noveldoctor

The blank page strikes fear into writers, but too often for the wrong reason.

These writers (perhaps you?) see it as something to fill with cleverness and excellence that will excite the senses and convert the masses. They consider it a space to stuff with characters and plots and subplots and twists and tension and conflict and resolution.

To them, the blank page is a empty thing that demands to be filled. And when it doesn’t get its way, it mocks them. It belittles them. It questions their writing talent. Their commitment. Their masculinity. Their femininity. Their parenting skills. Their love of Hemingway. Their selfish use of oxygen.

The blank page is evidence of an empty heart. Or mind. Or (gasp) soul. This is a terrifying idea.

And so they scrounge and scrape for story scraps in their ubiquitous (and surprisingly destitute) “ideas” folder and shop for characters at the local Starbucks. They read Rowlings or Robinson for inspiration, then stare with glassy-eyed panic at textured walls, praying for a seed of brilliance to reveal itself in the randomness.

All to satisfy the need to fill the page, to deny the yawning abyss of irrelevance and purposelessness its prey.

I think they’re scared of the wrong thing.

The page isn’t empty at all. It’s absolutely packed. It’s filled from edge to edge with every book, every movie, every song, every tear-filled breakup, every hope-filled phone call, every sin, every grace – every single experience and thought and dream and bliss and agony the writer has ever known.

You might be thinking, “Isn’t this just a matter of semantics? I say the page is empty, you say it’s full – either way, I still have to choose what to type and that’s a daunting thing.”

It’s not semantics. It’s a completely different way of thinking.

If the blank page is empty, you need to find things to fill it. Go ahead and put a sentence on the page. It’s still pretty empty, isn’t it. Okay, go find more stuff. Hurry, before that solitary sentence begs for the mercy of the eraser. What’s that? You’re stuck? You must be looking in the wrong place.

But if the blank page is full, everything you need is right there. And isn’t it, really? Aren’t all your story ideas (the good ones and the terrible ones) – or at the very least, the seeds for those ideas – already a part of who you are? If not, maybe you’re going about this writing thing all wrong. Ever heard of “write what you know”? That means write from who you are. Don’t “try to be a writer.” Just write. Look at the stuff that’s already in you – the stuff that’s already there on the page – and circle it. Underline it. Re-arrange it.

Uncover it.

The blank page isn’t empty.

It’s full of you.

Now that’s scary.

Sit down. No, you’re not in trouble. This isn’t about dangling too many participles or ending sentences with prepositions. It’s not about your premise or your plot. It’s not about your characters (they’re all really very lovely). And it’s not about your craft.

You want what? A drink? Sure. What would you like? I have tea and coffee and…

Really? This early? How about just the orange juice without the vodka?

Okay, where was I? Oh, right. You’re a good writer. Your novel is competent, smart and entertaining. You’ve obviously read lots of books on how to write. I bet you read all the really popular agent and editor blogs, too.

But…

Hmm? Yes, you can move to the couch if you want. No, I don’t have any Xanax.

Like I was saying, your novel is good, but it’s missing something.

Yes, I know, I know. You’ve labored on this for months. You’ve poured every available minute into the writing and the re-writing. Your husband thinks you’re having an affair with someone named Strunk N. White. Your kids are wondering what a “crit group” is and where to find one and do they really need more feedback on their two-paragraph “what I did last summer” essays anyway? And your dog, Pulitzer, is afraid to ask to go for a walk because, apparently, his whimper sounds excessively adverbial and this causes you to scowl like Stephen King and it makes him nervous when you scowl like Stephen King.

No, you haven’t wasted your time. All that study has paid off. Surely you can see how you’ve improved. And if not? Go back and look at the first story you ever wrote. You’ve come a long way. I’m impressed. You should be, too.

But your novel is still missing something. Something really important.

It’s missing you.

You’re looking rather pale. Maybe you should lie down.

Let me say again – you’re a good writer. I’ve seen manuscripts from contracted novelists that aren’t as well-written as yours.

Good. You’re getting some color back. You were making me nervous there for a moment. I’m not trained in CPR.

It’s quite possible that your novel is good enough to capture the interest of a good literary agent. And maybe even good enough to get published someday. Of course, that could take a while. You know how tough it is for writers to break through. Of course you do, that’s why you’ve been so diligent at the craft and so dedicated to learning the business.

Maybe persistence and patience are all you need at this point.

But I can’t help wondering about that “missing something.” Where are you in your novel? Where’s the smart, slightly snarky writer whose email correspondence always makes me smile? Where’s the clever wordplay? The knowing smile? The arresting blend of confidence and vulnerability that I think of every time I think of you?

All that great writing advice might have kept you off the page. I like you. I like the way you think. I think readers would like you, too. And if you found you – if your novel had more of you in it – I believe that might just bump your manuscript from the “good enough to be published” pile into the “wow, I love this!” pile on an agent’s desk.

Ah, yes, that’s the million dollar question. And there’s no easy answer. I’d suggest these three steps:

1. Let the manuscript sit. Don’t obsess over it. Forget about it and do something else for a while.
2. Stop reading “how to write” books and websites. Instead, read novels. Good ones by authors you admire. Fresh ones by authors you’ve never met.
3. When you finally do go back to your manuscript, forget the rules. Just (re)write as you hear the story in your head. You already know craft – that will come naturally now. This time, listen to your inner voice, follow it. Trust your instincts with word choice, pacing, rhythm, attitude. And here’s the real key: have fun.

Be you.

That’s not as easy as it sounds. And if you find you’re still struggling, start another novel. Yes. From the beginning. The more you write, the sooner you’ll find yourself on the page. When you do, you’ll not only be “good enough to be published” – you’ll be the only person who writes like you.

That’s the book I really want to read.

Yours.

Yes, you can have the vodka now.

A few years ago, back when I was a cubicle dweller, I had the privilege of representing my publishing house at a local writers’ conference. I stocked up on Altoids (licorice, because that’s just how I rolled back then), made sure there was a pitcher of water nearby, sat down at my table and awaited the first of twelve victims…um…I mean hopeful authors.

I’m far from a conference expert, but my limited experience has taught me that the one-to-one meetings with unpublished authors can be endurance tests for both the editor and the writer. The editor, though hopeful to find that rarest of creatures – a writer with more talent than even she knows – instead usually finds himself queuing up “not for us” and “needs work” sentences that will temporarily destroy the writer’s dreams no matter how politely they’re delivered. Meanwhile, the writer sits on the edge of her chair (literally and figuratively) listening for words like “promise” and “potential” while attempting to excuse other words like “not for us” and “needs work” as evidence of the editor’s obvious inability to identify great writing.

Every once in a while, that rare creature does appear and the editor (and author) both walk away from the conference giddy and hopeful.

But this isn’t a post about that sort of rare creature. It’s about another kind.

The writer who hasn’t learned to listen.

She sat down at my table just before noon, her navy blue three-ring binder held tight to her chest like a child she might accidentally suffocate. She presented it to me and began to explain why her novel about an angel who saves a man from suicide was probably the best novel ever written about an angel who saves a man from suicide. “Lots of people have said so,” she added, then started to describe the plot while I tried to read the sample chapter in front of me.

It was not good. And by “not good” I mean “bad.” The writing was amateurish, the plot (or what I could determine of the plot) was somehow both meandering and predictable, and the dialogue was just this side of awful. I can’t remember the specifics (thankfully), but I do recall the feeling I experienced while reading. So in an attempt to share that feeling with you, I present this completely fabricated excerpt:

* * *

“I am going to jump off of this bridge,” Simon yelled. He was standing on the edge of the gray metal bridge that was also rusty and at least fifty feet above the water below that was rushing by like a rushing river.

Just then, a bright light came on on the opposite side of the bridge except there wasn’t a lamp post there so it couldn’t be a light. Could it be an angel? Yes it was!!!

“Do not jump!” said the angel. “I am here to save you!”

“I do not want to be saved,” said Simon. “I want to kill myself.”

“Why?” said the Angel.

“Because my wife left me and I drink too much alcohol and take drugs and say curse words and look at porn.”

“Those are very bad things, but that does not mean that you should kill yourself.”

“Why not?”

“Because life is worth living!”

“Not mine.”

“Even yours.”

The bright light that was actually an angel moved closer to him and reached out her hands (she was a girl angel) to him. When she got close enough to touch him, he grabbed her hands…and threw her over the bridge.

* * *

Okay, that last part wasn’t in the story. I wish it had been, then I would have had something encouraging to say about “out of the box thinking.”

Instead, I gave her some of my best (and most polite) “not for us” and “needs work” sentences. I didn’t want to discourage her desire to write, but believed I would be doing her a service if I gently lowered her expectations about being published through traditional methods.

She stared at me with open-mouthed horror, as if I’d just said aliens kidnapped her dog and impregnated her husband.

This is when I made my fatal mistake: I decided to fill the awkward silence with helpful editorial advice.

Oops.

She had a ready excuse for everything I offered. It was essentially the same excuse, whether I was offering tips on dialogue or character or plot.

“You’re wrong,” she said.

I was glad when the next appointment walked into the room, but she wasn’t quite ready to leave. She kept saying over and over “everyone I know loves this story” while I refrained from explaining they were probably high at the time. Or just trying to be polite. Probably high. Finally, she left.

Later that day, I thought about what had happened. She obviously believed she was meant to be an author. And she was certain everyone else would agree with her. But she had made a critical error: she hadn’t learned how to listen.

Listening, like writing, is an art. You can always tell a writer who’s mastered the art of listening by the way the prose leaps off the page. A writer who knows how to listen is someone who studies the experts – the great writers and the great writing teachers – and learns from them all. She is someone who knows how to get past the sudden stab of feeling like a failure to find wisdom in the criticism of others.

And perhaps most importantly, she is someone who, long before putting a single word on the page, learns how to listen to the world around her. She learns about three-dimensional characters and realistic dialogue from listening to family, friends, strangers in a coffee shop. She learns about the power of silence by being silent herself. She learns about pacing and rhythm and tension and conflict from observing real life circumstances. She is someone who can be simultaneously engaged in a moment and pondering it. She doesn’t apply everything she discovers to her own writing, but she gives it all plenty of room to breathe before she decides what to use and what to discard.

Like the woman at my table, she too holds tight to her manuscript, but unlike her, this is not because she believes hers is a perfect child. The writer who has learned to listen holds tight to her manuscript because it is a mystery; a strong-willed puzzle of questions and answers and possibilities.

When she hands her manuscript to an editor, she gives him the result of good listening.

And then when he speaks, she listens some more.

So you sit down to write, and that’s when you hear it. (Okay, maybe you stand to write, but…really? Are you one of those standing desk people? I’ll bet you have great calves and a resting pulse under 60, but you’re making those of us who would rather write from the horizontal office* look bad. So stop it. At the very least, sit down. At a desk.)

The noise.

No, not your character’s voices. Well, they’re in the mix somewhere, but it’s hard to hear them above the literary agent screaming about why it’s critically important to make your first page shine and the writing expert who keeps repeating the mysterious phrase “economy of words” and the blogger who is whispering something about the evils of adverbs.

All that noise leaves you paralyzed. Frozen. Stuck. And other similar words you can find in a thesaurus. But not because you don’t have good ideas for your novel. You have a bunch of ‘em. And you thought you were ready to lay down a few thousand words.

Well, maybe you were and maybe you weren’t.

If you sat down because you were truly inspired or determined to write, write, write, tell the voices to shut up. Be blunt. Be decisive. They’re good voices (mostly) and they want you to be a better writer, but inspired or determined writing moments are rare and you should really obey this one. Right now it’s not time to listen to writing advice. Put away the how-to books, close the web browser and focus on your novel. Write as well or as badly as you naturally write until you run out of words.

But if you sat down because you were ready to improve your novel, because you wanted to become a better writer, then open your ears to the noisy writing advice. And…give yourself permission not to write thousands of words during this session.

It’s craft time.

Here’s an important tip: When you sort through writing advice, it’s important to measure each bit of apparent wisdom against what you know instinctively (and from experience) about your writer’s voice. Maybe your voice is adverb-friendly. If so, go ahead and use your adverbs, but not before first understanding why writing teachers and experts preach against it. Or consider your wordiness. It could be that you have a verbose voice. That doesn’t mean you’re a terrible writer. There are plenty of successful writers who use a hundred words to say what might have been said in twenty. But again, examine the reason behind the advice.

Consider all advice this same way, always looking for the core truth that sits under the wisdom, then measuring it against your evolving writer’s voice.

Use your craft time to discover what needs improvement and to work on revisions, but also to be reminded what you already do well. Then walk away from the computer and do something else.

The next time you’re ready to write – I mean really write, write, write – all that craft time will pay dividends as the wisdom you gleaned quietly and organically begins to inform your natural writing style.

Or you could just do what I do and ping-pong back and forth between craft time and write, write, write time until you get so frustrated you put aside your novel and choose to write a blogpost instead.

Yeah.

*The horizontal office is also known as a bed. It’s probably the least ergonomically-friendly working environment. But it also happens to be the most sleep-friendly working environment. And that matters more.

For some, it happens around the 30,000th word. The lucky ones make it to 40 or 50K before they start to wade through it. You know what I’m talking about. Yeah, the dreaded Middle of Uncertainty. (Okay, no one really calls it that. I just made it up because it sounds imposing).

Just what is the Middle of Uncertainty? Well, it’s a lot of things, but in the simplest of terms, it’s that place where you start to lose hope/interest/momentum in this novel that you were certain was going to be a beautiful saga of love, loss, redemption and werewolves.

It’s the place where you’re suddenly stymied. Stuck. Or perhaps worst of all, beginning to fear that the rest of the book won’t live up to the first pages. Oh, and sometimes? You don’t realize you have a Middle of Uncertainty until the whole damn book is written and you’re starting work on your second draft.

Not every writer struggles with the Middle of Uncertainty. Some feel practically giddy when they hit the midpoint, then frolic to the finish line without the least bit of gastric or career distress. (We hates them, we does.) But most writers I know struggle here.

There are two main reasons for this struggle, and it’s important to know which is your root cause before you try to fix it.

The first? Writer fatigue. This is all about you. You’ll know this is the root cause when you start to write metaphors and similes that are as weak as other things that are weak. Another clue is that you start to write the same sentence over and over again. Another clue is that you start to write the same sentence over and over again. And you don’t notice even after reading and re-reading the paragraph six times. Sometimes this happens when you sit too long in the same place. Sometimes it happens when you try to write after a long, long, long, long day. Sometimes it happens when you’re feeling the pressure of a deadline.

The solution to writer fatigue is simple: take a break. I mean it. Stop writing. Writer fatigue isn’t quite the same thing as writer’s block. After all, you do have an amazing plot worked out for the story, right? Of course you do. That’s why writer fatigue is so frustrating. You know exactly where you’re going, but you just can’t get there from here.

Here’s the best way to fix it: do something that doesn’t involve writing. Go bowling. Plant a garden. Bake cookies. (Preferably thick, cake-like chocolate chip cookies.) Mail those cookies to your favorite noveldoctor. Run a marathon. Borrow your son’s Legos and build a scale model replica of Iceland’s Eyjafjallajokull volcano. Learn how to pronounce Eyjafjallajokull.

Just leave the laptop alone for a while. I don’t mean ten minutes. I mean a day. Or two. (Yes, even if that deadline is looming. Your editor doesn’t want a crappy book on time. She wants a great book. On time. Or maybe two days late if you call and ask really nicely.) Then, just before you sit down to write again, think about the critical plot points that are yet to come. If they don’t shout at you and command your pen to paper so you can get there and then onto the big finale, well, you might need a longer break. Or…you might be suffering from the other reason for the middling struggle:

The broken story.

This is all about the work. It’s quite possible your book has no middle. Or no good one anyway. The beginning? You’ve got that down. And the ending is so perfect, anyone who invested six years in “Lost” will weep with joy when they read it. But that middle-to-end stuff? You don’t know what to write. Or maybe what you already wrote just isn’t working.

Try these second-half ideas:

• Raise the stakes. Make the protagonist’s journey more dangerous. Don’t make it easy for the protagonist to get to the ending you know is coming. If the path is too clearly laid out, the reader will finish the book long before the final page.
• Set a major obstacle in front of your protagonist. Kill his hopes. Kill his career. Kill his dog if you have to.
• Stretch your protagonist. Push him to places he hasn’t yet gone, emotionally, physically, mentally and spiritually.
• Send your protagonist on a quest that seems to pull him in the opposite direction from his goal.
• Give the subplots their due. Remember when you locked uncle Sal in the insane asylum back in chapter three? Maybe it’s time he escapes. Or gets a visit from the protagonist.
• Check your pacing. Does the action slow to a crawl in the second half after a blistering first half? Maybe you need to mix that up a bit more. Vary the rhythm to keep the readers’ interest.
• Reveal more secrets. If everything is out in the open by the midpoint, readers won’t have anything left to discover along the road to the ending. Everyone has one more secret. Your character just hasn’t told you about it. Yet.

And heed these warnings:

• Don’t repeat yourself unnecessarily. Readers have good memories. Stop rehashing the fact that Becky is a loner with a drinking problem. We know this. Give her something new to do.
• Don’t introduce a new plot element that goes against the story’s logic or “rules” just to mix things up. Readers will stop trusting you. Then they’ll stop reading.
• Similarly, don’t introduce a new character late in the story who suddenly has a key plot role. This isn’t a hard-and-fast rule, but readers will find it hard to swallow when a mysterious woman in black lands on the page just in time to save the hero, then disappears again because that was her only reason to be there.
• Don’t fill the space with flashbacks. Again, not a hard and fast rule, but the second half of your book has to do more than maintain interest, it has to propel readers to the end with purpose. A bunch of “remember when” content will usually drag the story to a halt. Keep the tension high.

Of course, you could just read a good book on plot and structure like Plot & Structure by James Scott Bell and do what he says. That would work, too.

Here’s the bottom line, writer-friends: The middle of your novel can’t be the boring part. Know which part can be the boring part? None of it. Sorry, there’s no “coasting” in a good novel. And there’s definitely no place for filler.

No one ever said writing was easy. Actually, someone probably did say that. But he was being sarcastic.

Write well.