Tag: writing

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We have a bunch of things we’re hoping to do this year, and most of them require some amount of preparation—preparation which will have to occur in the winter and spring.

My plans stretch out to the end of July, because the last week of July I’ll be in Lille, France to attend the 100th Universala Kongreso de Esperanto.

As preparation for that, I really want to spend half an hour almost every day practicing my Esperanto. That should be plenty—I already read and write the language and I’ve attended international Esperanto gatherings in the past. But just a bit of practice listening to spoken Esperanto (podcasts and such) and a bit of practice actually conversing (with my local Esperanto group, and such other folks as I can find) will go a long way toward making attending this kongreso a rich and satisfying experience.

About a month before that will be the solstice, and right around then—second half of June or very early July—is the only good chance do the Kal-Haven trail walk that we’ve hoped to do each of the last two years. (In those weeks because only then are the days long enough to finish the walk in daylight.)

As preparation for that, we need to go on several walks each week, including a very long walk roughly every other week, working our way up to being able to walk the 33.5 mile trail.

Several months earlier—just one month from now—we’re going to have a little party for people to come see our townhouse. We’ve fixed the date as February 1st, and are thinking of it as a celebration of Groundhog’s Day Eve, or  Imbolc, if you prefer. Invitations are forthcoming. If you don’t get one, it is surely an oversight—let me know.

As preparation for that, we need to finish unpacking!

Without a specific deadline, but very soon now, I want to finish revising my novel so I can get it out to first readers.

As preparation for that, I need to spend an hour or two every morning writing.

Normally at this time of year we’d also be planning our garden, but Jackie has convinced me that working a garden plot this summer will be more than we can manage.

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I haven’t published any fiction this year, but I did finish the zeroth draft of a novel.

I hesitated to claim this milestone, holding out for a proper first draft that I can share with a few select first-readers. But the end of the year has arrived and my novel remains (as it has been for several months now) this close to being a first draft. Still—a zeroth draft is something.

We moved. Granting that moving is not writing, and acknowledging that this post is where I review my writing in 2014, I’m still going to mention the fact, because moving takes so much time and effort. And we didn’t just move once. We moved three times: To our summer place, then to our winter palace, and finally to Winfield Village. Because of that, I totally gave myself a pass on productivity for the summer and fall.

However, I officially revoked that pass as of the solstice. I really, really want to get the novel out for people to read, and the only way to do that is to work on it every day. To that end, I’m back to working on it daily—and did in fact work on it every day for the last 10, except that I gave myself Christmas Day off (hat-tip to ol’ Ebenezer).

I’m actually quite confident that I’ll get the novel done (that is, in a proper first-draft state) in fairly short order. Confident enough that I’ve started to do trivial stuff, such as tweaking the formatting. (I’m assuming that most of my first-readers will want an ebook, rather than paper, so I’m fiddling with Scrivener’s ebook generation parameters. When I finish, I want to be able to generate a book right away, and not have to spend three days on ebook configuration to get what I want.)

I did a few other small bits of fiction writing. In particular, I wrote a very short story in Esperanto and submitted it to the UEA Belarta Konkurso. It didn’t win a prize, so I should follow up by submitting it to some Esperanto literary magazine, but I haven’t done that yet.

I wrote a lot less for Wise Bread than I have in past years, but they did publish 6 of my articles:

Very late in the year, that last article got featured on Business Insider as The Simplest Way to Live Simply and Cheaply.

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It kind of snuck up on me. I hadn’t realized how close I was to being done with an entire draft.

After a couple of awkward starts, things had been going along pretty well until about spring. That’s when I started drawing more directly from the text of the short story that had been the basis of the novel, pulling the scenes from the short story and slotting them into the right spot in the climax of the novel. Except that process went very badly. They didn’t fit well. The tone was wrong. The characters had drifted. I kept finding small off-hand remarks to set up some thing or another, and realizing that in a novel there should instead be a whole earlier chapter to set that thing up. I kept finding that once I’d written those scenes, there was nothing left of this scene. It was such a struggle, I became discouraged. Progress ground almost to a halt.

A couple of times I got back to it, grabbed a scene, and reworked it—deleted the one-line remark and added the earlier chapter, reworked the interactions so that the characters were true to how they’d developed in the novel up to there, added full-blown scenes where the short story version had just had a brief reference that the hero had done something. But I found all that work hard and not much fun, so I kept not doing it.

Since moving to the summer place, I’ve been trying to reestablish a habit of daily writing, figuring that it should be as easy right now as it will ever be.

Today is my birthday, which I took advantage of by choosing to set my schedule exactly as I wanted—I got up, did a little social media stuff, had breakfast, read a little, then sat down to do some writing. I spent a good long while on one scene, because it had a lot of compressed action that needed to be more fully worked out in a novel-length work. Then the next scene went very quickly, because it was short, and then the next scene went quickly, because it was just about right in terms of tone and character. And then I realized that it was the last scene! I had finished my novel!

There’s a whole lot left to do, of course.

Although I tried to get the set-up stuff inserted as I went along, a lot of it is missing, or only present in vestigial form. I have to fix all that.

Probably a bigger deal, there were many little clever bits that might have set up something neat, but didn’t, and many short turns down side roads that seemed cool, but that didn’t end up leading anywhere. I need to locate each of those and think about whether it does lead somewhere—and then make sure that the “somewhere” it leads to is actually in the text and not just in my imagination. The others, of course, need to be ruthless pared away.

Most important, in the writing of the book I’ve finally figured out what it’s about. That too needs to end up in the text, and not just in my head. In particular, there’s a lot of economic and political stuff that kept showing up in my brain to be stuffed in the book, but didn’t all show up at the right points, so ended up getting stuffed willy-nilly into whatever corner happened to have a bit of space in it at the moment. Those bits need to be pulled out and carefully tucked into the right corner, now that I can see the whole thing and can figure out where they really go.

So, a lot of work to do—but it will be a lot of work on a novel! A novel that exists! A novel that I have written!

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We have moved!

We’re not in our new place yet, just our summer place, where we’ve actually been spending our nights for a week now. Our days, though, have been spent at the old place, finishing up the packing. We filled the last box around mid-day yesterday.

Today the movers came and moved everything to our storage unit.

Jackie did great work on the move. She not only did much more than her share of actually packing things into boxes, she also ordered the boxes—and did an incredibly precise job of it. We filled almost 60 book boxes, a similar number of small and medium boxes, somewhat fewer large boxes, and a few specialized boxes (extra-large, electronic equipment, mirror, wardrobe). Jackie figured out how many of each kind to order, and when we were all done we had 3 extra book boxes (one or two of which we will use to pack up the tools that we kept on-hand in case we need any during the cleanup), 1 small and 1 medium box.

I also credit her hard work with saving us money on the move itself, which came in at about $150 below the estimate—mainly because with everything properly packed in advance, the movers were able to just load and unload, without having to fiddle around with stuff that wasn’t quite ready.

Here’s the living room early in the move—piles of boxes, all the shelves empty:

2014-06-16 09.13.30And here’s the living room late in the move:

2014-06-16 13.14.26And here’s the view from near our storage unit:

2014-06-16 10.25.54Tomorrow is my birthday; we’ll take the day off for some celebratory relaxation. The next day we need to go back to the old place and clean it, then schedule a walk-through with the management to make sure there’s no damage. It’s in very good shape, but I’m still mentally warming up to argue that “normal wear and tear” for a unit we’ve been living in for 14 years is more than might be expected after a 1-year rental. Hopefully it won’t be necessary.

After that, we’re pretty much on vacation for the rest of the summer! I’ll be able to focus on my writing. Jackie will be able to focus on her spinning. (Not her weaving, as the loom is packed. Also not the knitting—she’d intended to have some knitting yarn, but used so much as packing material to go around fragile items, she ended up going ahead and packing the knitting needles as well.)

There’s a bunch of cultural stuff in Champaign in the summer that we hope to do, including Friday Night Live every week, and the annual Blues, Brews, and BBQs, not to mention the Taste of Champaign. It’ll be really handy to be so close to downtown for all that.

We can spend June and July enjoying all that, before we have to start worrying about where we’ll live in the fall. Hopefully, Winfield Village will get us a move-in date in good time, but if they don’t, we have lots of options, from visiting relatives to just renting a regular apartment, to taking an extended camping trip. (We made sure to bring our camping gear to our summer place, rather than packing it up.)

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I’d thought this was going to be the easy part—writing the part of the novel where the action parallels the action of the existing short story. In fact, it’s turning out to be really hard.

It’s not surprising, now that I think about it. Probably the biggest thing is that I’ve already mined this material for all the good stuff—the best bits got pulled out and used to set up the later action in the novel just the way they had set up the later action in the short story.

The work of taking the material out is minimal. Even the work of replacing it with a quick reminder to the reader that it happened isn’t a big deal.

The big deal is that what’s left behind is a terrible, pointless scene. All the significant action is gone—all the plot development, all the character development—leaving behind little more than transitions. The characters make their way from point A to point B. It’s excruciating to read.

I’ve given up on copying the text and editing it. At the moment I’m doing what one might have done in the days before computers—looking at the old manuscript while typing a fresh draft. Even that isn’t working very well. Probably better would be to just write a fresh outline that covers the necessary plot points and tuck the old text away until I’ve got a new draft. Then I can look over the old draft for any gems that got left out.

I’ll try that tomorrow.

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Progress on the novel continues apace.

In particular, I’ve reached the point where the action in the novel lines up with action in the failed short story that the novel draws from.

The short story failed because I simply couldn’t cram in all the setup needed, a problem easily solved in novel form—the setup occurs naturally in the body of the novel. As I wrote, I kept in mind the various bits that I needed to set up, and have been making sure to cover them as I went along.

With that done, I’d imagined I’d just about be able to copy whole scenes from the short story into the novel manuscript. Except, that turns out not to work. I tried it this morning, growing my story by about 1600 words, only a couple hundred of which were newly written prose.

Part of what’s in these scenes are the failed attempts to provide the setup. Since that setup is now provided (in full scenes of their own, earlier in the manuscript), I need to remove those attempts from these later scenes.

That turns out to be harder than I’d expected. The text I’m working on is near-final draft stuff. I had previously polished every paragraph, every sentence. Everything is all hooked together as smoothly as I could mange. Some things can be removed by just deleting a paragraph, but other things require a complete re-writing. Plus, a lot of things shouldn’t be removed entirely. Rather, the failed attempts to set something up should be replaced with a little call-back to the setup—a little memory-jogger that reminds the reader of what happened many pages ago, so that when it becomes significant, they say, “Oh, yeah. I remember that.”

The upshot is that I have another six thousand words or so ready to go in—but I now see that adding those words will be as hard as writing them would have been. Maybe harder.

After adding three scenes by copying and editing, I’m now thinking that it might be better to just write fresh scenes. (In fact, thinking about the amount of editing that remains to be done on the scenes I added this morning, that’s really starting to seem like a good idea. I’ll try it that way tomorrow.)

As I’ve been writing, Jackie has been working in her media—spinning and weaving mostly. She wove two silk scarves in the past weeks, and spend much of the past couple of days winding a warp for her next weaving project.

Here’s Jackie with the warp, chained up for storage or transportation, but ready to be threaded onto the loom:

jackie wound a warp

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Via Clarion classmate Mart, I spotted this post about Amtrak’s Plan to Give Free Rides to Writers.

One of my most productive days ever was on board an Amtrak train from Chicago to Champaign. I think I wrote four Wise Bread posts (including this one in praise of Amtrak), as well as getting some fiction writing done.

Related to that, I have been meaning for a while to link to this post about using cruise ships as workspaces. The cruise ships don’t offer free travel for writers, but the repositioning cruises are relatively cheap (because they tend to be dull—long days of crossing the open ocean–and because you end up on the other side of the world and end up having to fly back home), so you can do it yourself.

I’m always intrigued by ideas like this (such as rolling my own coworking spaces locally) because writing can so easily turn into day after day of solitary sameness. In fact, though, my desk in my study is a great place to get work done.

Speaking of which: progress on the novel continues apace. I’m averaging 1000 words a day, and it does not seem like a strain to do so. (Whereas trying to average 1667 words a day for NaNoWriMo did feel like a strain. Maybe I’ve found my sweet spot.)

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I’ve long struggled to balance the need to be somewhat monomaniacal (in order to complete a large project) and the need to perform at least the bare minimum necessary tasks of everyday living. This struggle is made all the harder by the realization that multitasking is a terrible strategy for getting things done.

So, I was interested in the recent post by J.D. Roth, Moderators and Abstainers: Two Approaches to Balance and Temptation, which argues that there are two kinds of people: Those who can achieve a moderate balance versus those who lurch from excess to excess unless they go for a zero option with regard to the things they’re prone to overdo. Of course, it immediately made me think of my recent conversation with my doctor about how addiction was the right model for thinking about diet and weight loss.

More than that, though, it made me feel pretty good about how things are going for me right now. It’s still early days, but I’m feeling like I’ve found a pretty good balance between productivity and fitness. I’m getting my writing done, and I’m getting my exercise in. Rather than finding myself doomed to lurch from regular exercise (and no writing) to lots of writing (but no exercise), I’m having pretty good success with a schedule that includes both.

I’ve been working my way toward this for a long time. As far back as 2008 I wrote Being Routinely Creative, where I argue that rather than constraining your creativity, having a firm schedule protects the time you need for creative pursuits. It took me a while to find that post, because I had been conflating it with the even earlier 2007 post Scheduling Time versus Scheduling Tasks, where I make a related point praising the value of blocking out chunks a time (as opposed to the then-recent time management fad where you instead organize your work around lists of “next actions”).

One key for me has been the realization (really, the re-realization, because I’ve known this for a long time too), that the writing has to come early in the day. Once I’ve started writing—once I’ve gotten my brain in the story space—I can take a break for exercise (or whatever), and then return to writing later in the day. Starting with exercise is much less effective. After exercise, I feel like I’ve accomplished something, which blunts my urge to be productive. I’m also often tired. And, if I’ve had to go out to exercise (such as to the Fitness Center or the Savoy Rec Center), it seems only reasonable to run an errand or two on the way home, which has the effect of postponing the start of writing even further. The result, far too often, is no writing at all.

One concern I have is that the block of time that I’m protecting for my writing falls right in the middle of the early morning hours when it’s cool enough to exercise outdoors during the hot days of summer. But I can’t work up much worry. At this point in the winter, I positively yearn for a long afternoon too hot for vigorous exercise.

Oh—and this post would not be complete without a shout-out to Jackie, who performs so many of the necessary tasks of everyday living for both of us, freeing me up to do far more of my creative work than would otherwise be possible. (And who somehow does it while also doing her own creative work.)

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When I was first starting on my novel, I estimated the final length at about 80,000 words.

It was a minimally informed estimate. I had a vague sense of how much stuff needed to happen over the course of the story. I looked at a few other novels that had about that much stuff in them and counted how many words they had, and 80,000 words was a typical length. I also looked at other first novels that had been published recently, and saw that 80,000 words was not unusual. The size of the “story” is a much more important determinant of manuscript length than what seems to have been marketable a few years ago, but if I’m going to have a target, there’s a certain comfort in knowing that it’s not wildly out of the norm.

I’m not sure that having a length estimate is even useful for a first novel, but I thought it might be, for two reasons.

The first is a holdover from a book I read, back when I did software, on software process. It modeled a process where you’d make a length estimate up front, use it to produce an effort estimate, and then track daily progress. At the end of the project you’d compare your estimates to what actually happened, and use the result to improve your estimates for the next project. The claim was that, after a few projects, you could produce quite excellent estimates, and could make accurate predictions for when you’d be done.

I don’t know if that’s true or not. I sure hope my start-and-stop progress on this novel doesn’t predict a similar profile on future novel efforts.

A second reason I came up with a length estimate was to give me a sense of whether I was on track.

Some years ago, I went to a workshop on screenwriting. The guy teaching the workshop pointed out that a considerable amount of knowledge about pacing flows directly from the fixed form of a screenplay. A feature-length movie is going to have a script something under 120 pages.  If, for example, you’re writing a movie about a road trip from New York to California, then along about page 60 you’re going to be in the middle of the country. Maybe you’re in St. Louis, maybe you’re in Kansas City—but if you’re in Philadelphia, you’re doing something wrong. Thinking along those lines has been helpful already.

Today I passed 40,000 words, so I’m at the midpoint of my estimated length.

In writing 40,000 words, I’ve learned a lot about this novel. (I’d hesitate to claim that I’d learned much about writing novels, but I’ve learned a lot about this novel.)

Happily, I think I’m past the stage of going back and fixing first-draft stuff to conform to my evolving ideas of the structure of this novel. That’s a combination time-waster and procrastination technique that many people warn against, but that I was unable to resist while working on the first third of the novel. (And it did waste a lot of time; I now see that a lot of stuff that I labored over isn’t going to make it into the second draft.) Worse, reworking those bits got me out of the habit of writing new stuff. Only just lately have I been writing entirely new prose—which is, for me, one of the fun bits. I hadn’t realized how much I’d missed it, until I finally got back to it.

Hopefully, the second half goes along more smoothly than the first.

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I first encountered Andrew Leonard when Steve pointed me to the column “How the World Works” at Salon.com. Filled with keen observations about globalization, right at the moment when globalization was changing everything, Steve spotted it as being just the sort of thing I was interested in at the time.

The column wrapped up a while ago—globalization is just how things are now—but I’ve kept up with Leonard’s writing, so today I spotted his latest essay, The astonishing power of Richard Powers.

I’ve been aware of Power’s novels for a long time, because he was a local sf writer, sort of, on the faculty at the University of Illinois. (I gather he just last year took a position at Stanford.)

His work is only sort of sf; it’s more literary than genre. It’s very well-regarded, but my few attempts to read it were unsuccessful: it seemed deliberately opaque. I grasped that the stylistic choices were intended to make the book’s form echo the book’s intent, but in my couple of experiments, they didn’t work for me.

This essay, though, almost convinces me to give more of his books a try. Certainly I’ll take a look at his latest, Orfeo.

But the essay is interesting beyond that. Despite having followed Leonard’s work at Salon for years, I was completely unaware that his father was “the youngest editor in chief in the history of the New York Times Book Review.”

I found in the younger Leonard’s experiences an echo of my own—choosing to be a writer when my father is one of the best writers I know.

A great essay. Long, but well worth reading.