your wife is a writer!! do you think she'd have any writing tips for a young aspiring author who's only recently started planning for an original book?
This is the Gay Wifeanswering herself!
Some disclaimers:
1.This turned into amonster, I am so sorry. I apparently had a lot to say on the matter.
2. I assume you readthe blog and don’t have a huge problem with cuss words. I normally wouldn’t dothis to a stranger online, so…
3. I am so fuckingpretentious. Lord. I added a bunch of links to things that have caused me topause and think about writing, and some of them are just??? I am so sorry,please don’t judge me too harshly.
Thank you so much for this ask! I was surprised,admittingly, that you’d ask for my writing tips despite the fact that I haven’tpublished anything online for you to read. But I am glad you did! My wife (theblog owner) is so very kind and supportive of me. Maybe a bit too much? Shetalked me up quite a lot in her answer to that ask. Because I don’t think I amall that special. Nor do I think myself and the spaceman living and my head area wellspring of great ideas, BUT HERE GOES. [Note from the blog owner: I neverexaggerate baby’s talents 😉]
I have hadthoughts on writing advice blogs/posts in the past, as in, they aren’talways useful. K J Charles, an author Ireally like, recentlymade a post about writing advice that is really worth a read if you wouldlike to seek out advice in the future.
That’s not to say I am not totally willing and excited toanswer you! This might just be a weird tip list, that’s all, because all ‘tiplists’ are biased to one writer’s processes. My ideas on writing might not workfor you, may be disastrous, or may be where you set your flagstones. I’ll trymy best to communicate what I think will help. But with that, take it with agrain of salt.
Writing a story, byits nature alone, is a product of desperate translation of something that isintangible; emotions, moments,places one has never been, experiences one’s never had. A story becomesgood when the translation of ideas switches from the surreal to the profoundlyrelatable. That might be something to keep in mind as you write; that youaren’t telling a story, you’re translatingthis idea in your mind and heart into words – into language, into a story,into a pathway to follow, into this brand new experience that will sit with areader for long time after they finish the story.
The writing process is labyrinthine and elaborate andintricate. I’m going to list a couple of things that have helped me, specifically what I did when I wasfeeling uninspired or frustrated with what I was writing. Again, these workedfor me, so if they don’t for you, don’t use them. Try something else! Explore!Innovate! Grow! And allow yourself mistakes!
I constantly think about classic writers and how theydiffer. I’m kind of a nerd for quotes and delight in spending hours pouringmyself over them. And writersso vastlydiffer fromeach otherwhen it comesto how they approachedtheir craft (I think about that last one a lot because it directlycontradicts every ‘writingadvice’ blog post I’ve ever seen). You’ll have to do that, too, or riskbeing drowned out by the static of how you think you should be writing. You should neverlet your unique way of writing be chained down by all that bullshit out there.
Plotting/Outlining/and the dirty work—
I try to do NanoWriMoevery year and fucking hate it to shards and jagged pieces. If there was oneoverwhelming thing I have learned, it is that I need an outline to function. Thiscame as quite the surprise to me personally because I am such a messy bitch. Butdear merciful Lord in heaven, if I don’t have an outline I can’t move forward.So I embraced that and outlined my scenes like a motherfucker on a lone motorcycle, reaching for that burning redsunset, running from my sordid past, man!Here is just three notebooks from the last year’s NaNo:
Now that is three notebooks, not including the forth one Ialso filled up. One of them is initial notes; themes I had in mind, characteroutlines, a summary of the plot – basic stuff. I also wrote out some rules.This was a supernatural/horror/comedy, all three of those genres I have nopractice in. So I wrote out tropes that I wanted to avoid, points that I wantedto greatly impress, character traits I had etched in stone (for instance,“Edwidge will stay a kind person.”)
Then I dive into outlining by chapter with a rough first go,then another notebook where I re-wrote that outline, then a forth with fleshed-outdialogue exchanges, character movements (both in detail, such as the hands, theeyes) and within the constructed space (sits on a desk, leans against a wall,observes the pictures on the wall), and with random details I decided whileoutlining. In that same vain, the nightmarish scribbles off to the side of thenotebook pages are products of an idea striking me and the muses directing myhand. Muses have horrible handwriting.
Now I know there are people out there in the great greenworld who can write with vague outlines, or no outlines at all (I’m looking atyou, @onedamnminuteadmiral, you wicked ho). And those people are witches andheathens that must meet with the pyre. I’ll bring the gasoline if you bring thematches. [Note from the blog owner: Heeeyyyyyyyy!]
I probably shouldn’t admit to it, but I would often getreally frustrated with outlining and resort to stick figure storyboards. Yes,like I’m a writer for derivative cartoon about a wacky suburban family. My stick figure storyboard was surprisinglyeffective (???I guess???). I got a sense of space, of movement, I made notesabout the way the eyes moved. This, coupled with the far more wordy outline,added a lot of hot sauce to that beef.
I also saw this methodof storyboarding today and I am thinking I might take it up. It looksfantastic!
So, yes, either outline or don’t. I really worked for me,but it might come more natural for you to fly by the seat of your pants. Ifthere is one thing I would do, it would be to make notes on how the charactersmove within the space. Specifically, placement of hands, how their eyes move,the lighting, anything that gives the characters a solid weight in their world.
SPEAKING OF
A slice of characters—
Human nature, by the definitions divined by humankinditself, is fucking absurd. A personleft unobserved will always devolve into subtle rule-breaking based purely andthe common, everydayswerves their free will dictates (ie. I never wear lipstick, but thismorning I was feeling kicky by no outside influences what-so-ever, so, fireengine red?). There is more glorious spark and untold, unfolding of brilliancein a real person sitting quietly in a chair for a half and hour than there willever be in a fully-realized, well-rounded, fictional character. That might be aharsh statement, but it is something I constantly have buzzing in my bonnetwhen I write characters. It causes me to strive for something more from my characters.
I bring up that (jfc am I pretentious) philosophy videoabout fate/free will because in writing characters, you’ll constantly have tothink if your characters are acting as youbelieve they will, or how they would more naturally behave.
People are series of moments with great contradictions.Characters who are well developed, compounded and complex, and interesting toread, should also be weighed at the center in how they contradict themselves. I find this to be a really important standard in writing characters. This is so damnhard to explain, so let me give some silly examples.
Characters tend to have traits/characteristics/personalityrules cemented by the author. I see it constantly in books, and it reallysteams my vegetables. For example:
Valen was raised in a polite society—he is a politeand considerate man – he will act politely as a matter of keeping thecharacter consistent.
Valen was raised to be strong — he would be calm in thissituation— he would not be afraid at the climax of the book.
It’s… not a wrong way of writing character. Constancy iscertainly important. Its just flat? ‘Uninteresting’ may be a bit too much.Writing a character as a series of set rules can be this transitive, it justfeels manufactured, distant from reality.
For example, consider at how I act:
Gay wife spent her formative years in the South —she was trained to be a polite person, professionally— she calls hercustomers Mr. Meyers and Ms. Linda and her boss solely as Ms. Jeanne—she workshard to be a polite person – she always uses ‘pardon me’ and ‘excuse me’. Thatis honestly who I am.
BUT ALSO
Gay Wife had a weird home life growing up—she had a rocky,religious upbringing— this manifests in reallyvulgar humor at home— shecalls her wife whore-tits and expressesreligious terror to her cats. This is also honestly who I am.
Am I vulgar person? Am I cautious and polite? Thosecontradict each other, and they are both true about me! I try to be as politeas possible, but at home where I am comfortable and unobserved (other than bymy wife, who is now stuck with me so whatever), I turn into a total asshole.
When I read a love story, for example, I get concerned whena character stays exactly the same as when they started out. I’m notspecifically talking about character growth, per say, but in the way the carrythemselves, in the way they behave. I read one fantastic book where a characterspoke differently with the other servants than he did to the lord of the house,even after they started a relationship together. As you proceed to write yourcharacters, I would recommend thinking about how differently people behavedepending on their current situation, and contradict the rules you have set forthe character. Everyone act different around their grandma than they do aroundtheir high school friends. Both those situations, the person is stillthemselves, just affected by compulsions lent to them by the situation.
So consider writing a character that is both compassionateand open-minded, but is also bigoted towards someone/something. It tells thereader where that compassion ends, the lines that character draws. Or acharacter that is brave, but only because he is a coward (that is one of myfavorites.) A character that is a brilliant genius, but a fuckin’ idiot. I’vepersonally known plenty of real people I would describe as genius fuckin’idiots.
Please consider how funny, upbeat people are so fucking sad inside. Or rather, theytend to be. Within two weeks of knowing the funniest person I’ve ever met, Iwas asking him if he was okay. And he was fuckin’ not, and I knew to askbecause despite this blog making people laugh (of which I am proud), I’ve haddepression since I was a child and have struggled with it to the extreme(aside: if anyone needs to talk, feel free to message me @thewaltzrio). I’veborrowed that so many times when writing. [Triggerwarning on this link, but it is worthreading.]
You play your cards right, you’ll also be subverting tropesleft and right.
Compound contradictions, add in swerves of free will, mix ina pinch of chaos caused by fate (that you have set for them), and you’ve got ainteresting, more real and weighty character on your hands. People will relateto that. The best compliment I’ve ever received was, “Hadrian [one of mycharacters] has really stuck with me.” That meant a lot to me, more thananything I’ve heard about the story or the setting or the world building I’vedone for the story.
The second best thing I’ve heard is when I let someone readwhat I have written, and the first question I ask is “which was your favoritecharacter?”. I’ve done it dozens of times with the same work and I’ve gotten adifferent answer every single time.If you do the same, you will know you’ve got a good cast of characters on yourhands.
It is only my personal opinion that characters are worthmore than the story itself. You connect with characters, you believe in them,you root for them, you love them with an unhealthy dependency. Look aroundevery fandom — it is characters that draw people into a show, make them stickwith it, make them care about the 2nd season getting greenlighted.The plot is a series of situations done tothe characters. It happens to them.The interest in the story is cultivated from the perspective of a character andhow they react.
Which brings me to thedetails. Fuck yeah DETAILS.
Write details when it comes to character creation beyondhair color, zodiac signs, or height and weight. Now, you’re on tumblr andwithout a doubt a smart and well informed person, so I don’t need to go intothe importance of a diverse cast of characters. So here are some of my favoriteways of meshing the character into the world, and making them seem more like people.
I like mentioning the condition of their fingernails. Youmight find something else that works for you, but I like fingernails. I mademention that my main character has “acres of real-estate under his fingernails.”Now that is a handful of words that tells the reader that: He works hard, hedoesn’t have time to clean them, he isn’t vain, he doesn’t consider clean nailssomething worth his time worrying about. Everyone in his community probablycarries the same kind of dirt and grime around with them.
I adore using verbal ticks as markers of a character’spersonality. I probably go overboard with this; I go out of my way to add atick to each character. My character Hadrian ended up saying ‘in any matter’ toswitch topics. He is the only one who says that, and it’s a nice verbal tick. Mycharacter Raif is trying to be seen as a poor tradesmen, so he uses impropergrammar when speaking on the daily, and (in exposing his true background) uses expressly proper grammar when in a stressfulsituation. If a reader picked up on that tick, then they would feel so damnclever when Raif is exposed as the lost prince! That is satisfying payoff!
My favorite one I’ve written so far is Seymour, a 15-year-oldwho was raised mostly in isolation, without a real home or community to callhis own. So he parrots other people, he borrows from his friends and those headmires. It tells a reader than he lacks a sense of self, of place, of how tointeract with people. I never actuallysay he does this, but he constantly repeats phrases he hears from hisfriend Raif. And, by the end of the book, he is also saying ‘in any matter’ toswitch topics. It is a satisfying way of showing how Seymour interacts withother characters.
Mentioning the condition of a character’s clothing is sobaseline it might as well be chapter one, line one, in the guidebook of how towrite characters. But you can really have fun with this one. For example, Imade of point of introducing my main characters in very particular ways. WhenDouglas meets Hadrian, they are at a costume party. Douglas is in his Fleet cadetuniform (which tells the reader he is the type of person who didn’t feel theneed to change his out of his everyday uniform for the sake of a costume — Ishe too proud of it? Is he too shy to dress in something bizarre? Is it alreadya costume to him?) and he sees Hadrian across the way. Hadrian is wearing thedraping robes and ivy and burning candle crown of a pagan god of mischief(which tells the reader damn neareverything they are in for with him. That he pays attention to ancientpagan god history in a religious society, that he isn’t concerned with lookingridiculous in public, that he is a huge fuck-head.) [note from the blog owner:I love him.]
That is different! That isn’t going into details aboutfineries/tatters/tailored clothing vs. hand-me-downs.
Clever segue to thenext section!!
A student of curiosity—
So you may notice that I am not going to mention a very hugepart about writing in this bullshit thing I’m claiming as writing advice, andthat is how you construct your plot. Who gives a shit? Sorry that was harsh.But we’ve all seen that chart in school about rising action and climax andfalling action and UGH.Because seriously, who gives a shit? You write what you want, there are no rules.
But! I can add a few words about how to help your story getswol. Or at least, what worked best with what I do. Like I said earlier, humansare fucking absurd. And human history is so broad and sweeping and fantasticthat you can find endless sources for inspiration to draw upon. It is importantto stay curious and make a habit of studying the bizarre. I utilize my love ofhistory to find inspiration. History pulls from and contains so many other topicsto learn about and utilize; superstitions, unsolved mysteries, trends, deadreligions, all sorts of niches that have wedged their way into the buildingblocks of history.
If you find history dry, that’s fine! Loads of people do.The point is, if something really grabs you, take the time to think about whyit did. Those wiki binges that last until 3am? What is it about those subjectsthat drew you in that you could borrow for your story? (I once based an entireromance novel on a wiki binge about the quartering of soldiers in the colonial UnitedStates.) Podcasts are fantastic for this! I’d recommend Lore if you haven’t already checked itout. Even though Aaron Mahnke drives me fucking crazy with that “well, yousee, maybe human beings were the monsters the whole time” bullshit, I stilllove this podcast.
But remain curious as you write. Think about moments inbooks and movies that have stuck with you and you don’t know why. Some cleverlittle thing that made you pause. Like, for me, the kitchen scene in JurassicPark. I’d never seen kids under such threat before, just pure terror, and thatis my very first thought upon thinking about that movie. I know that I writenotes (usually when I’m at work) on what about a thing made me sit up and payattention. Then I break it down and mold it into something new. Who knows,maybe it will help add a great twist into the plot that you didn’t think of.
The literal scene, a quick note—
I’m also a huge nerd for movies and the way movies are shot.I know this is coming out of the blue, and may seem odd to add in a monsterpost about writing, but stickwith me on this. Movies and writing have some overlap if you’re willing tospend time thinking about constructing a scene in your book the same way adirector frames a shot. I swear, it works if you let it.
When I get frustrated with how a scene is playing out whileI am writing, I try approaching it based on how it would be framedcinematically. Every reader has (what my wife calls) the theater of the mind,and you can use that to your advantage as you write. Think about how acharacter would view a room upon entering it for the first time. What draws theireye, what piques their interest, what is central to them. Film directors to thesame thing when they frame a shot. They carefully plan how the light falls overa character’s face. They deconstruct and reconstruct the layout of a room. Theyblock the actors. They pan over book titles to show a character’s interest.They they keep important things out offrame to remind the viewer that it will come back into play in a few moments. You can do that all, too, when you write!
I recommended once that my wife and I watch a very well shottv show when we were both frustrated with writing. We got sketchbooks and drewwhat caught our eyes. I remember I latched on to the way a character’s earringsmoved every time she did; it was subtle, but vibrant, kinetic, and a detail Idon’t think I would have thought to add if I was writing that same scene. Iliked how the bloodshot eyes of a character didn’t come into view until thescene grew tense and they filmed a closeup of the actor. I thought that wouldtranslate well in writing; add tension when my character got too close and sawthat the other character was influenced by something yet unseen. I detailed theway shadows fell over a staircase, and how the beam of light was on only themost enlightened of the characters in an ensemble cast.
This is something you can do on days when your brain is afried pancake and yet you still want to work on advancing your story. Take a TVshow or a movie that left an impression on you and take notes on the environment,or the actors’ expressions, etc. As strange as this sounds, it works well withanimation. Every single thing in awork of animation was purposely chosen to be there. Every single thing wascreated – like your writing will be. I’d say look at Satoshi Kon’sanimation process. Not only is his work a fantastic exploration of writingand storytelling, he is very purposeful in what is seen, shown, understood, andthen subverted. Think about how you’d write that, how you’d describe it. How a “quickcut” can translate into writing the impressions and feelings in a character.(ie. The smoke clouds, into a clear sky, how a character looking at one can getthe impression of another).
I’d recommend looking at Every Frame aPainting YouTube page. I know I got a swell of inspiration on how to paceout and detail a scene based on the importance of subtle details in this video.Or, if you want to think about how to construct a plot, Lindsey Ellis on YouTubeand her video essays are fantastic, too. For example, if you want to think ofhow your characters address and interact with your narrative, consider what shehas to sayabout RENT. The last minute of this video is gut-wrenchingly powerful and saysmore about the dissonance between characters and their narrative/the event thatnarrative was based on in that ONE MINUTE than months of research could tellyou. (Note, don’t watch this if you love RENT. If you love RENT, that’s okay,my wife reeaaallly does.) [note from the blog owner: I do love RENT, but thisis a really great video and I don’t disagree with anything she had to say. Stilllove RENT, but boy it’s got its problems, haha]
Aaaaand that’s all I think I have to say about that! Thank youso much for sticking with me this far! I hope something in this mess helps you.Thank you again!
In final—
Your voice moving forward with your manuscript is unique,and your voice is powerful. There will never be one like it again and there hasnever been one like it before you. There has never been a day of your life that wasn’t aproduct of chaos and mayhem from unseen struggles of the universe, and yet youmade it through some boring Tuesday! Good luck, and I’ll be rooting for you!
Sincerely, The Gay Wife
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