Word Count

Do you think it’s true that each step we take, no matter how enormously life-changing it seems at the time, merely serves to prepare us for the next step – one unimaginable before we took the first?

Lake Annette, Giant Steps - July 2008 178-00

I started this blog in order to provide myself with some form of accountability, and (hopefully) others with useful or interesting material for their own writing journeys.

In order to amp up the former, I have decided to keep a daily account of what I write, with the stated intent of writing something every day – aiming for 500 words.

I freely admit that I shamelessly poached this idea from RobynInNZ.

However, given my propensity for Weaselling Out, I feel the need to lay down a few ground rules.

Weasel Poupette

1) Writing out someone else’s words does not count. (Nor does “blah blah blah” – unless in Morning Pages.)

2) Shopping lists and to-do lists do not count, unless presented in a recognised poetic form (e.g. sonnet, villanelle, pantoum, limerick)

3) Diary/journal* entries and Morning Pages do count, as do blog entries (177, 178).

4) Private letters do count (should I be sufficently motivated to tally the words), but emails do not, unless Sparklingly Composed. Because these are my rules and I can be as inconsistent as I like.

5) Manuscript pages (i.e. written by hand) are harder to word-count, and shall therefore be averaged out, per page or per line.

6) Not writing 500 words (or any at all) shall be honestly admitted to, and (very important from the Weasel perspective) no excuses will be given. Taken. Whichever.

7) Unlike the man who relieved himself in a crocodile-infested river, there shall be no half-assedness. (Donations to medical charities operating in third world countries will be Highly Commended, and may earn a day’s respite from word-counting.)

Crocodile Fright Night

So: Monday – wrote page in journal (101 words). Tuesday: wrote 2 1/2 Morning Pages (502 words) and this blog post (387 words) for a total of 889.

889 words and counting…

And a question for you all: Which is preferable as a reader, lots of short blog posts (a sentence, a paragraph) or a longer post once or twice a week?
Comments on this or indeed on anything else related or interesting are welcomed.

*Does anyone else find it strange that diary carries the connotation of daily entries, when journal doesn’t – even though they both come from root words meaning day (diarius, Latin, and jour, French)?

Stoking the Fires

Most of the time we are not writing.
This is largely due to the Dreaded Day Job.

Ideally, of course, one would either have a job which fuelled the creative juices, or a job which left your mind entirely free for thinking about writing. (All right, ideally one would be able to write as much as one liked with no outside work and an enormous stipend, but join me in the real world for the sake of the argument. Also, bring back the non-ironic use of the gender-neutral indefinite pronoun. Thank you.)

If one does not have such a convenient job, the cold hard reality is that there’s precious little mental space left for the Work In Progress. One has to make the most of what time one has – to stoke and tend the fires of inspiration, so that when time is available. one wants to write – and is ready to write.

The Stoker

So how does one do this?
There are many strategies, but unfortunately a lot of them double as prime forms of procrastination.

Reading about writing is one of my favourites.
Reading books about how to write, books about writers I admire – they fill me with enthusiasm. Reading books in a similar genre or tone to whatever I’m working on – at best, they fill me with an envious delight (I wish I’d written that!) and at worst, they map out pitfalls to avoid in my own work.

The useful thing about reading about writing as opposed to writing itself is that it can be squeezed into any little gap in the day, providing there is a suitable book present.

Do I detect a resemblance?

Picking up a book and reading comes naturally to me (not picking up a book and reading requires concentration and effort), whereas picking up a pen and writing requires preceding thought and usually the spreading of associated papers over a wide area.

Daydreaming about the Work In Progress is even more handy for stolen moments here and there as it requires no paraphernalia. The downside is when one has a earth-shatteringly brilliant idea (perhaps the seed word for one’s WIP) and finds one has no way of writing it down.

Of course, writers are advised to keep pen and paper on their persons at all times, but even writers need to bathe. (please note: words written in condensation on shower walls are seldom legible afterward.)

hooooor

While in the throes of the Dreaded Day Job, one can also use such things as images and music to seize the imagination and recall the mind to the story underway.

Perhaps your DDJ allows you to use a personal music player (of whatever sort) – then play yourself the soundtrack to your tale.
Or images – I often to change the wallpaper on my work computer to something that reminds me of my story, and every time I see it I get a little thrill of excitement, as the story flows through my mind again.

The I of The Forest

In fact (and I am sure I am not the first writer to whom this has occurred), the whole business of feeding the flames of writerhood is remarkably analogous to other forms of devotion – whether human or divine.

We dream of our beloved. We talk about our beloved to anyone who is prepared to listen (or too polite to run away). We cherish art and music that remind us of our beloved, and we want to learn everything there is to know about them.

There is no question here of chores, or duty. Every moment we can snatch with our beloved is a pleasure, a golden trophy plucked from the mire of workaday life.

Tell me, how do you keep your fires burning?

Propping up Plot with a Bukkit

No, that isn’t a typo.

I refer to the late great Vladimir Propp, who had the fascinating idea of classifying plot elements in the same way Linnaeus classified plant life.

His work focussed on the Russian folktale, which he boiled down into 31 plot elements or ‘narratemes’ – not necessarily all present in any one tale, but generally occurring in the same order.

To see what I mean, and have a bit of fun, try this Russian Folktale Generator – you select the narratemes you’d like to include, and the programme comes up with a (varyingly) specific example, forming your very own folktale.

"Nature lends such evil dreams"

This leads me to my next point, because (as you will know once you’ve tried it) the programme may have some great plot ideas – I particularly liked the trail of blood – but great storyteller it ain’t.

So much of writing isn’t the story, after all – it’s how you tell the story. There are a limited number of plots in the world, so we have a fairly good idea what’s going to happen, but we want to know how. Or, in the case of writers like Agatha Christie and P.G. Wodehouse, we may even have an inkling howdunnit (or whodunnit), but we go along for the ride anyway because of the telling. Because of the voice.

Take Back To Beat – Gomma Vulcanizzata

Like fingerprints, no two voice prints are the same.

And this is why it is important for a writer to have their own voice (even if it includes myriad subordinate clauses and sentences that start with the word ‘and’). Which leads us neatly around to the subject of Chapter Two in the Artist’s Way – recovering a sense of identity.

To be sure, Julia Cameron is thinking more along the lines of recovering your identity as a writer, but there is also the element of recovering your identity as this writer.

GOT BUKKET?

Like the Walrus and his Bukkit, I am happy to have my writer’s voice back – it’s been away and I missed it.

But to return to Propp, leaving Chapter Two for another post:
as well as the 31 narratemes, such as LACK (They took my bukkit!) and BEGINNING COUNTER-ACTION (have you seen my bukkit?) Propp classified 8 character types found in these tales.

These include the hero (our friend the lolrus), the villain (obviously, whoever took the bukkit) and the princess and her father, who, Propp notes, are functionally the same – the sought-after one. (They are the bukkit.)

Now, while I don’t suggest that all stories could or should fit the Russian Folktale structure (bukkits aside), it can be very helpful in sparking new ideas for a saggy plot.

Of course! you cry. Where are the helpers who aid the search for the bukkit?

1765 G takes blue bucket

What – or who – sends my hero off on their journey? Where’s the showdown with the villain? The pursuit with the prize? What false hero tries to purloin the hard-earned reward? What’s a walrus got to do to get his bukkit back? And so on and so forth.

And if all else fails in your attempt to dig yourself out of a plot bog, follow a blood trail – see where it leads.