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Yes and Dragons: Gaming/Improv Podcast!

Yes AND I’ve got green fire, too!

Hello, friends!

I was recently interviewed for the podcast Yes and Dragons, which discusses how improv/improvisational theater and RPGs intersect. In the interview, I discuss how improv, gaming, and writing intersect quite a bit, and it was a really fun interview. Go and check it out and, if you liked it, check out the other episodes of the podcast, which will be releasing once a week going forward.

Oh, and there was something amiss with my microphone during the interview, so it sounds as though I’m talking inside an airplane hangar. Sorry.

Anyway, give it a listen! If you’re interested in any one of those three topics, I hope you will find it enlightening or otherwise useful.


Writing From a Place of Anger

I’ve been pissed off at the world lately. Each day brings a new outrage, a new soul-crushing horror, and while I wouldn’t say it’s directly harming my capacity to write, it is having an effect on how I want to write. Emotions – the writer’s emotions – transfer onto the page. They kind of have to, right? If we’re to be writing in a genuine voice, then some aspect of our emotional sphere is going to show up in what we write.

(grumble grumble)

Now, typically, I have written from a relatively calm emotional state. If I’m too upset, I can’t concentrate on the words. But the flares of anger of late have dulled into glowing hot coals that just simmer there, deep inside me. I should note that none of this anger is directed towards my friends or family or coworkers or students – this is a broader kind of rage, targeted at the political sphere more than anywhere else. Venting my rage, then, at the people around me could never be justified – they have done nothing and do not deserve it. Also, of course, venting into the Void (i.e. Twitter) is hardly cathartic and certainly not constructive.

The outlet remaining to me is my writing.

I am no fan of angry political screeds thinly veiled as fiction. I find those things generally tedious. But, of course, I am nevertheless tempted to vent my frustrations at the world in some kind of story, anyway. This story would be ugly and unkind, I have no doubt. It wouldn’t really be the kind of story I want to be a part of. But it’s still there, gnawing at the edge of my imagination. Write me, it growls, let me out.

I don’t, though. Because I’m not ready yet. Anger, you see, isn’t enough. You can’t write a story that’s nothing but anger and expect it to work. Not enough range for a novel, too crass for a screenplay, and too on the nose for a short. I need something else. I need the hope that tempers the anger, I need the calm rational voice to make the story more than just a primal scream of rage. I need the voice of civilization.

I’m still trying to find it. I guess that means I’m still too angry.

Or maybe I’m wrong. Maybe I should just let loose.


Novel Revision in Three Metaphors

Your Novel is Like a House of Cards…

Each piece supports another, each card an integral part of a larger whole. How do you proceed? Can you remove cards from the middle and not have it all fall down? Carefully, carefully slip the offending Joker or deuce from its place. Start at the end and deconstruct backwards – this stupid scene at the end, where did it come from? Trace it back, dig out the rot. Make yourself a smaller tower, a sleeker manse – yes.

But then…wait. No! Not that one…

And then it’s all gone. Your edifice, flawed at its heart, lies flat on the table. Time to start anew. Marshal your strength, steel your resolve. You’re going to have to do it over again.

This is not the first time it has fallen.


Your Novel is Like a Wild Stallion…

It breathes, living and beautiful. It is strong, vital. You made it – with sorcery and wiles you yourself cannot recall the knack of – and yet it cannot stay this way. It must be tamed, somehow. It must be made suitable for others, not just for your own special touch.

And yet, is it not alive? How can you change it without killing what it is? You grasp the mane tightly as it bucks. You try to soothe, but this is not something it will submit to. It loves itself. It loves the free way it tramples prose. The meandering paths of plot and pacing are its familiar paths, wild though they are.

So you build fences and walls. You wield the whip, so terrible the crack, so that it learns respect. And all this while you bleed inside. This is not what you wanted. Not what you intended.

Why cannot the wild thing live free and alone?

But no. That is not what you intended either. It must be broken. The stallion must be broken if a steed it will make. And break it you shall, come what may.


Your Novel is Like a Tree

This thing was not of your doing, you know it. You merely planted the seeds, you watered, and you waited. Day after day, tending the shoots, it has grown into something pretty, but also imperfect.

But how to fix it? Pruning here and pruning there – a careful snip. There is no going back now. The old tree will never return, and you know you cannot grow the same tree twice. And still it grows in ways unexpected. How can you keep a living thing from growing? How dare you?

And what if it dies? No one has use for dead trees, except as fuel, or perhaps sanded down into boards and dull furniture. Stacked in a lumber yard, forgotten.

So you are careful. Respectful. Debating over every cut – how deep an injury will this cause? Because there is no going back, no more seeds to plant. This is the tree, one way or another. And yet it’s still not right.

Perhaps another little cut.

No, still not right.

And so it goes.

The Writing Groove

Everybody’s writing process is a little bit different – I want to make that clear at the outset, here. Anybody telling you that you have to write at such-and-such a time or at such-and-such a pace is full of it. I, for instance, roundly reject the notion that you must write every day. Horseshit, I say! I used to try doing it that way, and my productivity was abysmal. Then I stopped worrying about writing every day and started focusing all my writing efforts on particular weeks or months where I would have fewer distractions (the summers, semester breaks, vacations, etc.), and my yearly productivity basically tripled almost overnight. I now write a novel and anywhere from 5-10 short stories a year, and have published *about* a novel and 3-5 short stories a year for the past few years. So, what I’m saying is that my system seems to work.

No matter what your writing process is like, though, I think we can all agree that the primary obstacle to producing those words is the challenge of sticking your butt in a chair and writing them (whenever and however that is done). It’s hard work, writing, though very few people who aren’t writers think about it as such. To them (the “norms,” let’s call them), we are eternal dawdlers and daydreamers, sitting in our comfy little offices and wasting our time telling make-believe stories for short money. “Get a real job,” is the sentiment (even though almost every single writer I know has a “real” job in addition to their other, evidently fake one).

Remember: the words don’t write themselves

Such people must be met with stiff resistance, friends. Don’t let them get away with such slights. You tell your uncle that you have taken the week off to write and he says “so you’re free for lunch?” The answer is “no, I’m working.” Writing is work. You do it for pay (well, unless you don’t, and don’t intend to, in which case a lot of this doesn’t necessarily apply). There are literally endless distractions and interference that can keep you from writing those words, from earning your (admittedly meager) pay. You must resist them.

For me, the very best tool I have against distraction is routine. During my writing periods, I get up, eat, get the kids to school/daycare, go to my office, and dive in and write for a few hours. I take breaks, usually at the scene breaks in whatever I’m working on. I work until lunch, then after lunch I put in another hour or two, and then, after approximately 5-6 hours of writing in a day, I’m spent and I read or do something else for a while before I pick all the kids up from school again. This is my approximate routine, and it works very well. Your routine may well be vastly different, but I bet, once you get into it, it works similarly as well.

I call this zone – this place where you are set in your routine, churning out the words on a regular basis – “the groove.” It takes me a few days to really get into the groove, but once I’m in it, I do not want to come out again. I resent disruptions to my routine – I don’t want to switch who picks up whom from school with my wife, I don’t want to run errands of any kind, I don’t want to have to deal with things that don’t fit into the groove – because it’s just so damned easy to get knocked out of it.

Once, I was on a deadline and we had scheduled a trip to Hawaii to visit my sister and meet my new niece. This was a 10 day stay in Honolulu with family, on the beach, hiking volcanoes, going surfing.

I was distraught.

My sister’s apartment? A ten minute walk from this beach. Seriously.

I know, I know – what kind of psychopath is upset by a trip to Hawaii?

The writing kind, is what. What if I couldn’t concentrate? What if I couldn’t put my butt in the chair and produce those words? I’d miss my deadline (unacceptable to me). I fully realize that other people don’t understand this. Right now, there’s a significant portion of my reading audience scrunching up their nose and going “seriously? Hawaii? Poor baby.”

But I am being serious. Distractions are the #1 most dangerous thing to a writer, by far. Other than your own personal obsessions, there is almost no reason to sit in front of that computer and infinite reasons not to. Maybe you’re hungry. Maybe you hear the phone ringing. Maybe somebody’s at the door. And on and on and on…

The good news is that I managed to produce plenty when on vacation in Hawaii. How did I do it? Routine! My wife would take the kids out in the mornings to do something fun and I would stay in the little apartment and type away. Then, in the afternoon, I would enjoy Hawaii – the beach, the ocean, the city, and so on. It worked, and if it can work there, it can probably work anywhere.

Get in the groove, people. Fight to stay there. Write those words. Conquer your writing goals!