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Is There Life Outside Writing?

Date: May 4, 2013
Author: Janalyn Voigt
Categories: Live With Passion
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Beyond the Writing LifeThey say the definition of insanity is repeating the same action while expecting different results, “they” being anonymous possibly to avoid the consequences of making such a lucid statement. It’s far too easy to accept an easily-consumed life doused with equal parts of wishes, hope, and lethargy. Tweet this! This can apply to every avenue of living, not just the writing life. Sometimes, even, we let writing get in the way of living. That happens once in a while for most of us, usually for reasons over which we have little or no control. At such times, maintaining a sense of humor is the way to make it through.

When writing crowds out the rest of life on a regular basis, it becomes a god demanding to be served at all costs. Historically, service to an idol could involve sacrificial offerings, sometimes of human lives. Reasons for worshiping touched on fear, reverence, and greed. Rewards included affirmation, a sense of belonging, and advancement. How close to these reasons and rewards does writing take us? It’s one thing to respect myself as a writer and polish my craft until it shines. It’s another to slavishly devote myself to writing as a grind that excludes all else. Having said this, I must also state that forces within the world of publishing can and do place super-human expectations on writers. That’s no excuse, though. We teach others how to treat us.

Attaining balance is key, and that requires us inevitably to disappoint the unrealistic expectations of others. Tweet this! As a reality that doesn’t sit well with me, but I’ve come to embrace it. If I didn’t, I’d reach the finish line having run the wrong race. I don’t miss deadlines or renege on promises but do give greater consideration to the cost of commitments before I make them

I’d like to hike across England, take up bicycling, raise my own vegetables, and spend more quality time with family and friends. My dreams won’t happen if I don’t give them time and consideration. Tweet this! Some put together bucket lists of things they want to accomplish or experience in their lives. That’s not a bad idea provided they take time to pull achievable goals from their dreams. Setting, scheduling, and attaining goals requires time and attention, but it’s worth it to live with passion.

How about you? Can you name other dreams into which you should breathe life?

Related Posts

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The Writing Life: This Video Could Just Change You

©2013 by Janalyn Voigt
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How to Avoid the Second-Book Slump

Date: April 13, 2013
Author: Janalyn Voigt
Categories: Remember to Breathe, Write Well

Second-Book Slump

Writing, like marriage, is an odd mixture of passion and duty. Tweet This. The same writers who speak of “falling in love” with a story complain about “having to” edit it. Some marriages are easierthan others, and that’s also true of books. Some pearls make it to publication with few edits, but often, by the time a novel reaches readers, its writer is sick of working on it. Given these conditions, it’s not surprising to learn that the second books in series frequently disappoint readers. Preventing this from happening to your second book requires a look at this syndrome’s causes.

Time Frame  

A debut novel usually benefits from years of labor as its author polishes it over and over in order to land a contract. But a second novel, when contracted from a synopsis and likely written in a matter of months, doesn’t go through as strenuous a process.

Solutions:

  • Simply being aware of this as a problem is half the battle. Commit to giving your second book your all, just as you did with your first.
  •  Before you submit your second manuscript, make sure you put it before a number of “eyes.” Accept knowledgeable critiques, remarks from beta readers and/or paid editorial advice.

Interruptions

A writer often has to set aside writing the second book in a series to work on edits and/or promotion for the first. While necessary, interruptions stifle the creative flow. Most writers find returning to a cold manuscript difficult.

Solutions:

  • Have all books in a series written before you submit them for publication. Previously, writers held off on writing a second book until the first had sold. This made sense because publication usually went through traditional publishers. These days it’s harder to win that traditional contract but easier to become published. Take this advice if you would hire an editor and independently publish your work, should it fail to land a traditional contract.
  • Learn to write your first draft quickly so that, by the time edits for the first book hit, you’re ready for them.
  • Dedicate part of your day to writing and part to editing, with a break in between. Your brain will learn to readily switch gears.

Conflicting Emotions

During edits, writers must face, accept and overcome their own weaknesses. Tweet This. The angst this causes can attach itself in the writer’s mind to the series itself. To draw a parallel from marriage: While undergoing marital counseling , it can be hard to remember first love.

Solutions:

  • Go back over your notes or read earlier entries in a writing journal to remind yourself why you love this series.
  • Reconnect with your novel’s theme, which you hopefully drew from one of your passions.  Prayer and meditation can help.

Eroded Confidence

It’s common knowledge that artistic people are their worst critics, and that’s certainly true of writers. As a result, while dealing with edits it’s easy to lose confidence and take fewer risks with the second book, which can rob it of zeal.

Solutions:

  • Re-read any endorsements or encouraging comments you received for your first novel.
  • Remind yourself that your publisher believes in you enough to work with you.
  • Give yourself permission to dream about what could happen in your story. Click to Tweet. Don’t censor your ideas, but simply write them down. And when you go back over your brainstorming session, be wise but bold.

Creative Desire  

When the passion in a marriage fizzles, it’s tempting to look elsewhere for fulfillment. In the same way, when a writer loses that loving feeling for a project, other tempting ideas can siphon creative energy and distract attention. This has an adulterating effect on the work at hand.

Solutions:

  • Rather than ignoring new ideas, write them down (briefly) and save them for later. This keeps them percolating on the back burner until you’re ready for them.
  • Stir your passion for the work at hand by dreaming about the story, exploring the nuances of its characters and mentally writing the next scene.

If you follow these steps, you’ll soon recapture your passion and for your series.

Can you suggest some other ways to revive your writing mid-series?

©2013 by Janalyn Voigt
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How to Tell Subplots From Plot Bunnies

Date: March 30, 2013
Author: Janalyn Voigt
Categories: Write Well

BunniesAs a child, did you blow bubbles? If so, you already understand something about subplots.

What does blowing bubbles have to do with subplots, you ask? Simply this: When you blew too hard, you burst the bubbles as they formed. Blowing too lightly, while it showed you there were bubbles to be made, didn’t produce them. Only by exerting the right amount of force could you blow bubbles.

Subplots are a lot like bubbles. If you try too hard to produce them, they evaporate. However, they won’t necessarily form without your help.

What’s a Subplot?

It’s easy to become confused when thinking about subplots, so let’s start with a definition. A subplot is a secondary plot that compliments your main plot. Adding subplots to your novel will give it layers of substance and effectively underline your theme. Layering with subplots adds texture to your story’s weave. Good subplots form and grow as you write. Most show up early but can also make their appearance partway through a story. Watch for them as you introduce new characters or new situations. They can show up as a romantic interest, a character from the past, an obstacle to be overcome, or a past experience which is revealed over the course of the book, to name a few occurrences.

Most people would agree that the novel, Gone with the Wind, tells the epic romance of Scarlett O’Hara and Rhett Butler. Scarlett’s relationship with Melanie Wilkes, her father’s fate, and her relationship with her sister, Sue Ellen, are all subplots. Each forms its own story within a story, and yet each contributes to the greater story by shaping our opinions about Scarlett. None of these subplots is forced. Each arises naturally from the main plot and helps develop the theme.

What’s a Bunny Trail?

It’s sometimes hard to detect bunny trails. They can sneak into your story as a romantic interest, a character from the past, or an obstacle to be overcome. Like Pegasus and his brother, Chrysaor, they can spring fully-grown out of your backstory. Subplots should never lead the reader away from your theme and should, in fact, support your primary plot. A subplot happens because of (rather than instead of) the main story. Anything else is a distraction. It’s true that all sorts of unrelated events tangle together in real life, but good fiction doesn’t suffer from such snarls and is carefully constructed to represent, rather than emulate, real life. Understanding this difference is crucial.

Adding Subplots to Your Novel
As you develop your novel, give some thought to what else could happen to reinforce your theme. Be open to insights that come as you write. Even those of us who plot our novels sometimes benefit from the introduction of an unexpected subplot. While writing WayFarer, the second novel in my Tales of Faeraven epic fantasy series, the story took a turn into the Vale of Shadows, a place I hadn’t know existed. Its inclusion in the novel was exactly right. I’m so glad I allowed the novel’s hero to take me there.
One of the best ways to add subplots to the main story line is to introduce new scenes from the point of view of the characters involved in them. This is a great way to introduce secondary characters, by the way. Remember never to change viewpoints within a scene. Provide either a scene or chapter break whenever you change the point of view. Using other characters’ viewpoints to tell subplots means you can introduce information to which your main character is not privy. Just remember as you weave your story lines to connect them at the end of the book. Don’t leave threads hanging.

Action Step

As you write your novel, keep an eye out for subplots that would deepen your main story. If you’re a plotter, brainstorm to discover these in advance, but be open to discovery as you write.

Can you name some plot bunnies that have led you down a rabbit trail?

©2013 by Janalyn Voigt
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Writing Tips From a Master: What Walt Disney Knew About Storytelling

Date: March 9, 2013
Author: Janalyn Voigt
Categories: Write Well

Walt Disney in a trailer for the movie, Snow White

“I can never stand still. I must explore and experiment. I am never satisfied with my work. I resent the limitations of my own imagination” ~ Walt Disney.

Each morning during my visit to Disneyland when the rope dropped to allow guests into the park a spontaneous cheer rose from the waiting crowd. Why? What brought people from all over the world and united them with happy expectation? And how can I allow this magic to inform my own writing?

The answers take us straight into the  heart of Disneyland — to Walt Disney himself. He’s present in every corner of the park, beside you as you fly with Peter Pan, fight with the Force, adventure Indiana Jones style or ride a runaway train in the Old West. Walt Disney’s appeal goes beyond his fine understanding of story, evidenced by the following quote: “If I can’t find a theme, I can’t make a film anyone else will feel. I can’t laugh at intellectual humor. I’m just corny enough to like to have a story hit me over the heart…” ~ Walt Disney. From this quote, a writer can draw the following inferences:

  • A story needs a theme.
  • Be real to reach readers.
  • To touch others, engage your own emotions as you write.
Walt Disney detailed the elements present in his stories: “My entertainment credo has not changed a whit. Strong combat and soft satire are in our story cores. Virtue triumphs over wickedness in our fables. Tyrannical bullies are routed or conquered by our good little people, human or animal. Basic morality is always deeply implicit in our screen legends. But they are never sappy or namby-pamby. And they never prate or preach. All are pitched toward the happy and satisfactory ending. There is no cynicism in me and there is none allowed in our work.” ~ Walt Disney. To craft a story emulating Disney’s formula:
  • Build your story around strong conflict and soft satire.
  • Allow good to win over evil through your character’s virtues.
  • Basic morality should inform your story world.
  • Never manipulate with sappiness (excessive emotion without cause).
  • Don’t allow your storytelling to become wishy washy or run-of-the-mill. Know what you want to express and do so in a unique way.
  • Don’t lecture the reader.
  • Don’t preach at the reader.
  • Develop your story toward a satisfying ending. As Walt Disney put it: “A good ending is vital to a picture, the single most important element, because it is what the audience takes with them out of the theater.”
  • Don’t allow cynicism to enter your writing.
Walt Disney’s insights into storytelling were matched by his equally keen understanding of his audience: “You don’t build it for youself. You know what the people want and you build it for them.”  Disney’s opinion flies in the face of the popular notion that writers should write to please themselves. Contrary to today’s pursuit of niche markets, Disney successfully defined a wide audience for his work: “To captivate our varied and worldwide audience of all ages, the nature and treatment of the fairy tale, the legend, the myth have to be elementary, simple. Good and evil, the antagonists of all great drama in some guise, must be believably personalized. The moral ideals common to all humanity must be upheld. The victories must not be too easy. Strife to test valor is still and will always be the basic ingredient of the animated tale, as aof all screen entertainments” –Walt Disney. Let’s review how to capture a wide audience:
  • Maintain a simple focus in your storyline.
  • Believably personalize good and evil (no cardboard characters)
  • Uphold universally-held moral ideals.
  • Keep tension high with conflict to
  • Don’t give away the ending with a too-easy resolution. Make your characters work for victory.

If Disney’s formula for success seems calculated for profit, think again. I’ll let Walt Disney explain for himself: “I knew if this business was ever to get anywhere, if this business was to ever grow, it could never do it by having to answer to someone unsympathetic to its possibilities, by having to answer to someone with only one thought or interest, namely profits. For my idea of how to make profits has differed greatly from those who generally control businesses such as ours. I have blind faith in the policy that quality, tempered with good judgment and showmanship, will win against all odds” –Walt Disney.

A writer is well advised to adopt a similar attitude in order to write enduring works.

©2013 by Janalyn Voigt
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7 Ways to Write Thrilling Crisis Scenes

Date: February 23, 2013
Author: Janalyn Voigt
Categories: Write Well
Girl Looking Through Arms

7 Ways to Write Thrilling Crisis Scenes @JanalynVoigtWhen I first started writing, whenever I would reach a point of climax in the story, I’d break and recap in a new scene. Needless to say, none of those stories ever saw the light of publication. (Don’t try this at home.) It wasn’t until I learned to press into crisis points that I produced a story worth publishing. DawnSinger, book one of my epic fantasy trilogy, Tales of Faeraven released last June.

Interestingly enough, when I received edits for DawnSinger, most of the notes calling for revision centered around, you guessed it, crisis scenes. I learned that it’s not enough to write my way through these scenes. I had to birth them in a process of labor as gripping and demanding as childbirth.

Here’s how:

  1. Intensify: Consider the possibilities. What could happen that would raise the stakes?
  2. Visualize: Close your eyes and let yourself “see” the action unfold. What does your character see, hear, smell, taste, feel and understand? How can you grip the reader?
  3. Clarify: Is there any information you’ve forgotten to provide because you take it for granted? If you’ve kept backstory to a minimum, you especially need to make this check. 
  4. Clean up Dialogue: It’s easy to overdo use of action in place of dialogue tags. Can you give dialogue a better flow by cutting out extra beats not needed to identify a speaker?  Less is more.
  5. Remove Purple Prose: There are places in a story for lyricism, but if it impedes the flow of your crisis scene, cut it. 
  6. Adjust its Length: Decide how much “territory” your crisis scene needs based on its importance to the overall story. Is it too long or short? Sometimes you can combine scenes for more punch.
  7. Read for Pacing: Does your scene move at the appropriate pace for its subject matter and place in the story?

Facing up to crisis scenes is both terrifying and exhilarating, like tightrope walking without a net or riding a bucking bronco. It takes “true grit,” because the person looking down the literary “gun barrel” at you is yourself.  But when you do it, your story will come alive like never before.

Press into crisis points to produce a story worth publishing. Click to Tweet!

©2013 by Janalyn Voigt
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