Category: Writing Tips


“I sit in the dark and wait for a little flame to appear at the end of my pencil.” ~ Billy Collins

Poetic, but not very realistic. What if you never feel inspired? Or ready? It’s foolish, not to mention unproductive, to write only when you are inspired or ready. It’s not OK to wait for the flame to appear. It is OK to use some of the motivational strategies below.

1.    Set a daily writing goal. Make it something you can accomplish in your scheduled writing time, which by now should be a minimum one-to-two hour block of time for at least five days a week. Two pages every day. One thousand words a day. Outline second chapter and write one brief summary paragraph for each heading and sub-heading in the outline. Complete a first draft of two sections in chapter three. When your writing time is focused by having a specific goal, and you work on one goal at a time, you will be more productive. Remember, you can’t write a dissertation or a book today. But you can write three paragraphs or three pages…and move your project to completion.

2.    Schedule your writing as early as possible in the day. If you fear or dislike writing, then once it’s done, you experience a tremendous sense of relief that you have the rest of the day to do everything else you must do…without having to think about your writing. If you find there is little available time in the day to write, schedule your writing time for an hour or two before you typically start your day, and you will not have to worry that you won’t find time….again…to write.  Even if you are a “night person,” you increase the probability that you will write each day…and write enough each day… if you write the first thing in the day. (Hey, if you discover you have more time to write later in the day you will be even more productive.)

3.    Think ahead and plan backwards. This advice comes from Michael Zygmond and Beth Fischer, neuroscientists at the University of Pittsburgh and directors of the university’s Survival Skills and Ethics program for graduate students and post-docs. If you have a deadline for a paper or presentation, or an anticipated defense date, then plan your writing schedule backwards from that date. For example, if you plan to have your PhD conferred on May 18, 2011 (at Columbia University), you know that your dissertation must be deposited with GSAS by May 13. If you give yourself two weeks to make changes to your dissertation after a successful defense, then you must defend by April 29. You must give your dissertation to your defense committee by April 15. So what do you need to do the week of April 8? And the week before that? And the week before that…planning backwards all the way to this week.  This thinking ahead and planning backwards helps you to know what you must do this week, and what you must accomplish today, if you hope to meet your long-term goal of dissertation completion.

4.    Work with deadlines. (See posting #10, January 11). If you find yourself repeatedly missing deadlines, even when there are good reasons for doing so, then you know that you must schedule more days to write, you must write more hours in a day, or you must produce more writing in each session. If not, you will miss your deadline and must bail out on your conference presentation or job interview or postpone your graduation. (I find these consequences very motivating but also very painful. So perhaps another motivation strategy is to write now and avoid pain later.)

5.    There is no writing, only re-writing, Steve Mintz, director of the Columbia GSAS Teaching Center, told our Dissertation Boot Camp participants. Lamott (1994) says, “Get it down, so you can clean it up.” Shaw (1993) says, “There is no such thing as good writing. There is only good rewriting.” If it helps to motivate you, you do not need to write a final draft, or even a good draft. You must write today so that you can produce good writing when you edit.

6.    Reward progress. Some of us are adequately rewarded by the satisfaction of completing good writing. (We have an internal locus of control) Some of us need something more – tangible, tasty, real rewards. So reward yourself at points throughout your writing but only after you have completed something substantial. (No candy bar after each completed sentence.) Silvia reminds us to “never reward writing with not writing. Rewarding writing by abandoning your schedule is like rewarding yourself for quitting smoking by having a cigarette….Don’t lose your good writing habits” (p. 45).

7.    Motivate (and comfort) yourself with stories of other good writers (and how they suffer, too). Ralph Keyes in The Writer’s Book of Hope explains that he keeps a file with such stories: ‘A San Francisco Examiner editor returned an article to Rudyard Kipling with a note saying, “This isn’t a kindergarten for amateur writers. I’m sorry, Mr. Kipling, but you just don’t know how to use the English language” (p. 142).

8.    Read others’ acknowledgments is one more motivational tip from Keyes:  They “can be a treasure chest of useful and reassuring information” (p. 143). Writers demonstrate in their long list of acknowledgements that, through times of AFD (anxiety, frustration, and despair), there were those “who encouraged them, who supported them, and who kept their spirits up” (p. 143). When my graduate students were having a rough time with their momentum and motivation (or even were fearful of starting to put words on paper), I encouraged them to write their acknowledgements. It’s fun and easy to write, it makes the dissertation begin to look like an actual book, and advisors and committee member won’t suggest edits to your acknowledgements. Writing a page of acknowledgements can provide motivation and encouragement. (I read James C. Cobb’s The Most Southern Place on Earth: The Mississippi Delta and the Roots of Regional Identity many years ago. When I read the author’s acknowledgement of his wife, I was moved to tears reading about the academic author and his wife, neither of whom I had ever met. Since then, the acknowledgements are the first thing I read when I pick up a book. Like Keyes, I’m always amazed at how many people have helped, encouraged, and sustained the authors through the writing of their books. For me, writing a book’s acknowledgements means that I get to thank the people who have mentored and encouraged me, so they can see their name, and my appreciation, in print. That’s a real motivation for me to finish the manuscript.)

9.    And here’s another good motivational strategy: Donate $5 to your favorite U.S. presidential candidate’s opponent for each day you do not write (Boice, 1990).*   (I like this one the best)

Boice, R. (1990). Professors as writers: A self-help guide to productive writing. Stillwater, OK: New Forums Press.
Keyes, R. (2003). The writer’s book of hope: Getting from frustration to publication. New York: Owl Books.
Lamott, A. (1994). Bird by bird: Some instructions on writing and life. New York: Anchor Books.
Shaw, H. (1993). Errors in English and ways to correct them. New York: Collins.
Silvia, P. (2007). How to write a lot. Washington, DC: American Psychological Association

Elmore Leonard: Using adverbs is a mortal sin

1. Never open a book with weather. If it’s only to create atmosphere, and not a character’s reaction to the weather, you don’t want to go on too long. The reader is apt to leaf ahead looking for people. There are exceptions. If you happen to be Barry Lopez, who has more ways than an Eskimo to describe ice and snow in his book Arctic Dreams, you can do all the weather reporting you want.

2. Avoid prologues: they can be annoying, especially a prologue following an introduction that comes after a foreword. But these are ordinarily found in non-fiction. A prologue in a novel is back-story, and you can drop it in anywhere you want. There is a prologue in John Steinbeck’s Sweet Thursday, but it’s OK because a character in the book makes the point of what my rules are all about. He says: “I like a lot of talk in a book and I don’t like to have nobody tell me what the guy that’s talking looks like. I want to figure out what he looks like from the way he talks.”

3. Never use a verb other than “said” to carry dialogue. The line of dialogue belongs to the character; the verb is the writer sticking his nose in. But “said” is far less intrusive than “grumbled”, “gasped”, “cautioned”, “lied”. I once noticed Mary McCarthy ending a line of dialogue with “she asseverated” and had to stop reading and go to the dictionary.

4. Never use an adverb to modify the verb “said” … he admonished gravely. To use an adverb this way (or almost any way) is a mortal sin. The writer is now exposing himself in earnest, using a word that distracts and can interrupt the rhythm of the exchange. I have a character in one of my books tell how she used to write historical romances “full of rape and adverbs”.

5. Keep your exclamation points under control. You are allowed no more than two or three per 100,000 words of prose. If you have the knack of playing with exclaimers the way Tom Wolfe does, you can throw them in by the handful.

6. Never use the words “suddenly” or “all hell broke loose”. This rule doesn’t require an explanation. I have noticed that writers who use “suddenly” tend to exercise less control in the application of exclamation points.

7. Use regional dialect, patois, sparingly. Once you start spelling words in dialogue phonetically and loading the page with apostrophes, you won’t be able to stop. Notice the way Annie Proulx captures the flavour of Wyoming voices in her book of short stories Close Range.

8. Avoid detailed descriptions of characters, which Steinbeck covered. In Ernest Hemingway’s “Hills Like White Elephants”, what do the “American and the girl with him” look like? “She had taken off her hat and put it on the table.” That’s the only reference to a physical description in the story.

9. Don’t go into great detail describing places and things, unless you’re Margaret Atwood and can paint scenes with language. You don’t want descriptions that bring the action, the flow of the story, to a standstill.

10. Try to leave out the part that readers tend to skip. Think of what you skip reading a novel: thick paragraphs of prose you can see have too many words in them.

My most important rule is one that sums up the 10: if it sounds like writing, I rewrite it.

Elmore Leonard’s 10 Rules of Writing is published next month by Weidenfeld & Nicolson.

 

This has been floating around Facebook and the web the last few weeks and I thought it worth posting here. Writing is hard work. Don't ever think otherwise.

Here are Elmore Leonard’s 10 Rules of Writing:
1) Never open a book with the weather.
2) Avoid prologs.
3) Never use a verb other than “said” to carry dialog.
4) Never use an adverb to modify the verb “said”
5) Keep your exclamation points under control.
6) Never use the words “suddenly” or “all hell broke loose”
7) Use regional dialect, patois, sparingly.
8) Avoid detailed descriptions of characters.
9) Don’t go into great detail describing places and things.
10) Try to leave out the parts the readers tend to skip.

Methods for Maintaining a Writing Schedule

 

If you’re like most writers, one of the biggest challenges we face is how to maintain a regular schedule?  How do I make myself sit down in the chair and produce? Below are some of the most helpful methods I’ve used over the years.

 

1.     Set a regular time to sit down to your computer daily, preferably the same time everyday.  If it can’t be a regular time, figure out the night before when it will be for the following day.  Sleep on it to help solidify your commitment, subconsciously.  In the words of Winston Churchill: He who fails to plan is planning to fail.

 

2.     Do not put excess pressure on yourself to produce.  Instead, put pressure on yourself to assume the position.  Sit down on the chair and open the document or page you were working on and just read it over.  That’s all you have to do.  Nine times out of ten, when I do this, I find myself starting to edit, without thinking about it, which leads to more of the same and it isn’t a strenuous process.  In fact, it’s usually an enjoyable one.

 

3.     When you leave your writing each day, quit in the middle of a sentence or thought.  That way when you come back to your desk for your next session you know where you’re going and you’re immediately putting down words without thinking about it.  Ernest Hemingway was famous for this method.

 

4.     Remember that all bad writing can be fixed.  Instead of focusing on the quality of the work, focus on getting the words down.  All writing is simply laying down one word after another.  Focus on that word, that sentence and the here and now, rather than condemning yourself thinking its not good enough.  You’ll have plenty of time for revising later, a whole ‘nother subject.  See Ann Lamott’s book “Bird by Bird” for a wonderful read on this subject.

 

5.     Don’t give up.