I’m a numbers guy at heart, and I recently saw the canard “the first million words are practice.” And it reminded me of Malcolm Gladwell’s 10,000 hours rule, which I think was specifically referring to deliberate practice, that is, practice with quick feedback. My question to you: what does deliberate practice look like for a writer, particularly one without a crit group?
Ooh, what a great question. Okay: Gut reaction answer to a question that probably has as many answers as there are writers. I would include reading -- especially active reading with your writer Spidey senses on -- as part of the practice time. I also think it varies WILDLY. To me, there is a definitive moment when you go from seeing the work as it feels when you're doing it to seeing it how it is (or closer to how it is) and that's when you're able to learn how to revise more effectively. That's sort of the door you're progressing toward and trying to make your way through. I REVISED a lot before that point, but I don't know that I was making the things I wrote better; I think I was just making them different. So, basically, you're working toward the ability to have clarity and revise based on that clarity of what you're trying to do, and what is working, and what isn't. For some people, that may come while writing their first book or afterward. For many of us, not so fast. I think my third novel was the first that knew what it was doing, though I'd definitely used my earlier books and the feedback and revision process to get better. The terrible thing is, once you hit that threshold, the trick is then to silence that distance that tells you things are Not Good Yet enough to do your work. To fine tune turning those things on and off. I don't know a single writer who doesn't hit the point during a book where you're literally googling "books on how to write a book" or simply some variation of "help" or "how to start over with a new identity," no matter how many books in. I do think you need to find a way to get some feedback, at some point, but that can look like lots of things and not necessarily a specific critique group. And learning at what point and what type feedback is useful is a whole other journey. Does any of that help?
Yes, all of it! In software engineering they have the idea of code katas, which are short exercises to help you stay sharp. Kind of like playing scales in music. The trick for me is always finding writing exercises that don’t uhhhh bore me. And writing big stories intimidates me.
Have you looked at Le Guin's Steering the Craft? It's very short, but has GREAT nonstandard exercises tied to really building different fiction muscles.
I know you are a fiction writer so I'm not sure if you can even address this one, but book proposal construction for NF writers can be an absolute nightmare. Prospective agents all have differing opinions about how it should be done. I've changed mine about a half dozen times and still get the "it doesn't have IT so I'm gonna pass" response from agents. I'm at the point where the proposal is destroying my ability to write. Thoughts on when to just hang up on the proposal process? Should you even write the book if the proposal gets no serious interest? (I have written some chapters.)
This is a rough one, as you say. I'm not a nonfiction specialist and I know it's far, far more common for nonfiction books to sell on proposal. Hopefully, someone who can speak to that will chime in. I think, if YOU, Colleen Mondor are sold on a book, and you can do it without the advance, you should write it. I would presume that you personally do a TON of research before you ever write the proposal. But maybe you need to go on the journey and just believe and trust yourself to write the book. (I TRUST YOU.) In fiction, you really have to write the book first until you are considered proven, for the most part, and even that is a wobbly definition. I wonder if with the ::gestures:: world, that's becoming more true in nonfiction, especially for the not-famous author. That said, if you don't want to do that, I do think sharpening the proposal is an option -- perhaps write a longer sample, and include some more pizzazz-y elements (TM). What is different about the way YOU will tell this story? Why are you THE person to tell this NOW? Maybe try to make sure those answers are also in the pages in the proposal? Also, I'm always happy to look at your proposal and critique it! <3
Thanks so much, Gwenda! I am....like everyone else, I think....EXHAUSTED. I def feel like the way things used to be done is changing now. The other issue is, like any writer fic or NF, after awhile you look at what you've done and can't even really "see" it anymore. Things to think about..... :)
Well, YOU are awesome. You wrote a great first nonfiction book that EARNED OUT. You are a master researcher, a great writer, and have a POINT OF VIEW. So don't give up.
I agree with Gwenda that you being you, if you can afford to write the book you should. I'll also throw out there that self-pub doesn't have the stigma it once did and that part of me wants to start a small indie press just so I can publish your book.
Yes and within nonfiction I can’t even say how many books I covered for PW that were originally self-published and then picked up by various publishers. A lot. Even before it was cool!
I just finished A Northern Light, an older YA centered around the tragedy of Grace Brown, which inspired an American Tragedy. I picked it up on a whim as a used bookstore and enjoyed it.
I'm still indignant for the dogs' behalf. So rude.
So what do you do when you are stuck in the middle of your book?
I presume you mean the middle of writing your book? Yes? Very common problem. I may pull this out for a longer post! For me, it's my favorite part, but I'm a deviant. I think some of that is due to shifting my thinking about it. There's the beginning and ending, of course, and then maybe try thinking of the middle as "where the story happens." Another thing I find useful about giving the middle more mental SHAPE is thinking of a big scene dead center of the story that I'm writing toward. Then instead of thinking of that whole big length as one long act, it becomes two, what leads to that scene and what happens afterward. That scene should be a pivot point--it's often called "the point of no return" by teachers and there's something to that. The moment at which the character could no longer just nope out and go back to who they were at the beginning of the story. I hope this helps, my dearie!
Please let me know what you think about THE ATLAS SIX. I'm interested in that one.
You got it!
I’m catching up on my comics! I’m reading NUBIA by Stephanie Williams.
Ooh, I'm very interested in that one! I need to go on a comics binge. I'm sooooo behind!
I’m a numbers guy at heart, and I recently saw the canard “the first million words are practice.” And it reminded me of Malcolm Gladwell’s 10,000 hours rule, which I think was specifically referring to deliberate practice, that is, practice with quick feedback. My question to you: what does deliberate practice look like for a writer, particularly one without a crit group?
Ooh, what a great question. Okay: Gut reaction answer to a question that probably has as many answers as there are writers. I would include reading -- especially active reading with your writer Spidey senses on -- as part of the practice time. I also think it varies WILDLY. To me, there is a definitive moment when you go from seeing the work as it feels when you're doing it to seeing it how it is (or closer to how it is) and that's when you're able to learn how to revise more effectively. That's sort of the door you're progressing toward and trying to make your way through. I REVISED a lot before that point, but I don't know that I was making the things I wrote better; I think I was just making them different. So, basically, you're working toward the ability to have clarity and revise based on that clarity of what you're trying to do, and what is working, and what isn't. For some people, that may come while writing their first book or afterward. For many of us, not so fast. I think my third novel was the first that knew what it was doing, though I'd definitely used my earlier books and the feedback and revision process to get better. The terrible thing is, once you hit that threshold, the trick is then to silence that distance that tells you things are Not Good Yet enough to do your work. To fine tune turning those things on and off. I don't know a single writer who doesn't hit the point during a book where you're literally googling "books on how to write a book" or simply some variation of "help" or "how to start over with a new identity," no matter how many books in. I do think you need to find a way to get some feedback, at some point, but that can look like lots of things and not necessarily a specific critique group. And learning at what point and what type feedback is useful is a whole other journey. Does any of that help?
Yes, all of it! In software engineering they have the idea of code katas, which are short exercises to help you stay sharp. Kind of like playing scales in music. The trick for me is always finding writing exercises that don’t uhhhh bore me. And writing big stories intimidates me.
Have you looked at Le Guin's Steering the Craft? It's very short, but has GREAT nonstandard exercises tied to really building different fiction muscles.
Wait, I have that! LOL I guess that’s what years of bumping off this ambition does for you.
Dude, we populated the craft library at the Writer's Room solely with books off the four board members' shelves. LOL.
p.s. If anyone else wants to chime in on this, please do!
Most of my writing is academic writing but I think blogging is excellent deliberate practice for a writer.
I know you are a fiction writer so I'm not sure if you can even address this one, but book proposal construction for NF writers can be an absolute nightmare. Prospective agents all have differing opinions about how it should be done. I've changed mine about a half dozen times and still get the "it doesn't have IT so I'm gonna pass" response from agents. I'm at the point where the proposal is destroying my ability to write. Thoughts on when to just hang up on the proposal process? Should you even write the book if the proposal gets no serious interest? (I have written some chapters.)
This is a rough one, as you say. I'm not a nonfiction specialist and I know it's far, far more common for nonfiction books to sell on proposal. Hopefully, someone who can speak to that will chime in. I think, if YOU, Colleen Mondor are sold on a book, and you can do it without the advance, you should write it. I would presume that you personally do a TON of research before you ever write the proposal. But maybe you need to go on the journey and just believe and trust yourself to write the book. (I TRUST YOU.) In fiction, you really have to write the book first until you are considered proven, for the most part, and even that is a wobbly definition. I wonder if with the ::gestures:: world, that's becoming more true in nonfiction, especially for the not-famous author. That said, if you don't want to do that, I do think sharpening the proposal is an option -- perhaps write a longer sample, and include some more pizzazz-y elements (TM). What is different about the way YOU will tell this story? Why are you THE person to tell this NOW? Maybe try to make sure those answers are also in the pages in the proposal? Also, I'm always happy to look at your proposal and critique it! <3
(I suspect you are not bragging enough about your credentials!!!!)
Thanks so much, Gwenda! I am....like everyone else, I think....EXHAUSTED. I def feel like the way things used to be done is changing now. The other issue is, like any writer fic or NF, after awhile you look at what you've done and can't even really "see" it anymore. Things to think about..... :)
Well, YOU are awesome. You wrote a great first nonfiction book that EARNED OUT. You are a master researcher, a great writer, and have a POINT OF VIEW. So don't give up.
I agree with Gwenda that you being you, if you can afford to write the book you should. I'll also throw out there that self-pub doesn't have the stigma it once did and that part of me wants to start a small indie press just so I can publish your book.
Yes and within nonfiction I can’t even say how many books I covered for PW that were originally self-published and then picked up by various publishers. A lot. Even before it was cool!
I just finished A Northern Light, an older YA centered around the tragedy of Grace Brown, which inspired an American Tragedy. I picked it up on a whim as a used bookstore and enjoyed it.
I'm still indignant for the dogs' behalf. So rude.
So what do you do when you are stuck in the middle of your book?
I love that book! Jennifer Donnelly, right?
I presume you mean the middle of writing your book? Yes? Very common problem. I may pull this out for a longer post! For me, it's my favorite part, but I'm a deviant. I think some of that is due to shifting my thinking about it. There's the beginning and ending, of course, and then maybe try thinking of the middle as "where the story happens." Another thing I find useful about giving the middle more mental SHAPE is thinking of a big scene dead center of the story that I'm writing toward. Then instead of thinking of that whole big length as one long act, it becomes two, what leads to that scene and what happens afterward. That scene should be a pivot point--it's often called "the point of no return" by teachers and there's something to that. The moment at which the character could no longer just nope out and go back to who they were at the beginning of the story. I hope this helps, my dearie!