Riley Adams's Blog, page 221

Taking Readers into Account

Every night at bedtime, I make up a story for my daughter.

She loves them.  But she's a very picky listener.  She prefers stories centered around her favorite cat, Shadow.  With the magic of storytelling, Shadow can speak English and have exciting adventures.

In real life, Shadow is a fluffy, fat, beautiful tomcat.  He's also really mischievous. It fits his personality to have him do mischievous things in the bedtime stories.

But if my daughter can tell that my story is veering off into an area where Shadow is getting into some sort of scrape and heading into trouble, she revolts.

"No! Don't make Shadow do it, Mama! Change it! Change the story!"

Yes, she would rather hear a watered-down, happy-sappy story about Shadow having a picnic with her on the top of a breezy hill in the sunshine rather than hear an exciting tale of adventure with Shadow possibly getting in over his furry head.

She just can't bear to hear anything bad—even something made up—about her favorite pet.

It reminds me of the problems JK Rowling faced when she was writing her last Harry Potter book.  I read an interview with her where she expressed her discomfort at the fact that parents would email her begging that Harry's life be spared so their children wouldn't be devastated.

Then there was the case of Sir Arthur Conan Doyle.  He eventually got so tired of writing Sherlock that he killed him off during a fight with his archenemy Moriarty at a waterfall.  Readers were so outraged that he had to bring Sherlock back from the dead.

I don't really have much of an answer for this. Obviously writers want creative freedom to write the story the way they want to. This has, I think, to be balanced with the commercial element of writing for our readers. 

I think if we are planning to do away with a main character, then some foreshadowing would be a good idea.  Anything that's really abrupt and out of the blue and doesn't fit with the tone of the story and our readers might feel cheated. 

Yes, I can have Shadow the cat get into a major jam and have to spend his imaginary afternoon in time out for his mischief.  (I would never dream of having the kitty get into any harm in a story.) But if I've lost my listener because she's plugging up her ears, then I'm basically telling a bedtime story to myself.

How much are you taking your readers into account as you write your book or your sequels? 

Things I Should Probably Say About Twitter

I think I've put off posting about Twitter, except for my weekly tweet roundup.

For a while, I've gotten some hints from tweeters that I should have a sort of Twitter Manifesto. :) But I'm not much of a manifesto writer.

I get a lot of the same questions from folks on Twitter, though—through @ replies and DMs, so I figure I should probably run a post on them. For anyone who's on Twitter, I'm at @elizabethscraig.

I'll post this in a Q & A format and cover the questions I usually get:

How did you start tweeting links and why?

I was reading a lot of writing links and it seemed like it would be helpful to pass on ones that I thought were especially good. That snowballed until I had followers that were very interested in a variety of writing-related tweets. These were writers in different stages of their writing career—some just starting out, some veterans. So I started searching for good, solid posts—even if they were on topics that didn't directly apply to what I'm writing.

It's a platform for me, too, and provides a very indirect way of marketing and getting my name out there—and being indirect is really the only way I feel comfortable with promo.

How do you find the links?

I don't get them from my Twitter feed—I actually subscribe directly to the writing blogs' RSS feed and read them in my Google Reader.

How many blogs do you subscribe to and how do you browse them?

According to my Google Reader, I subscribe to 1,482 blogs. Ack. I have my Google Reader set on "list" view and I scan through them quickly—usually looking for writing craft-related posts.

How long does it take you to find posts, read them, and tweet them in a day?

It usually takes a little over an hour each day.

Are you on Twitter all day?

Actually, no—I usually just check in with Twitter a few times a day. If I have more free time, I check in more frequently.

How do you schedule tweets?

I use an application called "Social Oomph" to schedule my tweets. The idea is to spread them out through the day so that they're (hopefully) not overwhelming and are reaching people in other time zones.

Why aren't you following me back?

I follow everyone back, although sometimes I get a little behind with updating my list. If I'm not following you, then I think you're a spammer or else you've just started following me. If you're not a spammer, just send me a DM on Twitter and let me know. :)

What's the best way to contact you?

I check my DMs on Twitter at least once a day, but you can also email me at elizabethspanncraig(at)gmail(dot)com.

I have a great writing blog—how can I bring my blog to your attention?

I'm always looking for new writing blogs to add to my Google Reader. Just send me a DM or an email with your link and I'll subscribe to the RSS feed.

How do you pick which posts to run?

I'm usually looking for craft-related, industry-related, social media, or promo-related posts. I love posts that are easily skimmed, have great content, and can be helpful to a lot of writers.

Can you tweet my book review?

I don't usually tweet reviews, sorry.

Can you tweet something out to your followers?

It depends on what it is—I'm trying to stick to writing-related, tip-related tweeting. I figure the more I send spammy stuff, then I'm watering down my tweet stream.

(From PR firms, who do like to contact me): What is your marketing strategy behind these tweets? Does it seem to be working?

There wasn't a whole lot of marketing thought that went into this, which is why I'm probably getting so many DMs from PR people! I'm focusing on the tweeting mainly as a service to other writers, but I am gaining a nice platform in the process. It seemed to work out really well with pre-orders for my last book.

Do you read your tweet stream?

Honestly, I find my tweet stream totally overwhelming. If I try to read or follow all those incoming tweets then it makes me feel like I have ADHD. :) I follow over 6100 and I can blink and find 20 updates.

What if I wrote a great blog post and you didn't notice it—can I bring it to your attention?

Sure—feel free to DM me with it. I can't promise to run it, but I promise to take a look…and I'll make sure I subscribe to your feed.

If I wrote a great post a few days ago and tweeted you about it and it hasn't run, will it ever run?

Sometimes I schedule tweets way out—sometimes a week or more…so it might still run.

Do you @ all of the blog post authors whose links you tweet?

I used to, and I'd really like to be able to. Some of them I do know by heart, if they frequently have good material. Some of them I'll @ because it's someone I know I've never tweeted. But usually I just don't have enough time to look up the Twitter handle on each blog to @ the authors. If your "Follow Me on Twitter" is very visible to the top of your blog page, then you're a lot more likely to be @ed.

Do you ever chat on Twitter?

I don't ever @ anyone in conversation…but I do have DM conversations with people. I'm just trying to keep my Twitter profile page completely link-related so make it an easier resource for folks to access.

What types of posts are most likely to be tweeted by you? Which are most popular and most likely to be retweeted by others?

Craft posts and clever humorous posts are the top favorites of my followers. List posts are appreciated, too. Anything that's helpful about social media, or organizing our writing life helps, too.

Is there a way to make my blog posts more likely to be tweeted by you or by others?

Definitely. I'd recommend a post title that is clear as to the post content, an RSS feed button, and a visible Twitter button on the top half of the blog main page. I'd also recommend a non-rambling post, top-notch, concise content, and something that's easy-t0-scan (bullet points and bold type helps.)

Some days your links seem better than others? How do you do quality control?

Sometimes, despite the large number of blogs I subscribe to, there's a lack of content out there…right now I'm blaming NaNo. :) Holidays play into that, too. And...sometimes I'm busy and I have less time to hunt through my Reader.

Do you do #FF and #WW? Why not?

I used to, but with the number of followers and FFs and WWs I get now, I'm just not able to return the favor without sending out an entire page of spam. I really appreciate the ones I get from followers, though!

Is there a place where I can locate this links or search them?

I'm posting all my tweets from the past week each Sunday here on my blog. I'm going to have a page with all my Twitterifics on one page, which I think will make searching the content easier. I'm hoping to get started on that soon. :)

And now...a disclaimer (I know--so corporate-sounding...)

Occasionally I'll tweet links that I think show an interesting point of view on, or controversial approach to, writing or the publishing industry. This doesn't necessarily mean that I agree or disagree with the post's author--just that I think the discussion is interesting and believe that others would, too. Please don't assume my opinion of a subject based on my tweets.

That being said, if I think a post's writing advice is completely wrongheaded, I'm not tweeting it.

Thanks everyone! Hope this helps.

Word Count

I'll admit that as I'm writing, I keep half an eye on my word count.

It used to mess me up to do that. But now, I think it's like checking my speedometer when driving a car—it just helps keep me in line so I don't get into trouble later.

If you're way over or way under the target word count for your genre, it's going to mean some work later on. You don't want to feel like you're adding fluff to a book to get up to the target count and you don't want to feel like you're slashing important scenes, either. Sometimes it's easier just to watch it as you go along.

When I'm done with a first draft, it's usually a short 68,000 words. I write pretty sparely now—it used to be that I'd babble on and on when I was writing and wasn't sure what direction I was going to take the plot next. Now I just stop writing when I get to that point and do some quick brainstorming. Otherwise, I have filler to remove later.

My target is 75,000 words and my manuscript goes right up to that after I add setting, character description, and the small subplots that I love including.

If you're a newer writer, though, it might be better to just write the book you want to write and worry about the word count during revisions. I know that worked better for me while I was getting my feet wet.

I know some writers worry that word count limits creative freedom. But we can write whatever we want and make the book as long we want it….it just might not sell. If our goal is to sell our finished manuscript, at some point word count is going to have to be considered. Unfortunately, even if your book is excellent, it's going to be hard to have it read by an agent or editor if it's too long.

Here are some useful links to consider if you're at the point that you need to take a look at your word count:

Word Count for Novels and Children's Books: The Definitive Post

Think twice before querying your 291,000 word book

A Few Words on Word Counts: How to Beef Up or Slim Down (especially for freelance writers, but some tips that will help novelists, too)

An agent on word counts (and here, where she defends her position)

Writing Nowadays–Word Count Violations and You

Bolstering Your Word Count

How To Get Ahead When You Are Behind On Your Word Count

Do you watch your word count as you write, or is it something you worry about later in the process?

Polishing Up a Draft

Before I emailed the Memphis 3 manuscript to my agent on Monday, I followed a checklist of problems to look for and things to do before submitting the document.

I tried to read the first five chapters as if I were a brand-new reader for the series. Would it all make sense to someone reading about these characters for the first time?

I made sure I'd sketched out the characters and setting—and not just kept it all in my head and thought I'd written it out.

Readers let me know (they're good about that :) ) that they wanted more chapter breaks. I put in breaks around every ten pages.

I looked for my favorite words that I overuse.

I looked for wishy-washy words that undermine my writing: "I think," "maybe," "I guess," "a little," "some," "seem."

I looked for filler words.

I looked for repetition in the story and repetition in dialogue.

I looked for anything murky that sounded confusing.

I made sure the characters seemed consistent from start to finish (unless I wanted them to change—and I made sure I had good motivation for a change.)

I looked for continuity errors and other boo-boos.

I sketched out a timeline as I read the draft and made sure the story was linear and made sense with the timeline.

What kinds of things do you look for when you revise? And…if you write different genres, do you look for different things?

Showing

Part of my busy weekend last weekend involved travel. :)

I visited San Diego with my college roommate—just to go somewhere that was scenic and relaxing, that we hadn't visited before.

But I needed to finish my manuscript and send it to my agent yesterday—so I used every minute of that five hour flight to and from San Diego to Charlotte, to work. I inserted place description, character description, chapter breaks, and a full subplot. I've a feeling, actually, that I might have driven the folks beside me nutty with my typing.

But after ten total hours of flying, I had a manuscript that was ready to turn in.

Both flights were totally packed with people—not a seat was free. And the flight to California from North Carolina was stressful at times.

When we were waiting at the gate in Charlotte to board the plane, there was a toddler of about 13-14 months who was absolutely pitching a fit.

I think every one of the passengers was praying that we wouldn't be seated next to that baby, or near him, for the five hour flight.

Fortunately, I wasn't. But that child had quite a set of lungs on him. His wailing---no, really, it was screaming—lasted for the entire fifteen minutes before boarding the plane and a full hour after we got on. He certainly had stamina.

What was interesting to me was the reaction of the other passengers on the plane. And what that reaction seemed to say about them.

There were some people who just looked stoically miserable.

There were some passengers who turned to look angrily back—at the parents.

There was a woman who looked concerned about the baby.

There were a couple who somehow managed to go to sleep, making me wonder why they were exhausted enough to doze during that racket.

I saw one young woman in her early twenties who put down her Cosmo magazine, looked back toward the baby with great irritation and rolled her eyes at me when she saw me looking at her.

I saw several people plug their ears with earbuds and listen to their iPods and not think twice about it.

I heard one elderly lady behind me tell the person next to her, "The poor thing. He doesn't understand what's going on."

I heard one person say, angrily, that the parents shouldn't fly a child that age for that length of time.

For me? I just worked right through it for the hour. Anyone could correctly draw the conclusion that I had kids of my own, a lot of work to do, and was immune to the noise.

The nice thing about showing character through reaction is that we can actually let the reader draw their own conclusions—even incorrect ones. That gives us room to write surprises into our stories. We can lead the reader to believe one thing about a character and make a surprising revelation about them later.

There were a few people on the plane who I figured weren't parents—just solely based on their angry reaction. But my impression could easily have been wrong.

They might just be really impatient people who would be just as upset if their own babies were screaming like that.

They might have just been unusually tired or flying to a stressful situation—like a family member in the hospital. Maybe a situation like that one wouldn't ordinarily have fazed them, but did this one time.

Do you use character reactions to a situation to show something about them? Do you ever purposefully give a misleading impression of a character? How else do you give readers clues to a character's personality?

Deciding Which Story to Write

A few times lately, I've heard writers who've gotten a great idea for a story—or a fully-formed character—at an inconvenient time. Usually right when they're in the middle of another book.

The phenomenon actually has a name: Shiny New Idea Syndrome (SNIS).

The question that comes up, of course, is whether you should continue writing the book you were working on—or whether you should start writing the new idea you've had…the one you're excited about.

I've had this happen a couple of times in the last year—I've gotten ideas for new series or gotten ideas for things that wouldn't fit in well with the current series I'm writing.

Because I'm under contract for the books I'm writing (and have already been paid for them), then I didn't have a choice about which to write. I just spoke into a voice recorder all the ideas I had connected to the new idea and then saved it for later and continued working on the current manuscript.

But it seems to me that there are some questions to ask yourself if you've gotten a case of SNIS:

What's your goal—right now—with writing? Publishing? Writing for your own enjoyment?

If you're writing to please yourself, decide which story you think you'll take the most pleasure in writing—is it a turbulent story that will actually be cathartic? Something light and humorous?

If you're writing for publication, which story is more marketable?

Which story is fuller-formed and better-realized?

Which requires more research (and do you have the time to do it?)

Has this happened just because you've reached a difficult spot in your current manuscript? Could you jot down your idea and just brainstorm ways to work through the rough part? And remind yourself that it's fine to write a horrible or disorganized first draft?

Could you put your current manuscript down for a couple of weeks and work on the new manuscript? You may find that the new manuscript isn't all that exciting or that you return to the old one with fresh eyes and can easily polish off the first draft on it.

If you're in the middle of revisions for the old manuscript, you could work on both books at once (I frequently have to do this.) That way you're doing something creative (penning a first draft) while doing something a little more mechanical (editing/revising.)

I think the danger in putting down an unfinished manuscript is that we won't return to it. Or that we're setting a precedent with ourselves that it's okay to leave a manuscript unfinished.

Have you ever been struck by Shiny New Idea Syndrome? How did you handle it?

Twitterific

Here are writing links that I've posted to Twitter for the past week.
If you're looking for a particular topic, just plug in your keyword into the search box at the top left-hand corner of the blog (on the black header right above my blog name…next to the Blogger symbol…the small search window is next to the magnifying glass) and the roundup with your subject will come up. To narrow your search down on the page, do a CTRL+F, type your subject, and hit enter.

Facebook: Personal vs. Professional: http://dld.bz/4Evn

Elements of a Scene: http://dld.bz/4Evb

Why Do eBooks Cost So Much? (A Publisher's Perspective): http://dld.bz/4EuW

Blogging 101: How to Get Feed Subscribers: http://dld.bz/4EuV

How Do You Know When Your Book is Cooked? http://dld.bz/4EuR

So Your NaNoWriMo Novel Sucked--Why You Still Gained: http://dld.bz/4Eue

You Don't Get to Choose Whether You're a Writer: http://dld.bz/4Et7

The iPad for writers: http://dld.bz/4Etn

A tip for starting out our day--and our writing--with momentum: http://dld.bz/4MRC

Do novels need to be nice (vs. gritty?) http://dld.bz/4Etb

What your profile pic really says about you: http://dld.bz/4BKM

3 Novel-Writing Alternatives to NaNoWriMo: http://dld.bz/4BKq

Storyboarding on a shoestring--freebies for writers: http://dld.bz/4BKd

Writing the Story Premise: http://dld.bz/4BGe

The Skill of Critiquing Part One: Guidelines for Etiquette: http://dld.bz/4BFX

How To Create Believable Characters: http://dld.bz/2zzn

Why and how one writer decided to self-pub: http://dld.bz/4BFQ

Myst. Lov. Kitchen: An Easy Take on a Classic—Chicken Pot Pie http://bit.ly/9HB8NY @CleoCoyle

One writer's pet peeves for writing: http://dld.bz/4BEH

Book Marketing and Book Publicity: Why a Book's Subtitle is So Important: http://dld.bz/4BE6

Taking Control of Your Twitter Log-in Info: http://dld.bz/4BEy

The #1 Reason Every Blogger Should Use Disqus: http://dld.bz/4BEt

Food, wine, and drink in our writing: http://dld.bz/4EtU

Character Planning: A Little About Backstories and Inner Demons: http://dld.bz/46um

How To Prep Yourself and Your Schedule For NaNoWriMo: http://dld.bz/46ua

The Five Stages of Publishing: http://dld.bz/46tW

Mystery Writer's Guide to Forensic Science - Poisons III: http://dld.bz/46tG

How to write, produce and market an ebook: http://dld.bz/46tx

Anatomy of a Best-Selling Novel–Structure Matters (Part One): http://dld.bz/46sS

10 resources for writers: http://dld.bz/4BCY @Buddhapuss

Congrats to my friend Cleo on her pb release! Holiday Grind Pub Party: 3 fave @CleoCoyle Holiday #Recipes & Giveaway: http://nblo.gs/9Yy7M

Steampunk Character Type: The Savant: http://dld.bz/46sE

On writing across formats: http://dld.bz/459s

e-books 101: http://dld.bz/459c

5 Reasons Nonfiction Writers Need a Book Proposal: http://dld.bz/458F

One writer's NaNo tips: http://dld.bz/458c

7 rules of blogging (for writers): http://dld.bz/457E

No NaNo? No Problem: 5 Other Ways to Put 1667 Words-a-Day to Work: http://dld.bz/457A

5 Beliefs That Hinder Your Organizational Skills: http://dld.bz/4zNw

Could you give writing up? Are writers gluttons for punishment? http://dld.bz/4zNv

Alexa rank: What you need to know as a new blogger: http://dld.bz/4zNf

Communication Lessons Learned From The 2010 Midterm Elections: http://dld.bz/4zMY

Want to Write? First, Find Someone Who Cares: http://dld.bz/4zME

Best tweets for writers (wk ending 10-29): http://dld.bz/4623

Myst. Lov. Kitchen: Christmas Cookie Contest! http://bit.ly/abMI8n @CleoCoyle

WhenYou Have an Offer From a Publisher...But You Don't Have an Agent: http://dld.bz/4zMm

30 Days to a Stronger Scene: http://dld.bz/4zHZ

Writing For Publication-101: http://dld.bz/4zHN

Creating word pictures for your readers: http://dld.bz/4zHG

10 Resources and Tips for Character Creation: http://tinyurl.com/2ayeo5d @Buddhapuss

Tips for pacing your novel: http://dld.bz/4zH5

What Motivates Your Character? http://dld.bz/4zHv

3 Mistakes Writers Make in the Quest for Publication: http://dld.bz/4zHp @jodyhedlund

A Whale, A Gun And A Doll House: A Writer's Reading Diet And Why It Is Crucial To Stray: http://dld.bz/4zGM

Overcoming Resistance (A.K.A. Fear): http://dld.bz/4wvZ @ultraswan

Three Elements Every Novel Needs: http://dld.bz/4wvm

Free rhyming dictionary online: http://dld.bz/4wvk

Tips for bringing your story back from the dead: http://dld.bz/4wve

Improper use of emotion words in fiction writing: http://dld.bz/4wu7

5 Techniques for Managing Group Critiques: http://dld.bz/4wuw

Juxtaposition: The Power of the Unexpected in Fiction: http://dld.bz/4wuv

Tips for creating well-written, focused scenes: http://dld.bz/4wuu

How to Get Motivated in the Morning: http://dld.bz/4wun

Casting characters for our book: http://dld.bz/4b28

13 Places to Find Inspiration: http://dld.bz/3XPz

Putting on a Reader Hat to Revise: http://dld.bz/3XPm

Setting–Adding Dimension to Your Fiction: http://dld.bz/3XPd

NaNoWriMo Workshop – Point of View: http://dld.bz/3XPa

Captivating words: http://dld.bz/3XNj

Why do writers do it? http://dld.bz/3XNh @jodyhedlund

Front-loading your work as a writer: http://dld.bz/3XMw

The YA View: What We Like in Our Books (and What We Don't): http://dld.bz/3XJT

Short Blogcation

Hi everybody!

I've got a real busy Friday and Saturday planned—and will be putting the finishing touches on Memphis book 3 before sending it to my agent on Monday. I'll be back Sunday with my Twitterific post for the week, though. Hope you'll have a great weekend!

Writing is a Crime—by Kathryn Casey

It's pretty much just one of those things. The truth is that I never consciously decided to become a crime author. Back in the eighties, working for magazines, the editors needed someone to cover sensational cases. I was the new kid, the one who needed to please, so my hand went up at a lot at meetings. You need someone to cover that? I'm your gal. Of course, I'll do it! No problem!

Before long, I gained a reputation for digging into cases, not being afraid to knock on doors and ask questions. So for twenty years, that's what I did, writing articles for hometown then national magazines, much of the time on murder and mayhem. It's perhaps only natural then that when my gaze turned to books I focused in on crime writing. We've all heard: Write what you know. What I knew are cops, killers, and lawyers.

At first, I wrote true crime books, six of them so far. It turned out it was quite an education. There's nothing like sitting across a desk for a homicide detective as he explains how he tricked a bad guy into confessing, or across a counter from a killer describing in stark detail how he cornered his prey and pulled the trigger. When that happens, it leaves an impression, and over the decades, my mind filled up with memories of squad rooms, courtrooms, and crime scene photos.

So, about six years ago, when I decided to write fiction, the truth is I had a lot to draw on. My research, to some extent, was done before I sat down at the computer. Still, there were so many decisions to make. I needed a main character, a protagonist to build my mystery series around. Before long, because I wanted her to travel my home state, I decided on a Texas Ranger. I made her a profiler simply because I find psychology fascinating.

The result is Lieutenant Sarah Armstrong, my heroine and my constant companion for the past few years. I believe she lives somewhere in the back of my brain, waiting to take over if I give her the chance. She's a pretty powerful personality, more so than I am, I'm afraid.

What I gave Sarah to play with are all those memories from my past, my encounters with real life good guys and bad guys, victims and prosecutors. When I sit down to write, they're all at her disposal, and so far, she hasn't run out of material.

My days are fairly regimented. I walk past the laundry and the dishes piled up in the sink, sit down at my computer, and stare at the most frightening of all sights, a blank page on a computer screen. Before long, the germ of an idea pops up, a barebones plotline or a character, and slowly I start to write. I carry with me all Sarah has done in the past: her adventures in the first book, Singularity, when she hunted a serial killer; the day she nearly died protecting a teenage pop star from a stalker in Blood Lines. Along with Sarah comes the family I gave her, a mother, Nora, who bakes when nervous, copious amounts, and a daughter, Maggie, who mourns her dead father and studies the stars.

Once I'm writing the ideas come at a steady pace. Characters pop up before I understand why they're there at times. Somehow, as the book develops, they always seem to have a purpose. If I get stuck, I walk around the block. If I'm really stuck, I take a nap. Along the way, I'm looking for those twists and turns to propel Sarah through the pages of the book, ways to speed up the clock and build the tension. In the third Sarah Armstrong mystery, The Killing Storm, a hurricane puts on the pressure. A child has been kidnapped. He's in the hands of a madman. And Sarah knows she has to find the boy before the storm hits, or all will be lost.

So that's my tale, that of a girl who grew up wanting to write, one who became a crime writer mostly by accident and discovered she loves every minute of it.

Kathryn Casey is an award-winning journalist, the author of six highly acclaimed true crime books, and the creator of the Sarah Armstrong Mystery series, published by St. Martin's Minotaur. The latest book in the series is The Killing Storm (November 2010). Her Web site is: www.kathryncasey.com

Thanks so much for coming by today, Kathryn! I read a great review for "The Killing Storm" and it's on my TBR list. :) Thanks for sharing your writing process with us.

On Momentum

I do a lot of skimming as I'm looking for blogs to tweet on Twitter.

Sometimes I stop and read the post carefully—and that was the case with a blog post on Work Awesome that I came across the other day.

The article's author, Oleg Mokhov, made a great point about starting the day out with good momentum. He recommends leaving the last task of the day unfinished so that you can quickly pick up where you left off the next day and polish the task off quickly—thus racking up a speedy 'win' to set your day in motion.

He recommends outlining each step needed to complete the task the day before—so there's no ambiguity that could lead to procrastination. He calls that procrastination start paralysis.

I've always used this idea with my writing—I never leave off the day with a scene that I'm not looking forward to writing (a complex scene, a scene with lots of characters, etc.). I try to end my writing time by leaving off at a spot where I'm excited about picking up the next day. Then I sketch out a really quick mini-outline of what I'm planning on writing the following day. This means that I'm eager to pick up my book the next day and don't put it off.

But it seems to me that it would also help my productivity to quickly complete off a non-writing-related task the next day. Some mornings I wake up already feeling deflated, thinking about all the work I have in store for the day. It would probably help my writing out if I completed a task I started the day before—I'd feel encouraged by my progress right at the beginning of the day.

I have a suspicion that one of the things that grabbed me about this article, when I was skimming it, is the Hemingway quotation at the bottom. :)

The best way is always to stop when you are going good and when you know what will happen next. If you do that every day…you will never be stuck.

Hemingway's quotation was parsed by another blog, The Second Act, some time back. They listed the benefits to this method:

You :

Avoid being stuck Keep the momentum going Start your day by the rewarding work of finishing a task Boost your self-confidence and motivation levels before starting the next task End your day on a high note Put your brain to purposeful rest when you stop working Allow you subconscious to work profitably on it = the bigger picture = your goal.

Again, this seems to work just as well with non-writing tasks as much as meeting our daily writing goal.

I like the idea of starting out the day with a win. How do you build momentum at the start of your day? Or are you finding it later on?