Practice, Patience, Perseverance
Transitions
My mother would stare at her Typewriter for hours, then computer.
Her character was stuck in a cafe.
I was too young to understand why the character couldn’t just get up and walk into the next scene.
Oh my god no.
Then I knuckled down to write more than a short story and ran into my nemesis.
The Transition.
You can’t smoothly have that character saunter off. There has to be something there, gluing the scenes together, gently letting your consciousness flow with the words so you aren’t bothered or jarred.
Unless you want that.
But whole scenes can be transitions.
Even chapters.
Just nudging the mind of the reader from one idea to another.
I hate writing them.
Hate them.
So what have I learned?
Well some moments are a good time for a character to have internal reflection.
Or it’s a good spot for a solid description.
Which might explain Tolkien’s 4 page description of a tree. Maybe he was stuck.
You do sometimes need enough there to have a sense of time passing and that form of transition is particularly difficult!
Learning them takes practice, patience, perseverance. Sorry.
Once you find your own voice and rhythm you can really work on them then.
Practice your heart out first. And just have the scenes in software that separates them like Scrivner or Ulysses.
Once you are comfortable with what you’re producing – start trying to glue them together.
Do not get stuck in a cafe.
Write
[transition here]
And keep going.
Once you have your scenes that you want to get to, then massage a way to connect them.
Description of some kind is easiest, or a very good spot for character development that isn’t as intense. Some dialogue that reveals a bit about them. Snippets of humor. Little tiny pieces.
But if one takes over and becomes its own scene, don’t worry. That happens.
Otherwise, it’s very personal to your writing style. Do you go:
Cut!
Next scene!
For bold, adventurous thrillers?
Or are you more languid and romantic?
Or a combination, a thriller that goes a mile a minute but still takes time to pop some sticky stuff between the scenes?
You’ll get there through experimenting. But first, keep moving. Then find your style. And be consistent within that book or series.
I have a different style per series and a few different fiction voices that I massage into place per book.
But most tend to have their own way of communicating a tale and keep to it.
Both are fine.
If your “muse” is picky about changing the way your words work it’s not like you have much choice.
Some things are just part of the mystery of writing.
And I would certainly call transitions mysterious.
You’ll get used to them eventually.
Maybe you’ll do what I do and have a day just glueing scenes together because I can “f’n write” that day – on fire with my words!
Which is not normal, so it’s best to tackle something difficult!
It’s that or restructuring and I can’t tell you how to do that. But it is normal too.
And sucks
But less than transitions.
Dialogue
I’m going to be brief here because I believe getting a sense of dialogue best comes from taking a screenwriting class or reading a book on screenwriting if that fails. (I also make some these points elsewhere)
In a movie, dialogue needs to further the plot, reveal character, create conflict and illicit emotion with every sentence. You need to learn to apply as much as that as possible to what your characters sound like.
Dialogue should never be written to echo how we really talk. Too many ums, ahs, “you know”s, junky slang words, run on sentences and tangents would ruin a movie and they will ruin your book.
Tangents can be good, like using them as a hint of exposition, but they need to be short and flow so smoothly into the conversation the reader doesn’t notice the shift. You are bending a rule when you use them.
For the most, part conversations should be crisp, clean and do almost everything you see in the movies. Novels can get away with dialogue that does not create conflict so long as it reveals character. It’s a good way to have occasional down time.
You can have dialogue that simply builds tension or a relationship. And you can use dialogue as a transition. And you will see such concepts used in TV shows as well. But the general theory is the same. Keep it meaningful.
The only other advice I consider important to impart is the need for your characters to all have their own voices. Each character will have a style of speaking that is unique to him, learn it, use it, and be consistent.
Now if a character is being deceptive that vocal style can change. It’s a good nuance to work in and I highly recommend poking around some communication books to see what kind of linguistic patterns people in different situations have.
If you are struggling with the words the character says, try watching movies, listening to radio plays, and watching quality TV. (I recommend supernatural) It is important to hear language used when trying to figure out that aspect of a book. Reading about it won’t get you are far as you can get with audio stimuli.
If you have the opportunity to talk to people from many walks of life that is also a great way to pick up on how certain kinds of people say what they say. But that approach has its limits and its downsides as you can imagine.
Once you have internalized the process, (usually after a garbage phase) the characters will become much more clear. Who knows, maybe the book will be easier to write. I doubt it, but anything is possible.
Plots and a good ol” squabble.
Without the extra padding of the story of how I figured this out.
Brush off anyone who says plot wasn’t at least difficult to learn.
Brush off the simplicity of the basis. Because even compelling true stories have it. And you might even think, “I could have told you that”
Could you have then please?
Maybe writing classes are better now. But I learnt the hard way.
Over and over, changes, ripping scenes in and out, my voice changes per book and I had to get used to that because that’s my meta voice.
God I wish someone had just pointed this out to me. I think I finally found its inspiration in a book about NaNoWriMo which I don’t participate in but learnt to appreciate.
Anything to solve “bum in chair” syndrome. (I forget which famous author that was, either Bruce Holland Rogers, or Stephen King)
You don’t get anywhere without guidance – even if it’s from other authors, indeed particularly from the good ones!
(James Teal Glen pointed out fights hurt. And I could write a really good scene focusing on that element)
Delve into your characters – make a volcano one of your characters with a fiery personality (not sorry but should be).
Here we go
Each character wants X
N Gets in the way.
Character challenges, changes, somehow gets through N
Changed might get
X
But character might end up with
Z
Maybe they decided
Y
Is better
X fights N and get X or Z maybe Y
Repeat and complicate.
Just Starting
A new version of writer’s block has emerged, or at least I’ve come to understand it now. And that is simply a break in the pattern.
One doesn’t need to have stopped working on their novel for the muse to become shy. One could, like I did, spend some time fleshing out a new idea only to freeze when it came time to sit down and write it.
Apparently I had kept the discipline and desire to write schedule-wise but I lacked the same in the knuckle down and do it dimension. I was out of the habit.
How on earth, after a month of free flowing fun, was I going to settle my mind and get it to obey enough to craft this story?
Well for one thing I narrowed the issue down to starting. I couldn’t seem to reach the concentration I needed to know what to say and I didn’t remember exactly how one coaxes such a sublime state out of a chaotic mind.
Once I identified that problem I could split it into four, sometimes simultaneous, problems. Perhaps you will find they’re problems for you too.
One:
On days that I’m stuck with starting, I often have a secret fear that I will be interrupted. And that, believe it or not, can stop me in my tracks. Somehow the threat of the frustration I would feel settles in and I’m convinced it doesn’t matter what I do, the minute I achieve the zen state I need, the dog will do something evil in the next room. And since I am certain I’m probably right, I spend a stupid period feeling annoyed that I can’t settle down. Even though at the moment the evil creature in question is just sitting down with a chew.
Cognitive therapists call this fortune telling. It is a distortion in thinking.
Two:
Another problem could be a feature of working on a new project. And that is when I have no idea where to begin because everything is new and I have yet to form a rhythm.
For example; I know what it takes to write the sci/fi epic I currently have on the back burner. I know what the mood is, what fits and what doesn’t. But the one I was struggling with today doesn’t have that advantage. Even though I have an extremely clear idea of what is going on, writing it is not yet automatic. The pathway in my brain isn’t established and smooth. I can’t just slot right into the action. I haven’t built a new habit for this book. Thus I needed a higher degree of concentration than usual and that was even harder to achieve.
Three:
The third sticking point happens when I have no idea what to say. Related to problem number two, on such days I can’t seem to get the chapters going because the first sentence is floating deep in my subconscious so even if I could sit down and concentrate, my brain would soon bugger off again, because the blank page would still torment me.
Four:
Sometimes I don’t notice that I’m tired, or bored, or both because I can’t tell which one it is. Sometimes damp weather will make me sleepy and my cups of tea don’t seem to be help. It should be a no brainer but I kid you not it isn’t until my lids droop that I notice I’m drowsy.
Those are all the ones I can think of thus far. Fortunately I know a few ways to tackle them. Lets work in reverse order:
Fixing Problem Four:
This one is pretty obvious, at least on the surface. Take a nap. But while I bet that would solve the issue for 95% of the population I fall into the other 5% populated by various sleep disorders. (Such is my guess anyway)
Most of the time when I nap during the day, unless it is right in the morning, I don’t fully fall asleep. I’ve heard it referred to as combat napping. My breathing slows, I become unable to communicate in more than utterances. But I’m fully aware of what is going on around me and have passing thoughts about it. I’m still dreaming about something else but I hear the world continue go about on its business.
It isn’t as restorative as a proper nap but it is better than nothing and occasionally fixes my plot problems. So if you, like me, have a strange relationship to sleep, close your eyes anyway. You may not slip into unconsciousness but perhaps you will rest a little. And bonus, if your subconscious is being your friend you might dream, and be aware of the dream, and possibly know the next step for your book when you wake up.
If you don’t have these problems, great. Get some sleep. Relying on coffee will eventually string you out and that is very bad for business. Befriend your mind, not punish it.
Fixing problem three:
This is more easily handled by a non-linear approach. Forget worrying about the first sentence. Just pick a point and go from there, you can change or add the beginning later. If a scene calls for a crime scene and you don’t know how to get the characters there, start with something you do know.
In a way beginnings are like transitions and that is exactly how I handle being stuck on those. Once you achieve a better state of concentration you can go back and fill the spaces.
Fixing Problem Two:
No one can dig a groove in his head without regular practice. And I suspect secretly this problem is perfectionism in disguise. (Another cognitive distortion by the way) For example, when I work on my sci-fi epic I know when a line is golden. The work is of much better quality right off the bat. (Not that it started that way) But with a new baby I have a lot more uncertainty and thus need to swallow my fears and accept it’s not going to be as good. It won’t sing like the other one, not yet.
If you’ve gotten through the “It’s all garbage to me” phase to get to serious writing then you’ve got the tools to push through this. It is just unpleasant. If you are tired it is worse. Seriously go take a nap.
Fixing Problem One:
There is a reason I chose this one for last. There are many ways to try to fight cognitive distortions. All of them healthy and probably good advice. If they help you, great. But I get stuck in the, “but I know I’m right” loop. It’s not logical but there we go. The only viable solution for me is to try to ignore it. Go to problem number three and just start anywhere, put up with problem number two by telling myself it’s more like a fleshed out sketch and just hope problem number one will bugger off if I don’t pay attention to it.
This solution takes several stabs and sometimes I need to circulate through some distractions to try to take the edge off the building pressure. Like sleep it can become too heavy, too important and the subconscious can be pretty shy if you try to force it open. The more frustrated you are with not being able to concentrate the more your brain might decide to bugger off and do its own thing.
There is one other thing that helps me with all of them. But I don’t have much control over it. And I can’t exactly explain how it works. My characters have habit of talking to me. Well some of them. I don’t hear them in my ears but I see them in my head, chiding me. Usually I settle down and work when one of them gets impatient. Characters can be very opinionated about what they will and won’t do. The only sane response is to listen.
Young Writers
The only way to learn to write is to write. You can’t write without an ear for the language. Do I need to spell out the logic?
How you get an ear is where convention and I agree. You read. I would also argue you watch well written shows and movies and pay attention to the dialogue. You watch plays. And preferably you read some scripts because figuring out what characters say and how to say it is important. If you are having trouble reading you listen to audio books and radio plays.
You immerse yourself as often as possible in opportunities to absorb the language until it becomes so natural, so automatic, your sentences naturally come out better.
This whole time you should be writing and experimenting because you can get the garbage phase and the listening phase going at the same time. But don’t expect to keep or even like what you produce.
Once you have a sense of how words sound best together, then it is time to start writing your patootie off until you find a sense of rhythm, pacing, poetry and story. You push through the phase that has your work sound like subconscious rip offs. You write story after story, whole novels if you need to. Keep practicing and honing the skills until you find your voice and your center.
What do I mean by center? I mean when all the pieces fit and you start to know, not think, that what your doing is good. And then you forgive yourself for those times you are wrong.
Let me explain.
First off, we all have days it looks like total crap. What was beautiful to us one day is dreadful the next. And sometimes we are are right, but a lot of times we are just not connected enough to the book to make a good call.
Those are the times you close the program and do something else. Usually there is at least one gem amongst the rubble and if you don’t find it you should stop looking till you’re in the mindset that can.
Once you find your voice, and your confidence, you still have some practice to get through, and you will still have books you need to ditch that are at least the groundwork for something better. Hence the forgiveness.
You can’t be too married to a project that doesn’t work. You either need to rip it apart to make it work, or start a new one. But none of this is possible if you can’t string a sentence together.
If you can’t make the words sound like music in your head you need more exposure to the language. You need more books, more shows, more movies, even comics. Listen to everything and everyone you come into contact with.
Knowing the language is valuable to everyone, writer or not. It makes good books sing and arguments more convincing. Not everyone is interested, which is a pity. But without that very simple thing you are never going to get past the “It all looks like garbage to me” phase.
I recommend reading some classics like Voltaire’s “Candide” and Dante’s “Inferno” (I skipped Dickens so I can’t say much for it) as well as non-fiction because while the style is slightly different it will round out your experience and hey, you’ll learn something to.
If you are feeling particularly ambitious you may want to learn the basic grammar of another language because you would be surprised what that can teach about your own.
But really it’s an issue of quantity and quality. And though I would usually argue for being more concerned about the latter, you actually need to expose yourself to as much and as many types of works as possible. If it is remotely interesting and doesn’t put you to sleep, pick it up.
You may find that what you love at first you can’t stand once you get your groove going. Don’t sweat it. Just enjoy them while they’re fresh. It doesn’t matter if your neighbor thought the book was crappy. What matters is that you are internalizing the language.
Oh and parents, if you want your kids to write well, please read to your children. I still remember my father reading the BFG when I was five (among other books). I owe him quite a bit for helping to give me a sense of the language. It’s a favour worth passing on to your children.
Have at.
As an aside
Everyone says to pick a book and stick to that.
Fuck that noise.
Sometimes you just can’t focus on the level. Be it refined, kinda there, well it’s written, hey I have these ideas and dialogue, hey I have this concept.
So you swap around at the level you can concentrate on.
That’s how I got fast.
That and 30+ years of hard work.
A good book involves a lot more than slinging sentences together.
Don’t forget what you learnt in high school English but go beyond it.
Good writing is difficult to do!
Sylvanna Devlin 