Everyone knows nothing’s perfect after the first draft.
But how many drafts are you supposed to write? Where is that fine line between honing a work and polishing a turd? When do you accept something as a failure–nay, a learning experience?
I think the answer is when it is holding you back.
Perhaps you’re too focused on that one piece that you’re neglecting to think of others. What you imagined was your opus is now your albatross. Something a colleague once said to me in the editing room, “You just have to let it go, man.”
Let it go.*
Sounds easy, sure. But, wow. It’s not.
Continue reading “Reworking a draft: when do you just have to let it go?”
Flash fiction is a form with such tightly controlled standards that – for me – attempting it is like joining the marines. And I just don’t have what it takes. My usual authorial endeavours are a bit too akin to guerrilla warfare for me to stray too often onto the open battlefield that is the flash fiction market.
Yes, all stories need a beginning, middle, and end. You need to introduce a character, set up their arc, and then watch them complete it. But somewhere along the way, the structure of flash fiction has narrowed to include that little twist at the end: a bow that ties it all together. But when you are required to telegraph your intent so clearly, how do you hide the seams that show where you stitched this all together? Continue reading “Flash fiction: the mastery (or tyranny?) of form”
My flash fiction piece “Nineties Kid” appears today at Every Day Fiction.
Happy New Year everyone and it’s an honour to be the last story of 2017, despite how dreadful this year has been. Raise a glass to 2018; live long, prosper… all of that!
What do you do when your usual writing techniques and traditions stop working?
First: get rid of the idea that you need the Muse. The Muse is like that friend who always replies that they’re coming to your event and *maybe* shows up at one of them, late and already a little buzzed. If we waited for the Muse every time we sat down to write, nothing would get done. Continue reading “Breaking down the writer’s block”
The Beat Sheet is a trick I picked up in film school. It covers all the major plot elements (“beats”) of a long form story. Now, Snyder was writing about film, which is much more structurally formulaic than prose, but I firmly believe that taking a good, hard look at structure is essential for any novel, especially if you are writing anything other than hoity toity high-brow experimental literary fiction.
So, if you not in that 0.00001% of writers who are writing hoity toity high brow experimental literary fiction, then the beat sheet is worth your time. At the very least, you’ll notice the formulas and structures that so inescapably pervasive that you probably just took them all for granted. Continue reading “Blake Snyder’s Beat Sheet for novels”