How to Plot by the Numbers

Plotting By the NumbersShow, don’t tell. Watch your participial phrases. Don’t head hop. Whatever you do, stay within manuscript length recommendations. For a writer scrambling to keep up with all the dos and don’ts, the writing profession can seem full of arbitrary rules. And when someone breaks said rules and goes on to win awards, it’s tempting to follow suit. One standard you shouldn’t buck, however, is a publishing house’s word-length requirements.
Why? Shouldn’t you let your story tell itself without regard for its length?

If you will be the one footing the bill, you’re free to make your manuscript whatever length you prefer.  But if you hope a publisher will pay to produce your book, it’s important to understand that additional pages cost extra money, and not just in terms of paper and ink. It takes several editors (who are on the payroll) to review and guide you in polishing a manuscript. Proofreaders don’t work for free either. If your last name is Tolstoy or Michener you might get away with submitting a beefy manuscript. The rest of us need to keep the bottom line in mind.

Book stores base the number of copies of a particular title to order on standard widths. If a publisher fails to adhere to these widths, it throws off a bookstore’s shelving efforts. Besides this, writing your novel shorter or longer than genre readers expect can negatively influence their buying decisions.

Aren’t these considerations crass? What about your inner artist?

Your inner artist will recover, and you’ll even grow as a writer from keeping to practical guidelines.

But how on earth can you tell how long a novel will be until you’ve written it?

You can’t know entirely, but I’ve developed a method that helps me write to a specific length. Even if you’re a seat-of-the-pants writer and allergic to plotting, my technique may help you. Here’s a screen shot of one of my working calendars. CS stands for my current novel, and the number represents the scene I’ll write that day. (I number them in my plot outline.) I find it helps to include upcoming deadlines and events as well. The DS represents DawnSinger, the first novel in my epic fantasy series, Tales of Faeraven. The Renewal mentioned was a conference I attended.

Sample Scene Calendar

1. Estimate your desired word count. If you don’t know what that might be, read publishers’ submission guidelines at their sites. As a starting point, here’s an agent-maintained list of word count guidelines. Find the happy middle ground in a given range. That way you can guard against running too-short or too-long.

EXAMPLE: A publisher gives the range of 80,000-100,000 words for a historical romance. The middle ground to aim for is 90,000 words.

2. If you already know the average number of words you write per scene, use that figure. If you don’t know this number, write the first 50 pages of your book, then estimate the average number of words per scene. You can also base your figures on 1,500 words per scene, but eventually, you’ll want to check your own average against this figure and make adjustments as needed. It’s okay to round your numbers.

EXAMPLE: Approximately 12,500 / about 8 scenes = 1,500 words per scene

3. Divide your average words per scene into your desired total word count. The answer is the number of scenes to brainstorm.

EXAMPLE: 90,000 / 1,500 = 60 SCENES

4. Develop your plot to include the number of scenes you should write for your desired total word count. Write just a few sentences to describe each scene. This keeps you from bogging down while plotting and gives you a flexible guideline you can easily adjust as you write.

What’s next?

To learn more about my system of plotting, read How to Plot a Novel in Three Acts at my Live Write Breathe site.

Are you more of a plotter or a seat-of-the pants writer?

How Input Affects Output

I felt it sneak around the edges of my concentrated efforts. My lashes blinked faster. My lids now fought when I struggled to lift them off my eyes. A light sheet of brain-fog settled over my mind.

Afternoon fatigue had arrived. And it threatened to keep me from writing the scene on the screen before me. How would I finish without falling asleep?

Too often, I fight a common battle when I finally get a few snippets of time to write. But instead of grabbing a caffeine loaded, sugared up, fattened calf kind of snack, I’ve found a few quick solutions that allow me to treat my body with the respect it needs to function at optimal efficiency.

1) Eat nutritious vegetables or fruit. In particular, I’ve found the following have fabulous energy boosting properties for my body chemistry. Literally within seconds, I can feel a renewed focus and am able to write well. My faves include, red, orange, or yellow peppers, V-8 juice, grapefruit, oranges, watermelon, tomatoes, sweet potatoes, cucumbers in vinegar, cantaloupe, and celery.

Fruits & Veggies Energize Writers
Fresh Veggies and Fruit Energize

2) Get out in the sun. A few minutes of vitamin D rich sunlight is just the ticket to get my blood pumping and my thoughts racing.

Vitamin D Wakes Writers Up
Sunlight – Natural Inspiration

3) Drink water. When writing, we often don’t want to interrupt our thoughts, so dehydration is a big problem for many writers. Most people assume they need caffeine when exhaustion strikes — in reality, dehydration is often the culprit behind your fatigue. Science shows that water wakes us up.

Hydration Hydrates our Brain Cells
Water Wakes Writers Up

4) Take a nap. Though I fight it, sometimes a ten minute nap works miracles. A few moments of shut-eye gets me going again. (I find I need to set the alarm on my phone, so I can actually nod off. Otherwise, my fear of over-sleeping keeps me from getting the rejuvenating rest I need).

Naps Help Writers
Nap Time for Writers

5) Go for a walk. I plan this powerful method of staying alert into my writing schedule. It’s part of the formula I follow to get words on the page. Having an intended break gives me something to look forward to and pushes me past the humps. A good walk gets my blood flowing, my muscles heated, my cells active, and my thoughts fired up.

Walking Wakes Writers Up
Walking Stirs Creativity

6) Take prayer and Bible reading breaks. A few minutes spent with the Master Author infuses me with energy and inspiration. Nothing like purpose to light me into action.

Prayer and the Bible Inspires Writing
Pure Inspiration

Before fatigue wraps itself around me like a constricting serpent around its prey, I need a plan to fight back. I find the list above gives me exactly the input I need to affect my output in positive ways.

Here are some other great tips to help you battle afternoon fatigue.

What ways do you battle exhaustion when it threatens to hinder your writing?

With Us Here Tonight

Shortly after my first book was published, I gave a book talk at our local library.

Then I gave another talk at another library. And then a third library.

Then a Rotary Club called me. A few months later, I found myself the featured speaker at a Shriners dinner. Last month I presented a talk at the National Eagle Center. Birding festivals, book conferences, annual meetings, schools, service organizations–I’ve addressed them all.

Wait a minute. I thought I was a writer, not a speaker.

Guess what? Book authors get to do both!

The fact is, you NEED to do both if you’re going to successfully build your readership and market your writing. That means you should work on your public speaking skills, and the best way to do that is to take every opportunity you find for a speaking engagement. Develop the following five types of speeches, and you’ll be ready for anyone!

The Sound Bite is the one you will use a bazillion times. It’s the one-liner you’ll utter every time someone asks you what your book is about. It’s also one of the hardest to compose because you need to distill your book and its value down to one sentence. My sound bite for my series is “The Birder Murders is a humorous series about a really nice guy who happens to find bodies when he’s out birding.”

The Book Talk is the speech that focuses on your book’s content. If it’s nonfiction, you can give a general review of the topic itself, or focus on just one chapter’s point and why it’s important. If it’s fiction, you discuss characters, their relationships, the plot, how you came up with all of it, what you want to accomplish with it. This works best with audiences who have already read your book because they will have questions about what they’ve learned and/or enjoyed from reading it.

The Business Talk is about your experience with the publishing business of being an author. The changes we’ve seen in publishing, including the growth of e-books and marketing paradigms, is a topic that appeals to audiences composed of business people or future authors.

The Writing Talk is about your own process of writing a book. Do you do research? Conduct interviews? Journal or set word goals? The beauty of a Writing Talk is that it is appropriate for a variety of groups, and depending on the slant you give it for the group you’re addressing, it works equally well as a classroom talk, a keynote address for a gathering of library supporters, an awards speech, a writers conference, a book club… you name it.

The Topic Talk is the newest talk in my own arsenal of speeches. Because my books are about nature, I’ve started giving talks about nature education and conservation issues. If it is mentioned in my books, it’s fair game for a talk and a great way to use extra research.

Here is a great resource to help you to continue to develop your public speaking skills.

What talks could you present for your book? Do you have any ideas for talks that I have not mentioned?

The Art of Bloodletting:Translating Suffering to the Shared Page

“The only books worth reading are books written in blood.” –Frederick Buechner When suffering strikes, we are often silenced by pain. In such times, the act of writing may feel frivolous, exploitative, or irrelevant. Yet it is these dark, raw places of our lives that most demand our full attention, our most artful labors. We must steward the afflictions God has granted us. We may remain silent in the midst of it, but at some point we must write. Patricia Hampl reminds us of the responsibility that comes with our experiences: “We do not, after all, simply have experience; we are entrusted with it. We must do something—make something—with it. A story, we sense, is the only possible habitation for the burden of our witnessing.”

Dan Allender, in “Forgetting to Remember: How We Run From Our Stories,” tells us what happens when we ignore the hard events in our lives: “Forgetting is a wager we all make on a daily basis and it exacts a terrible price. The price of forgetting is a life of repetition, an insincere way of relating, a loss of self.” How then do we begin to write from within our afflictions? And how might the practice and the disciplines of writing offer a means of shaping our suffering into meaning for both writer and reader? Forgive the brevity and oversimplification, but here’s what NOT to do and why:

1. Don’t write to heal. Our therapeutic culture urges us to write into our pain as a means of self-healing. Newsweek’s article, “Our Era of Dirty Laundry: Do Tell-All Memoirs Really Heal?” rightly questions this cultural assumption. I have mucked through some hours and days of writing that were hellish. Re-living an experience with language and full consciousness is sometimes worse than the original event. Recognize that writing into affliction brings its own affliction. And even more importantly, recognize that when we are predisposed to heal ourselves, we will not be fully honest in the writing. Healing will likely and eventually come, but only as we engage with the hardest truths.

2. Don’t write to redeem, to turn inexplicable pain into sense and salvation. We want to bring beauty from ashes. We want to make suffering redemptive to prove its worth. But this is God’s work, not ours. Our first responsibility is to be true to what was, to witness honestly to what happened. Our job is not to bring beauty out of suffering but to bring understanding out of suffering. Poet Alan Shapiro argues that “…the job of art is to generate beauty out of suffering, but in such a way that doesn’t prettify or falsify the suffering.”

3. Don’t write for yourself alone. This is not just about you. You are working to translate suffering to the shared page. Buechner reminds us of the universality we should be striving for: “…all our stories are in the end one story, one vast story about being human, being together, being here. Does the story point beyond itself? Does it mean something? What is the truth of this interminable, sprawling story we all of us share? Either life is holy with meaning, or life doesn’t mean a damn thing.”

Writing can begin here, in the self, but should consciously move us beyond ourselves, to place our story into the larger stories around us, and ultimately, into the grand story that God is writing. The most powerful work comes from a “self that renders the world,” as Hampl has said—not just the self that renders the self.

Life is holy with meaning. Pain is holy with meaning. Don’t miss it. I pray for you the strength and faith and wisdom to begin to enter those hard places and to translate your suffering onto the pages we share—for the good of all, and for His glory.

How have you been able to translate your suffering into your writing?

How I Learned to Beat Writer’s Block

Image Credit: Studio-Annika / http://www.istockphoto.com/user_view.php?id=773765My first year as a soon-to-be-published author was nothing less than a baptism of fire.

When I received my contract to write How To Do Everything with HTML, I had no idea what I’d gotten myself into.

Oh, I knew I was going to write a computer book.

What I didn’t know was that the whole process would be done at a pace that bordered on insane.

Because technology changes so quickly, computer books are produced on a much faster timetable than other books. Otherwise, they can be obsolete before they ever hit bookstore shelves. The ink on my contract had barely dried when my editor e-mailed me and asked me to develop a chapter delivery schedule.

I had 20 weeks to write a 600+ page book.

If that weren’t stressful enough, I discovered that the entire writing, editing, rewrite, and proofing process would take place simultaneously.

It went something like this: For week number one, I had to write my first chapter. That included more than just writing the text. I also had to develop the HTML code. And I had to design and create all my own illustrations. After I turned in chapter one, the next week I turned my attention to the second chapter.

Like chapter one, I had to write the text, code, and illustrations. But I also had an additional task.

I had to incorporate tech edits for chapter one.

The publisher had graciously hired a technical editor who went through my HTML code and found all the bugs. Then he kicked the file back to me so that I could fix it. Thus, in the second week I had to write a 20-30 page chapter, create the computer code, design and produce my own illustrations, and incorporate the tech edits from chapter one.

Then things got even more challenging.

By about the fifth week I began to receive copy edits. So now my weekly workload involved writing a new chapter, developing the HTML code, designing and creating my own illustrations, incorporating tech edits from previous chapters, and reviewing copy edits from previous chapters.

I didn’t think it could get any worse.

It did.

About three quarters of the way through the project, page proofs began to come in, chapter by chapter. So in the last month or so, every week I had to write a new chapter, develop code, design illustrations, fix bugs, review copy edits, and correct page proofs.

It was like running down a railroad track with a mountain on one side, a cliff on the other and a locomotive breathing down my neck.

By the time I reviewed my last page proof, I felt like I’d just finished the writer’s version of the Ironman triathlon. I breathed a huge sigh of relief when I sent off that final file.

A sinking feeling followed that sigh of relief.

I was ready for a long rest, but that would have to wait. About halfway through the project I’d suggested an idea for a follow-up book on Cascading Style Sheets (a related language that works hand-in-hand with HTML). The publisher liked the idea, gave me a new contract, and told me to get started right away.

For another 20 weeks, I kept running down that railroad track.

It was an exhausting process, but I’m thankful that my first books were produced this way. The schedule was brutal, particularly for a brand new writer. But I learned a valuable lesson.

I learned that I never need to let writer’s block defeat me and that I can produce consistently every week. There were many days when I didn’t feel like writing. However, because of the breakneck pace and tight production schedule, I didn’t have time to wallow in self-pity or give in to writer’s block.

I had to produce.

If I gave in to writer’s block, then the next week I would have twice as much work.

And so I wrote.

For me, writing two computer books in the space of nine months was like boot camp. The publisher put me through the wringer.

But in the process, I learned how to deal with writer’s block.

I sit down and write.

Do you struggle with writer’s block? Or have you developed a way to deal with it?

Writing Giants

Surf the web and you will see that the subject of writing is well-charted territory. No matter what your goal, a how-to manual is there to support it. Need to write grant proposals, company newsletters, technical manuals, instructional design or academic materials? Industry experts abound to provide a sea of knowledge about any aspect of writing imaginable. For advice on how to create fiction, it seems logical to consult some of the successful authors and writing giants among us.

As I began researching books on writing by authors, Stephen King’s On Writing: A Memoir of the Craft kept appearing on the horizon. I extrapolated all that I could from that book and have started recommending it to other writers. Some of his tips include writing the first draft of a manuscript with door closed, consulting an ‘ideal reader’ that represents the audience, writing consistently each day (1,000 words or more), and writing about what the writer really knows, because that is what makes a writer unique. I’ve been applying King’s techniques into my writing regimen whenever possible. With over fifty worldwide bestsellers in his wake, clearly he knows what he’s doing.

Another writing giant willing to share his techniques is Ray Bradbury, who still cuts quite a swath. The Illustrated Man, Fahrenheit 451, Dandelion Wine and his other stories will forever swim in the waters of literature.  Bradbury’s book for aspiring writers Zen in the Art of Writing is full of sage advice. He suggests that people write about what they love or what they hate because that conviction and passion is crucial to the story. He advises authors to run after life with fervent gusto, to pursue their interests, and write about the things that make them happy.

Starting out, even surfing small literary waves can feel like riding giants. I’m getting more comfortable with what lies beneath (although it’s harder than it looks).  King and Bradbury cared enough to show the rest of us that it’s possible to conquer the sea, and when you do, an ocean of opportunity awaits. Besides, what one person can do, another can do.

Are you ready to paddle out?

Small Pond, Big Splash

Make a Splash!

On my recent mini book tour, I discovered how easy it is to create major buzz in a small geographical pocket.  Since Phoenix has 1 ½ million residents, I haven’t made much of a local splash for all my marketing efforts. Call me a city girl, but you can imagine how thrilled I was to create major splash in several small communities?

I chose a small Ohio town (the setting of my novel) and an Indiana Mennonite community because my characters are, yes, Mennonite. In twelve short days, I connected with hundreds of people who started a local buzz about my books. I did my part, and the rest just happened.

Imagine hundreds of rocks simultaneously tossed into water. The ripples intersect and make a major splash. The same disturbance would go unnoticed in the ocean, but is visible in a pond.

Helpful Tips for a Mini Book Tour

Establish a relationship with local influencers. They work hard on your behalf. Influencers booked my speaking engagement, organized book signings, and blogged and promoted my events. They placed newspaper notifications for me. See what I mean about easy?

Keep costs down. If you need to buy books, don’t over purchase (like I did) unless you wish to haul them around. I left unsold books with influencers. I did cover half of my expenses, and I’m sure I can do better next time.

Book at least one paid speaking event. My event had 200 + guests. I sold 40 books and gave free handouts with my contact information. It was a bonus when a newspaper reporter covered the event.

Take a guestbook to your events. I didn’t, but I will next time! A guestbook would provide a relaxing way to get name spellings, information, and jot notes for later—all while making pleasant conversation with readers. I frantically jotted notes that got shoved into my purse. Not very professional.

Attend local events, even if it’s not your event. When a book tour is the reason for your visit to a community, the topic naturally accompanies personal introductions.

Giveaways. Offering free bookmarks opens conversations with people who wouldn’t otherwise make eye contact. Book giveaways are both promo and ministry. Trust God with your offerings.

Get prayer support. I would have remained fearful and frazzled without my prayer support team. Thanks guys!

Take your vitamins. Even good stress is hard on the immune system, and I ended up going to Urgent Care two days upon my return. (Probably because I was an introvert on overload)

Benefits and Blessings

          Meeting local authors

          Opportunity to sign shelved books in local bookstores and gift shops.

–          Networking – (Got featured in summer reading group. They approached me!)

–          Media/newspaper coverage

          Unexpected opportunities – Books placed in church and school libraries

          Purchasing items for future promo.  Of course I bought a handcrafted Amish doll.

          Photographing opportunities for website, blog, and promo use

–          Research for blogging topics

          Gleaning new information about the book industry

–          Ministry – planting spiritual seeds and encouraging readers

–          Personal growth

 

Who are your influencers? Are you building relationships with them? Do you implement the small pond, big splash method for marketing your books?

Keeping the Ideas Coming

The writing life is a sedentary one, requiring hour upon hour of sitting in front of a computer screen—not good for the eyes or the metabolism or that almost forgotten New Year’s resolution to lose ten pounds. Desk-bound inactivity is also not good, I’ve lately read, for the brain—particularly those portions of the brain that support a capacity of supreme importance to the writer: creativity. To keep the brain in good shape and new ideas flowing in, say scientists who study creativity, you need to change things up a bit. Do something active. Think about something else.

The solution for me is running. I run twenty-one miles a week on the back roads around my house. Because of my work schedule, I run in seven to ten mile chunks, which is a bit hard for a nonathletic person like me, so I’ve come up with various strategies to take my mind off of what I’m doing. In addition to thinking about my current writing dilemmas and planning new books, I count the different kinds of birds or flowers or grasses or trees. I carry binoculars for locating birds and have trained myself to recognize their voices and habits. I phone distant family members and friends whom I rarely get around to talking to otherwise. I pray.

On especially long runs, though, even these distractions get boring, so this winter I started playing a sick, depressing game of building alphabets from the roadside trash.

I made up rules for myself. I had to follow the alphabet’s order. I had to actually see a letter—not guess or surmise it from the visible part of the trash—for it to count. No slowing or stopping to look more closely. No stopping to turn a piece of trash over to see the other side. No touching at all! I had to read on the fly.

It was, as I say, a sick, sad game. So much trash. I fantasized about returning after my run with a box of trash bags and picking it all up but never found time.

Then spring came, burying the trash in weeds. That made the game harder and longer. I was on J one day—Js and Vs were always the hardest letters to find—and had been jogging along for miles without seeing even the Juicy Fruit wrapper I’d seen the last time I’d run there. Up ahead, a square of paper stuck up like a tombstone out of the freshly graded borrow ditch. On it was one word: TIME.

It occurred to me that it would be much more fun to collect whole words than single letters, so I wrote down TIME in my little bird notebook and jogged on. Soon I had grand, subway, rub, natural, ice, aqua, buried, cable, light, wet, ones, bud, sonic, key, stone, mountain, and dew and decided to make a poem.

It has always bothered me how advertising and brand names undo words. Light doesn’t mean light. Mountain has no real connection to a mountain nor dew to actual dew. My poem, I decided, would reclaim these words’ real meaning. I would redeem the trash words.

My rules were few. What linguists call structure-class words (pronouns, helping verbs, articles, conjunctions, etc.) and inflections (verb forms, plural forms, etc.) were allowed. So was divvying a word into its parts: keystone offered key and stone. Homophones—such as bush from Busch—were off limits. Once my poem got going, though, I threw out all my rules and just concentrated on making the poem work as a poem, importing non-trash words as I saw fit.

Writing that first poem made me cry. Don’t know why, exactly, except that it felt holy. I decided, in any case, to collect trash words and make poems routinely when I ran. I even started a blog of the poems that have resulted. I find the project profoundly satisfying, from collecting words to redeeming them as poems to posting them for others to read.

I don’t have much of a message here, except this: Get serious—and creative—about your creativity. Every moment, every event, all the minutiae of your life, even the worst things—even running!—can be re-purposed for something good.

In what ways will you choose to redeem your creativity this week?

Sitting and Receiving

How is your writing going?

I usually feel uncomfortable answering that question. However, I’ve discovered the answer is often linked to an even more intimidating question. How is your quiet time going?

Thankfully, I have people in my life who care enough to ask me that question. I must admit, there have been seasons when my quiet time wasn’t going well at all. There have even been periods of time when I yielded to the temptation to skip my time with the Lord all together.

At one point last year, after about a month of whispering arrow prayers to God as I rushed from one task to the next, I broke down in tears. I missed my connection with my Lord. I was exhausted and weary. I knew I desperately needed unstructured time with Him. I finally put my to-do list aside, opened my Bible, and just started reading. I longed to connect with God and sense His presence. I was hungry for His Word and thirsty for His Spirit. As I read in John chapter six, I came across the story of Jesus feeding the five thousand and noticed something unique about John’s description of the event.

Crowds of people were gathered, and they needed to eat. When one of Jesus’ disciples identified a boy with five small barley loaves and two small fish, Jesus said,

“Have the people sit down.” There was plenty of grass in that place and the men sat down (about five thousand men were there). Jesus took the loaves, gave thanks, and distributed to those who were seated as much as they wanted. He did the same with the fish (John 6:10-11 NIV).

Our Lord told the people to sit down, and about five thousand men sat on that grassy mountainside, anxious to receive what Jesus had for them. He distributed to those who were seated. As I read and re-read the words, “to those who were seated,” it occurred to me that some of the people on that mountainside chose not to sit down. If you are familiar with the account of that amazing event, you know those five loaves of bread and two fish miraculously fed everyone who was seated, with twelve baskets of leftovers to spare.

As I questioned why some of the people would choose not to sit down and receive the sustenance Jesus was offering them, God’s tender conviction washed over me.  I realized I had been just like the people who chose to remain standing. I had been so busy writing and checking off tasks from my to-do list, I hadn’t taken time to sit and receive the spiritual food Jesus had to sustain me and strengthen me and inspire me.

Are you taking time to sit and receive the sustenance Jesus has for you? I can relate to a hectic schedule and deadlines that make setting aside time with our Lord seem difficult. However, if your writing isn’t going well, perhaps you need to have a seat on a grassy mountainside with your Lord. Whether you need inspiration or direction, or simply a few words of encouragement, Jesus has more than enough to sustain you with baskets full to spare. Sometimes, we have to sit in order to receive.

So, my fellow writing friends, how is your quiet time going?

Keep Doggedly at It – Writing That Is!

 

 Isaac Asimov at work                                         

                 

Samuel Johnson, the 18th Century Englishman who penned the first dictionary of the English language said this of writing.

“A man may write at any time, if he will set himself doggedly to it.”

There is a lot of wisdom in this statement. I believe the main thing which separates successful writers from would-be is that most people who think they can write don’t have the stomach for it. Just like any other enterprise of worth it involves hours and hours of hard work.

On the radio this week I heard the story of two 12-year-olds, swimming hopefuls both of them outstanding athletes. The young boy said it was his dream to swim for Great Britain in the Olympics in 2012. The young girl said she had the same dream. The boy talked a lot about winning a gold medal. The girl got stuck into training. Five years later the young girl, now 17, has been picked for the GB team and she has a good chance of getting a medal. What about the boy? Well he’s still talking about winning, but he hasn’t even got a spectator ticket for the event. He dropped out of training long ago.

Here’s a quote from the Novelist Doris Lessing, “I don’t know much about creative writing programs. But they’re not telling the truth if they don’t teach, one, that writing is hard work, and, two, that you have to give up a great deal of life, your personal life, to be a writer.”

“The only difference between a writer and someone who wants to be a writer is discipline” Ayelet Waldman.

Bah humbug! Discipline, the bane of all who want to be a success overnight, can’t I just have it all without the discipline, the work, and the misery?

We all know the answer to that question. Lee Iaccoca said “The discipline of writing something down is the first step towards making it happen.”

Ernest Hemingway used to get up at dawn and write until lunch time then enjoyed his afternoons not writing. CS Lewis had a daily schedule which he kept to and that meant writing 4 hours in the morning and 4 hours in the afternoon. Jean Plaidy wrote 5000 words before lunch. Graham Greene did only 500 words a day, but look at the output. Isaac Asimov awoke each morning at 6 AM and worked well into the night, sometimes churning out entire books in a matter of days, amazing, but not for me.

Whatever your plan is just keep to it, doggedly, and then one day you’ll walk past a book shop with your own creation smiling proudly in the window.

I love this from Harlan Ellison “People on the outside think there’s something magical about writing. That you go up in the attic at midnight and cast the bones about and come down in the morning with a story. But it isn’t like that. You sit in the back with a typewriter and you work. That’s all there is to it.”

I leave you with this quote from your own John Adams, which is good advice to any writer.

“Let us dare to read, think, speak and write.”

How do you maintain discipline in your writing life?