's okay to say, "Hey, this [specific example] is a little harsh for me. Next time, it'd be easier for me to hear the feedback couched like [specific example]."

So, the short bitchy answer to this week's question is: I trust people who've proven their value. Everything else is DNGAF.

Who Do You Trust with Your Work?

This week at the SFF Seven, we're asking: how do you know who to trust with your writing, especially early drafts and idea bouncing.

This is similar to a question I get all the time, which is how to pick critique partners and how many I use, including beta readers, etc.

The short answer is that this has changed quite a bit over the course of my career. I've been a member of two different critique groups that met IRL, and I've been part of various clusters of critique partners and beta readers online.

Another short answer is that who I discuss my ideas with or share work with at various stages changes all the time, and varies depending on the type of story and what I need help with. I'm blessed with a number of writer friends at this point who can read for me, and give me what I need, usually blazingly fast, too.

I can also say that I've grown extraordinarily picky about who I bounce ideas with and who I ask to look at early drafts. This is because - and I've used this analogy before - stories in their earliest stages are like infants. Their skulls are still soft and they are fragile beings that must be carefully tended. Just as you'd never hand your newborn child to just any person on the street, you don't want just anyone giving your fragile new idea a good, hard shake.

There is a time and necessary function to the good, hard shake - but that's akin to the college years, when you figure they've got to get drunk and pass out on the couch at the fraternity house at least once and learn some lessons from it.

But not the baby story. The baby story needs love and nurturing. It needs someone who can see the potential and not that dreadfully bulging forehead. I even left one IRL critique group because I felt they were having a negative impact on my work, instead of a positive one.

That's not the topic question, though, right? The question is how do you know who to trust?

There are no easy or short answers to that one, though I'm very much looking forward to hearing what advice my fellow SFFers have to offer. It took me a long time to decide to leave the crit group that wasn't working for me. It can be difficult to separate the very real reaction most humans have to criticism from the intuition that something is having a very real negative impact.

None of us like to have our work criticized, even if we are privately pissed that they passed out on the fraternity house couch. Learning to receive criticism and use it effectively is a huge part of learning to be a professional author.

But not all criticism is useful, and it's not always kindly meant.

So, that's how I decide: I consider the source and their intentions. If feedback from someone feels negative or unkindly meant, I pay attention to where they are with their own work. Are they feeling good about the work they're doing? How do they critique other people's work? Are they otherwise supportive of me and seem genuinely pleased for my successes?

That last question is key, and helped me to decide to leave that group. When I mentioned a success, these same people were sour and unsupportive. I knew then that their criticism of my writing felt negative because it was.

When you figure that out, walk away. Don't trust them with anything fragile again.