“So here's the real reason that rape jokes are troubled territory - Because rape victims say so. They get to say that. They get to feel that way. On this, they get to set the cultural rules. It's not about right or wrong, or logic versus emotion, or arguments of over sensitivity or hypocrisy - you have the free speech to make whatever jokes you want or talk about rape in whatever way you feel is illuminating. But they get to be upset about it. And call you on it. And be hurt by it. But consider this: You get to not be a rape victim. They, however, are not afforded that luxury. Ever again.”
—Chuck Wendig“Do. Write. Finish. I know, you’re saying, “That’s easier said than done.” I know it is! So fucking what? A big-ass boulder tumbles down from the mountaintop and falls on your hand and pins the limb, you either gnaw through your arm like a goddamn coyote or you die under the rock. Door won’t open? Kick it down. Wall blocking your path? Bash it with your skull until it falls or you do.”
—Chuck Wendig
“Here are the two states in which you may exist: person who writes, or person who does not. If you write: you are a writer. If you do not write: you are not. Aspiring is a meaningless null state that romanticizes Not Writing. It’s as ludicrous as saying, “I aspire to pick up that piece of paper that fell on the floor.” Either pick it up or don’t. ”
—Chuck Wendig25 Things You Should Know About Writing A Novel
terribleminds.com1. YOUR FIRST AND MOST IMPORTANT GOAL IS TO FINISH THE SHIT THAT YOU STARTED
Let’s get this out of the way right now: if you start a fucking novel, then plan to fucking finish that fucking novel. Your hard drive is not a novel burial ground. It’s like building your own Frankenstein monster — robbing a grave, stealing a brain, chopping up the body — and then giving up before you let lightning tickle that sonofabitch to life. The true author finishes what he begins. That’s what separates you from the dead-beats, from the talkers, from the dilettantes. Don’t let dead metaphysical weight slow you down.
2. THAT MEANS MOMENTUM IS KEYSay it five times fast: momentum-momentum-momentum-momentum-momentum. Actually, don’t say it five times fast. I just tried and burst a blood vessel on the inside of my sinuses. The point remains: writing a novel is about gaining steam, about acceleration, about momentum. You lose it every time you stop to revise a scene in the middle, to look up a word, to ponder or change the plot. It’s like a long road-trip: don’t stop for hitchhikers, don’t stop to piss, don’t stop for a Arby’s Big Beef and Cheddar. Just drive. Leave notes in your draft. Highlight empty spaces. Fill text with XXX and know you’ll come back later.
3. THE FIRST DRAFT IS THE BEACH-STORMING DRAFTIt’s you and hundreds of other soldier-penmonkeys clawing their way up the enemy beach of the People’s Republic Of Novelsvainya. Most of those other poor sots are going to take a stitching of bullets to the chest and neck and drop dead in the sand, flopping around like a fish, their bowels evacuating. Your only goal is to get up that beach. Crawl through mud, blood, sand, shit, corpses. It doesn’t matter if you get up that beach all pretty-like. Or in record time. Nobody cares how your hair looks. Your first draft can and should look like a fucking warzone. That’s okay. Don’t sweat it, because you survived. Put differently, that first draft of yours has permission to suck. Go forth and care not.
4. BE LIKE THE DOG WHO CLOAKS HIMSELF IN STINKFind joy and liberation in writing a first draft without caring, without giving one whittled whit. It’s like pouring paint on the floor or taking a sledgehammer to some kitchen counters. Get messy. Let it all hang out. Suck wantonly and without regard to others. Let that free you. Have fun. Don’t give a rat’s roasted rectum. You’ll think that all you’re doing is upending a garbage can on the page, but later, trust in the fact you’ll find pearls secreted away in the heaps of trash and piles of junk.
5. THE FIRST DRAFT IS BORN IN THE LABORATORYTake risks on that first draft. Veer left. Drive the story over a cliff. Try new things. Play with language. Kill an important character. Now’s the time to experiment, to go moonbat apeshit all over this story. You’ll pull back on it in subsequent drafts. You’ll have to clean up your mess: all the beer bottles, bong water, blood and broken glass. But some of it will stay. And the stuff that does will feel priceless.
6. WRITING IS REWRITING IS REWRITING IS REWRITING ISSaid before but bears repeating: writing is when you make the words, editing is when you make them not shitty. The novel is born on that first go-around but you gotta let that little bastard grow up. Do this through rewriting. And rewriting. And rewriting. As many times as it takes till it stands up and dances on its own.
7. YOU HAVE AS MANY CHANCES AT-BAT AS YOU SO CHOOSE –A Marine sniper doesn’t get infinite shots at his target. A batter only gets three strikes. A knife-thrower only has to fuck up once before he’s got a body to hide. The novelist has it easy. You can keep rewriting. Adding. Fixing. Changing. Endlessly anon until you’re satisfied.
8. — BUT YOU ALSO HAVE TO KNOW WHEN TO LEAVE WELL ENOUGH ALONESeriously, you have to stop sometime. You whip mashed potatoes too long they get gluey. Comes a time when you need to stop fucking with a novel the same way you stop tonguing a chipped tooth. The perfect is the enemy of the good. Write till it’s good, not till it’s perfect. Because you don’t know shit about perfect. Aim squarely for a B+, and then it’s time to let others have a shot in getting the novel to that A/A+ range.
9. KNOW WHEN TO BRING IN THE MOTHERFUCKING A-TEAMYou’re not Lone Wolf. You are not Ronin-Ninja-Without-Clan. A novel is a team effort. You need readers. One or several editors. Potentially an agent. True story: writers are often the worst judges of their own work. You spend so long in the trenches, it’s all a hazy, gauzy blur: a swarm of flies. It’s like being on acid. Sometimes you need a trip buddy. Someone to tell you, this is real, this is illusion. “The pink unicorn is just a hallucination. But the dead body in the middle of the floor, dude, that’s real, WE GOTTA FUCKING GO.”
10. ESCAPE THE GRAVITY OF THE HATE SPIRALEvery 10,000 words is a new peak or valley on this crazy-ass roller coaster ride. You loved the novel last week. This week you want to punch its teeth down its throat. That’s normal. Write through it. The hate spiral will kill you in if you let it. It’s one of the reasons we abandon novels. It’s also nonsense. Sometimes your best work is your worst, your worst is your best. Everything is ass-end up. Fuck worry. Just write.
…“It’s work. It’s not always pleasant work. Sometimes it invokes a deep, almost psychic pain — an anxiety that blooms into an acid-spitting flower corrosive to confidence and craft. And yet, the words are the words. They only matter when they manifest. And you’re the magician that summons them into existence — their manifestation is on you and you alone. Nobody said it would be easy. Nobody’s saying you have to write thousands of words per day. You write what you can write. But that verb is still in place: write. Whether you write ten words or ten-thousand, they still involve you taking off your pants, setting your coffee onto its coaster, petting your spirit animal, then sitting your ass into the chair and squeezing words from your fingertips until you collapse, unable to do any more. It doesn’t matter if it’s good. Not now.It only matters that it’s done.Put your ass in the chair.No, that doesn’t tell you how to write.But it does tell you where it begins and where it ends: with you. You are a character with agency. You are a god in this world. Creativity is a worthless state of being without the verb that triggers it: to create. Creativity is the match. You still need to strike it and light the fire.You can’t just always bully your way through a story, true. A great deal of writing remains in the head. And it comes with patience. And craft. And with your burgeoning intuition. Just the same, the end result of writing is the written word.And the words only get written when you fucking write them. ”
—Chuck Wendig, “The Admonition of Ass-In-Chair, Or, ‘How Writing Is Actually Work’”“Your story might be firing on one cylinder, when really, it needs to fire on three: the goals of the protagonist and the conflicts that work against him must cross three axes: physical, emotional, philosophical. Physical: “I am in danger of being eaten alive by a starving were-badger.” Emotional: “But the starving were-badger is my true love, Betty McGoohan.” Philosophical: “If I cannot reconcile this and the story demands I slay my true love, then love cannot succeed in the face of evil and I am forced to accede to a cynical worldview in which monstrousness is ascendant and all my victories are Pyrrhic and were-badgers are neither cuddly nor sexy.” Harness all three axes for powerful story-combo power-up extra-life ding. ”
—Chuck WendigAll Your Fanfiction Belong To Us: What the Fuck is Kindle Worlds?
terribleminds.comAmazon is now monetizing fan-fiction. I mean, I guess? The press release (with scads more detail) is right here. I am of two minds on this. Maybe three minds. MAYBE… Read The Rest
(Source: Terribleminds)
“You can be as creative as you want, but unless you light a fire under your ass and shock-prod your brain-squirrels into powering the endeavor at hand, what’s the fucking point? Creativity demands action, direction, ambition. You tell me, “I want to write a novel about the persecution of magical ponies,” and then you sit there staring all slack-jawed, then the best you’ve done is committed an act of mental masturbation. Piss on inertia. Jump in. Get your hands dirty. Make something or shut up about it.”
—25 Things You Should Know About Creativity by Chuck Wendig“Writers need goals. I don’t mean one goal. I mean a nearly endless and evolving series of goals—you don’t just say, “I’m going to write a novel.” Because, duh. That’s bare minimum shit. You want to have a career planned out. This isn’t a short game. It’s a long con. Look as far down the line as you can—to retirement, to cremation, to the time when nano-bots resurrect you to write one more bestselling holo-vid. That way, you can always course correct to try to move yourself further toward those goals. But—but!—whereas your career is a long-con, each story really is the short game. You want to keep your head in that story. You want to treat it like it’s everything, like everything hangs on this one project. (In part because it may.) To put it differently, have the larger path plotted out—but focus on each step upon that path as if it is your last. ”
—Chuck Wendig
25 Things Every Writer Should Know
by Chuck Wendig
An alternate title for this post might be, “Things I Think About Writing,” which is to say, these are random snidbits (snippets + tidbits) of beliefs I hold about what it takes to be a writer. I hesitate to say that any of this is exactly Zen (oh how often we as a culture misuse the term “Zen” — like, “Whoa, that tapestry is so cool, it’s really Zen“), but it certainly favors a sharper, shorter style than the blathering wordsplosions I tend to rely on in my day-to-day writing posts.
