Ian Dawson's Blog, page 21
October 18, 2021
A Look at “I Love Lucy” Writer Jess Oppenheimer’s Book: Laughs, Luck…and Lucy: How I Came to Create the Most Popular Sitcom of All Time
Jess Oppenheimer was not one to sit down for interviews. I couldn’t find any interviews with Oppenheimer with the Academy of Television, The Writers Guild Foundation, or even talk shows. However, he did give us a treasure trove of insight about his time on I Love Lucy in his book, Laughs, Luck…and Lucy: How I Came to Create the Most Popular Sitcom of All Time.
Assembled by his son, Gregg Oppenheimer, the book gives readers plenty of insight into the behind-the-scenes drama, excitement, and pressure that goes into making a half-hour of TV in the 1950s.
Laughs, Luck…and Lucy delves into Jess Oppenheimer’s relationships with Lucille Ball, Desi Arnaz, his fellow Lucy writers, and others in the industry at the time. It also gives us a look at his upbringing and life before and after the series, showing how his life experiences shaped his comedy sensibilities and work ethic that made him a very popular and in-demand TV writer.
Along with his interpersonal relationships, the book discusses TV production of the 1950s and how I Love Lucy revolutionized the way shows were filmed, edited, and distributed.
There is a wealth of information included in the Appendices at the end of the book, including I Love Lucy scripts; a script from My Favorite Husband; an unperformed episode of I Love Lucy (the only script Lucy and Desi refused to do); and articles about the production of the series.
Laughs, Luck…and Lucy is a must-read for Lucy fans and a great historical document about the Golden Age of television.
Click HERE for interviews with others talking about working with Jess Oppenheimer from the Television Academy.
Assembled by his son, Gregg Oppenheimer, the book gives readers plenty of insight into the behind-the-scenes drama, excitement, and pressure that goes into making a half-hour of TV in the 1950s.
Laughs, Luck…and Lucy delves into Jess Oppenheimer’s relationships with Lucille Ball, Desi Arnaz, his fellow Lucy writers, and others in the industry at the time. It also gives us a look at his upbringing and life before and after the series, showing how his life experiences shaped his comedy sensibilities and work ethic that made him a very popular and in-demand TV writer.
Along with his interpersonal relationships, the book discusses TV production of the 1950s and how I Love Lucy revolutionized the way shows were filmed, edited, and distributed.
There is a wealth of information included in the Appendices at the end of the book, including I Love Lucy scripts; a script from My Favorite Husband; an unperformed episode of I Love Lucy (the only script Lucy and Desi refused to do); and articles about the production of the series.
Laughs, Luck…and Lucy is a must-read for Lucy fans and a great historical document about the Golden Age of television.
Click HERE for interviews with others talking about working with Jess Oppenheimer from the Television Academy.
October 17, 2021
An Interview with “I Love Lucy” Writers Bob Schiller & Bob Weiskopf from The Archive of American Television
Writing team Bob Schiller and Bob Weiskopf joined the I Love Lucy writing staff during the show’s fifth and sixths seasons, which saw the Ricardos and Mertzes wrapping up their trip to Hollywood, travelling to Europe, and moving to the country.
Prior to their work on Lucy, Bob Schiller and Bob Weiskopf worked in radio, writing their first script together for the radio series, Our Miss Brooks. Their writing partnership would lead them to write for Make Room for Daddy and The Bob Cummings Show, which would lead to their hiring on I Love Lucy.
If you’re familiar with the sitcoms of Norman Lear, the names Bob Schiller and Bob Weiskopf are frequently credited for their comedy writing, especially on the Bea Arthur series, Maude. They also were involved with All in the Family and its spin-off, Archie Bunker’s Place.
Fun fact: Fellow I Love Lucy writer, Jess Oppenheimer, was roommates with Bob Weiskopf in college 13 years before Oppenheimer hired Weiskopf and Schiller to work on the series.
Below is their interview with The Archive of American Television where they discuss their career in TV (the clips were not numbered, so I organized them the best I could).
Enjoy!
Schiller & Weiskopf 1
Schiller & Weiskopf 2
Schiller & Weiskopf 3
Schiller & Weiskopf 4
Schiller & Weiskopf 5
Schiller & Weiskopf 6
And as a bonus, here’s their interview with The Writers Guild Foundation:
Schiller & Weiskopf 7
Another day, another I Love Lucy writer. Stay tuned!
Prior to their work on Lucy, Bob Schiller and Bob Weiskopf worked in radio, writing their first script together for the radio series, Our Miss Brooks. Their writing partnership would lead them to write for Make Room for Daddy and The Bob Cummings Show, which would lead to their hiring on I Love Lucy.
If you’re familiar with the sitcoms of Norman Lear, the names Bob Schiller and Bob Weiskopf are frequently credited for their comedy writing, especially on the Bea Arthur series, Maude. They also were involved with All in the Family and its spin-off, Archie Bunker’s Place.
Fun fact: Fellow I Love Lucy writer, Jess Oppenheimer, was roommates with Bob Weiskopf in college 13 years before Oppenheimer hired Weiskopf and Schiller to work on the series.
Below is their interview with The Archive of American Television where they discuss their career in TV (the clips were not numbered, so I organized them the best I could).
Enjoy!
Schiller & Weiskopf 1
Schiller & Weiskopf 2
Schiller & Weiskopf 3
Schiller & Weiskopf 4
Schiller & Weiskopf 5
Schiller & Weiskopf 6
And as a bonus, here’s their interview with The Writers Guild Foundation:
Schiller & Weiskopf 7
Another day, another I Love Lucy writer. Stay tuned!
October 16, 2021
An Interview with “I Love Lucy” Writers Madelyn Pugh Davis & Bob Carroll, Jr. from The Archive of American Television
Madelyn Pugh Davis and Bob Carroll, Jr. began their writing careers in radio, most notably on the comedy series, My Favorite Husband (1948-1951). On the show, their paths would cross with an actress, Lucille Ball, who - upon the radio series ending in 1951 - would be doing a TV series for CBS with her husband, Desi Arnaz. The series, I Love Lucy, would initially be staffed by three writers: Pugh Davis, Carroll, Jr., and Jess Oppenheimer.
Pugh Davis and Carroll would remain with I Love Lucy for its six-year run, moving on as a writing team on future series like The Lucy Show, The Mothers-In-Law, Alice, and Sanford & Son.
Below is the entire interview with Madelyn Pugh Davis and Bob Carroll, Jr. conducted by The Archive of American Television, where they talk about their multi-decade careers.
Enjoy!
Madelyn Pugh Davis and Bob Carroll, Jr. 1
Madelyn Pugh Davis and Bob Carroll, Jr. 2
Madelyn Pugh Davis and Bob Carroll, Jr. 3
Madelyn Pugh Davis and Bob Carroll, Jr. 4
Madelyn Pugh Davis and Bob Carroll, Jr. 5
Madelyn Pugh Davis and Bob Carroll, Jr. 6
And here’s a bonus interview with The Writers Guild Foundation:
Madelyn Pugh Davis and Bob Carroll, Jr. 7
Back with another set of interviews with two more I Love Lucy writers tomorrow! Stay tuned!
Pugh Davis and Carroll would remain with I Love Lucy for its six-year run, moving on as a writing team on future series like The Lucy Show, The Mothers-In-Law, Alice, and Sanford & Son.
Below is the entire interview with Madelyn Pugh Davis and Bob Carroll, Jr. conducted by The Archive of American Television, where they talk about their multi-decade careers.
Enjoy!
Madelyn Pugh Davis and Bob Carroll, Jr. 1
Madelyn Pugh Davis and Bob Carroll, Jr. 2
Madelyn Pugh Davis and Bob Carroll, Jr. 3
Madelyn Pugh Davis and Bob Carroll, Jr. 4
Madelyn Pugh Davis and Bob Carroll, Jr. 5
Madelyn Pugh Davis and Bob Carroll, Jr. 6
And here’s a bonus interview with The Writers Guild Foundation:
Madelyn Pugh Davis and Bob Carroll, Jr. 7
Back with another set of interviews with two more I Love Lucy writers tomorrow! Stay tuned!
October 15, 2021
It’s the 70th Anniversary of “I Love Lucy”! - A Salute to the Show’s Amazing Writers
On October 15, 1951, a new sitcom premiered on CBS starring Lucille Ball, Desi Arnaz, Vivian Vance, and William Frawley. The series was I Love Lucy, a show that would forever change the way sitcoms are filmed and produced. It was the first sitcom to feature an interracial couple and to show a pregnant woman (GASP!) on TV.
Married in real life, Ball and Arnaz were looking for a project to keep them together instead of traveling around making films or doing concerts. When the idea for the series fell in their lap, they jumped at the opportunity, taking the initial concept on the road to see how it was received by audiences. Assured that they had a workable idea, the show was developed into I Love Lucy.
I Love Lucy Theme
I Love Lucy was also the birth of Desilu Productions, which would produce many notable series, including The Lucy Show, Mission: Impossible, and Star Trek. Following Lucy and Desi’s divorce, Lucille Ball would take the reins of Desilu, becoming the first female studio president in Hollywood.
Seven decades after its premiere, Lucy is as popular as ever and is an ever-present staple in pop culture. Generations of families have sat down to enjoy the antics of Lucy Ricardo in black-and-white and in color; on small tube TVs and giant OLED screens; on DVD and streaming.
Lucille Ball was a comedic genius; her influence on other female comedians over the decades is a tribute to her skills and talents as a genuine comedienne. I Love Lucy was a vehicle to showcase Ball’s talents, but we can't overlook the comic contributions of her three fantastic co-stars. Desi Arnaz, who doesn’t get enough credit for his role as Ricky, was a great straight man and a powerhouse behind the scenes. Vivian Vance, the world’s greatest second-banana, Ethel Mertz, was a talented woman who brought her comic and singing talents to the role. William Frawley, the cranky and cheap Fred Mertz, was a character actor that never missed an opportunity to deliver a one-liner.
Despite any off-camera drama that may have occurred over the show’s production, these four collectively created some of the most memorable moments in TV history. Their chemistry on-camera is undeniable, and it’s still evident 70 years later.
Classic Lucy Clip 1
But Lucy Ricardo remains silent and with no crazy ideas without the geniuses who gave her and the other characters that populated I Love Lucy life. Throughout its six seasons and 180 episodes, five writers delivered the scripts that would be turned into comedy gold by Ball, Arnaz, Vance, and Frawley each week. We owe as much to these five writers as we do to the actors who brought I Love Lucy to life.
Jess Oppenheimer, Madelyn Pugh, Bob Carroll, Jr., Bob Schiller, and Bob Weiskopf are the writers whom Lucille Ball has credited many times for giving her comedy gold to work with throughout the series' run. I can only imagine the pressure these five were under to create a fresh, creative, and funny script each week that would please Ball and Arnaz, who weren't just the stars of the show but their employers as well. And they did it, creating comedy gold week after week, giving Lucy new motivations to get into Ricky's show, taking the gang to Hollywood, Europe, and the country. One-liners, slapstick, physical gags, sight gags, big guest stars, and some of the best facial expressions in the business.
Classic Lucy Clip 2
Lucille Ball had previously worked with Oppenheimer, Pugh, and Carroll, Jr. on her radio series, My Favorite Husband, where Ball played housewife Liz Cugat (later Cooper) for 124 episodes. Liz was a devoted, loving, and zany woman who got into comedic situations every week (sound familiar?). The series ended its run in March 1951, the same year I Love Lucy would hit the airwaves in October.
With Husband ending and Ball and Arnaz needing writers for their new series, it was common sense to use writers familiar with Ball’s comic sensibility and who came with a vast knowledge of the situation comedy formula. Obviously, bringing this trio along was a choice that helped keep I Love Lucy so widely known seven decades later.
Classic Lucy Clip 3
Seasons one through four came from the creative minds of Oppenheimer, Pugh, and Carroll, Jr. Seasons five and six would see the addition of Bob Schiller and Bob Weiskopf, with Jess Oppenheimer leaving after season five. All five writers would continue to write in the sitcom genre for decades to come on series like Alice, All in the Family, Maude, The Carol Burnett Show, Here’s Lucy, and Get Smart.
Sadly, while these talented writers were nominated for Emmys for their work on I Love Lucy, they never won. However, I think the longevity of the series and the legacy of their work is an even greater reward.
Needless to say, I’m a huge fan of I Love Lucy. No matter what’s going on in the real world, the antics of Lucy, Ricky, Fred, and Ethel, always manage to bring a smile to my face and make me laugh even if I’ve seen the episode dozens of times. I’m sure they had no clue when director Marc Daniel yelled action seventy years ago that I Love Lucy would still be on the air today; on TVs worldwide, translated into dozens of languages, and still enjoyed by millions.
Classic Lucy Clip 4
Thank you, Lucille Ball, Desi Arnaz, Vivian Vance, William Frawley; Jess Oppenheimer, Madelyn Pugh, Bob Carroll, Jr., Bob Schiller, Bob Weiskopf; directors Marc Daniels and William Asher; and the hundreds of other people who brought I Love Lucy into homes in the 1950s so that we could still enjoy the show today. Your legacies, talents, and positive contribution to the world have not gone unnoticed.
Classic Lucy Clip 5
Check back this weekend for a few more posts about the writers of I Love Lucy! Stay tuned!
What are your favorite episodes, moments, lines, or characters from I Love Lucy? Leave a comment and let me know!
Married in real life, Ball and Arnaz were looking for a project to keep them together instead of traveling around making films or doing concerts. When the idea for the series fell in their lap, they jumped at the opportunity, taking the initial concept on the road to see how it was received by audiences. Assured that they had a workable idea, the show was developed into I Love Lucy.
I Love Lucy Theme
I Love Lucy was also the birth of Desilu Productions, which would produce many notable series, including The Lucy Show, Mission: Impossible, and Star Trek. Following Lucy and Desi’s divorce, Lucille Ball would take the reins of Desilu, becoming the first female studio president in Hollywood.
Seven decades after its premiere, Lucy is as popular as ever and is an ever-present staple in pop culture. Generations of families have sat down to enjoy the antics of Lucy Ricardo in black-and-white and in color; on small tube TVs and giant OLED screens; on DVD and streaming.
Lucille Ball was a comedic genius; her influence on other female comedians over the decades is a tribute to her skills and talents as a genuine comedienne. I Love Lucy was a vehicle to showcase Ball’s talents, but we can't overlook the comic contributions of her three fantastic co-stars. Desi Arnaz, who doesn’t get enough credit for his role as Ricky, was a great straight man and a powerhouse behind the scenes. Vivian Vance, the world’s greatest second-banana, Ethel Mertz, was a talented woman who brought her comic and singing talents to the role. William Frawley, the cranky and cheap Fred Mertz, was a character actor that never missed an opportunity to deliver a one-liner.
Despite any off-camera drama that may have occurred over the show’s production, these four collectively created some of the most memorable moments in TV history. Their chemistry on-camera is undeniable, and it’s still evident 70 years later.
Classic Lucy Clip 1
But Lucy Ricardo remains silent and with no crazy ideas without the geniuses who gave her and the other characters that populated I Love Lucy life. Throughout its six seasons and 180 episodes, five writers delivered the scripts that would be turned into comedy gold by Ball, Arnaz, Vance, and Frawley each week. We owe as much to these five writers as we do to the actors who brought I Love Lucy to life.
Jess Oppenheimer, Madelyn Pugh, Bob Carroll, Jr., Bob Schiller, and Bob Weiskopf are the writers whom Lucille Ball has credited many times for giving her comedy gold to work with throughout the series' run. I can only imagine the pressure these five were under to create a fresh, creative, and funny script each week that would please Ball and Arnaz, who weren't just the stars of the show but their employers as well. And they did it, creating comedy gold week after week, giving Lucy new motivations to get into Ricky's show, taking the gang to Hollywood, Europe, and the country. One-liners, slapstick, physical gags, sight gags, big guest stars, and some of the best facial expressions in the business.
Classic Lucy Clip 2
Lucille Ball had previously worked with Oppenheimer, Pugh, and Carroll, Jr. on her radio series, My Favorite Husband, where Ball played housewife Liz Cugat (later Cooper) for 124 episodes. Liz was a devoted, loving, and zany woman who got into comedic situations every week (sound familiar?). The series ended its run in March 1951, the same year I Love Lucy would hit the airwaves in October.
With Husband ending and Ball and Arnaz needing writers for their new series, it was common sense to use writers familiar with Ball’s comic sensibility and who came with a vast knowledge of the situation comedy formula. Obviously, bringing this trio along was a choice that helped keep I Love Lucy so widely known seven decades later.
Classic Lucy Clip 3
Seasons one through four came from the creative minds of Oppenheimer, Pugh, and Carroll, Jr. Seasons five and six would see the addition of Bob Schiller and Bob Weiskopf, with Jess Oppenheimer leaving after season five. All five writers would continue to write in the sitcom genre for decades to come on series like Alice, All in the Family, Maude, The Carol Burnett Show, Here’s Lucy, and Get Smart.
Sadly, while these talented writers were nominated for Emmys for their work on I Love Lucy, they never won. However, I think the longevity of the series and the legacy of their work is an even greater reward.
Needless to say, I’m a huge fan of I Love Lucy. No matter what’s going on in the real world, the antics of Lucy, Ricky, Fred, and Ethel, always manage to bring a smile to my face and make me laugh even if I’ve seen the episode dozens of times. I’m sure they had no clue when director Marc Daniel yelled action seventy years ago that I Love Lucy would still be on the air today; on TVs worldwide, translated into dozens of languages, and still enjoyed by millions.
Classic Lucy Clip 4
Thank you, Lucille Ball, Desi Arnaz, Vivian Vance, William Frawley; Jess Oppenheimer, Madelyn Pugh, Bob Carroll, Jr., Bob Schiller, Bob Weiskopf; directors Marc Daniels and William Asher; and the hundreds of other people who brought I Love Lucy into homes in the 1950s so that we could still enjoy the show today. Your legacies, talents, and positive contribution to the world have not gone unnoticed.
Classic Lucy Clip 5
Check back this weekend for a few more posts about the writers of I Love Lucy! Stay tuned!
What are your favorite episodes, moments, lines, or characters from I Love Lucy? Leave a comment and let me know!
October 13, 2021
Writer’s Workshop Wednesday: Judy Blume
The author of twenty-nine books, Judy Blume, is an author who is no stranger to writing about complex subjects that young adults encounter in their everyday lives. She surprisingly is also a member of the Banned Books Club. Like the late Beverley Cleary, Judy Blume’s books were a library staple when I was growing up. Her stories continue to engage and entertain readers today.
Blume was 27 when she began to think of writing as a career. After two years of rejections, she finally published her first novel, The One in the Middle is the Green Kangaroo, in 1969. Other books for children and young adults include: Are You There God? It’s Me, Margaret (1970), Tales of a Fourth Grade Nothing (1972), Blubber (1974), Freckle Juice (1978), Superfudge (1980), and Here’s to You, Rachel Robinson (1993).
Blume has also written four adult-centered novels, collaborated on two short story collections, and authored three non-fiction books.
In the 1980s, Blume’s young adult novel, Are You There God? It’s Me, Margaret, was targeted for censorship by schools due to its openness about mensuration and religion. The book has been on the American Library Association’s Top 100 most frequently challenged books since the 80s, ranking 60th. In 2000, the book almost made it off the list, dropping to 99th. The latest 2010-2019 list has Are You There God? off the top 100.
Check out the latest list to see if books you’ve read are on it, HERE.
Learn more about Judy Blume and her books at her OFFICIAL WEBSITE.
Below are a few interviews with Blume as she talks about her life, her writing, and censorship.
Enjoy!
Judy Blume 1
Judy Blume 2
Judy Blume 3
Judy Blume 4
Judy Blume 5
Judy Blume 6
Back in two weeks with another great author!
Blume was 27 when she began to think of writing as a career. After two years of rejections, she finally published her first novel, The One in the Middle is the Green Kangaroo, in 1969. Other books for children and young adults include: Are You There God? It’s Me, Margaret (1970), Tales of a Fourth Grade Nothing (1972), Blubber (1974), Freckle Juice (1978), Superfudge (1980), and Here’s to You, Rachel Robinson (1993).
Blume has also written four adult-centered novels, collaborated on two short story collections, and authored three non-fiction books.
In the 1980s, Blume’s young adult novel, Are You There God? It’s Me, Margaret, was targeted for censorship by schools due to its openness about mensuration and religion. The book has been on the American Library Association’s Top 100 most frequently challenged books since the 80s, ranking 60th. In 2000, the book almost made it off the list, dropping to 99th. The latest 2010-2019 list has Are You There God? off the top 100.
Check out the latest list to see if books you’ve read are on it, HERE.
Learn more about Judy Blume and her books at her OFFICIAL WEBSITE.
Below are a few interviews with Blume as she talks about her life, her writing, and censorship.
Enjoy!
Judy Blume 1
Judy Blume 2
Judy Blume 3
Judy Blume 4
Judy Blume 5
Judy Blume 6
Back in two weeks with another great author!
October 10, 2021
Writing Tip of the Week: Giving Yourself Permission as a Writer
Creativity begins within the privacy of our minds. We all have thoughts, ideas, plans, goals, and dreams, but not everyone takes those elements and artistically expresses them. Whether through writing, art, dance, song, or film, creative expression can be a hurdle that prevents many from getting their vision out of their head and into a tangible space.
But why? Why do creative people often have hang-ups and issues taking what they know in their heads and hearts is a good idea and making it more than a passive internal flirtation with their Muse?
I think it comes from fear.
Fear that what’s in your head won’t translate to the page on the first try. Fear that people won’t enjoy or understand your intentions with the creative work you’ve molded and shaped for months or years. Fear of rejection, of failure, of the unknown.
But you haven’t written a word yet, so how do you know any of the above will happen?
You don’t.
And you won’t know if it will be a success or not until you give yourself permission to get the ideas out of your head.
Today, I’m going to offer up five statements for you to think about the next time you’re hesitant about bringing an idea to life. Remember that this initial version of the idea is for your eyes only. Take the fear out of the equation. Know that you and your words are in their own Circle of Trust.
Now, I encourage you, whenever doubt creeps in, or fear enters your mind as you embark on a new creative endeavor, that you say one or all of these statements to yourself to help move your forward in your creative journey:
I Give Myself Permission to…Write Badly with Pride
You can’t edit what doesn’t exist, and every writer has to start their story at some level of quality, so don’t be afraid to write crap in exchange for knowing you can go back and fix it later. The key is to get the ideas on the page so they can evolve.
Be proud that you wrote them down and now can make them better.
I Give Myself Permission to…Change Things in the Story That Aren’t Working
Outlines, Beat Sheets, Notecards, and other forms of structuring your story are great but don’t marry yourself to what you planned out 100%. Give yourself the ability to go on tangents and explore new possibilities, new story arcs, and new character developments.
A story is a road trip. You’re going from Point A to Point B, but a few detours to some unknown places can always add to the adventure. Allow yourself to travel these pathways and see what happens.
I Give Myself Permission to…Challenge Myself as a Writer
If you ever wanted to explore writing in a new genre or medium, do it. If you write short stories but want to write a screenplay, learn what it takes to format and create a 110-page screen story and make it a reality. If you are a novelist who writes romance and want to try writing horror, go for it.
Experimenting and challenging yourself as a writer gives you the ability to stretch your creative muscles. Along the way, you may pick up some writing advice from this other area that can help strengthen the genre or medium you are comfortable in.
This can also be used as a writing exercise. You challenge yourself to write a paragraph without using a certain commonly overused word like ‘that,’ or even challenging yourself to write stronger dialogue or description.
I Give Myself Permission to…Accept Constructive Criticism as Helpful
The word ‘Constructive’ is the key here. If it’s advice or notes that can make your writing stronger, or assist in making your future work better, then add that to your toolbox. If it’s not something that will help you now or in the future, ignore it.
I once gave notes to a woman on her screenplay. She had a Russian character who was always drunk on Vodka. I said that this was a cliché, and she should consider changing some aspect of the character to make him less of a stereotype. Her response: “F-ck you!” Needless to say, that was when we parted ways because this was the least of the scripts issues, and if she was unable to handle something fairly benign, I knew my other notes would not be helpful, either.
My goal was to help make her script stronger and better, but she was focused on the criticism and not the constructive aspect. When you receive a note on your work, divorce yourself from being its creator. Ask yourself if you were reading this as an outsider, would you have the same comment or question? More than likely, yes.
Remember: Constructive = Helpful.
I Give Myself Permission to…Have Fun When Writing!
No matter what you write, you have to enjoy the process, enjoy the journey, and enjoy what you’re working on. It’s reflected in your work. If you had a good time, invested in the characters and their story, laughed at their jokes, cried with their tragedies, and held your breath while they were in peril, you can bet the audience will do the same.
Passion can transfer from the page to the reader or from the screen to the viewer, and the more heart and energy and love and fun you put into it, the greater reward it is for the audience.
If you don’t like your story, figure out why and change it for yourself. Write the story you want to write, that you want to see, that you want people to enjoy.
I hope these statements or affirmations give you the permission your need to move past those blocks that plague all writers, new and experienced. You have a story to tell. Don’t let fear stop you from making it a reality.
Happy Writing, and I’ll see you in two weeks!
But why? Why do creative people often have hang-ups and issues taking what they know in their heads and hearts is a good idea and making it more than a passive internal flirtation with their Muse?
I think it comes from fear.
Fear that what’s in your head won’t translate to the page on the first try. Fear that people won’t enjoy or understand your intentions with the creative work you’ve molded and shaped for months or years. Fear of rejection, of failure, of the unknown.
But you haven’t written a word yet, so how do you know any of the above will happen?
You don’t.
And you won’t know if it will be a success or not until you give yourself permission to get the ideas out of your head.
Today, I’m going to offer up five statements for you to think about the next time you’re hesitant about bringing an idea to life. Remember that this initial version of the idea is for your eyes only. Take the fear out of the equation. Know that you and your words are in their own Circle of Trust.
Now, I encourage you, whenever doubt creeps in, or fear enters your mind as you embark on a new creative endeavor, that you say one or all of these statements to yourself to help move your forward in your creative journey:
I Give Myself Permission to…Write Badly with Pride
You can’t edit what doesn’t exist, and every writer has to start their story at some level of quality, so don’t be afraid to write crap in exchange for knowing you can go back and fix it later. The key is to get the ideas on the page so they can evolve.
Be proud that you wrote them down and now can make them better.
I Give Myself Permission to…Change Things in the Story That Aren’t Working
Outlines, Beat Sheets, Notecards, and other forms of structuring your story are great but don’t marry yourself to what you planned out 100%. Give yourself the ability to go on tangents and explore new possibilities, new story arcs, and new character developments.
A story is a road trip. You’re going from Point A to Point B, but a few detours to some unknown places can always add to the adventure. Allow yourself to travel these pathways and see what happens.
I Give Myself Permission to…Challenge Myself as a Writer
If you ever wanted to explore writing in a new genre or medium, do it. If you write short stories but want to write a screenplay, learn what it takes to format and create a 110-page screen story and make it a reality. If you are a novelist who writes romance and want to try writing horror, go for it.
Experimenting and challenging yourself as a writer gives you the ability to stretch your creative muscles. Along the way, you may pick up some writing advice from this other area that can help strengthen the genre or medium you are comfortable in.
This can also be used as a writing exercise. You challenge yourself to write a paragraph without using a certain commonly overused word like ‘that,’ or even challenging yourself to write stronger dialogue or description.
I Give Myself Permission to…Accept Constructive Criticism as Helpful
The word ‘Constructive’ is the key here. If it’s advice or notes that can make your writing stronger, or assist in making your future work better, then add that to your toolbox. If it’s not something that will help you now or in the future, ignore it.
I once gave notes to a woman on her screenplay. She had a Russian character who was always drunk on Vodka. I said that this was a cliché, and she should consider changing some aspect of the character to make him less of a stereotype. Her response: “F-ck you!” Needless to say, that was when we parted ways because this was the least of the scripts issues, and if she was unable to handle something fairly benign, I knew my other notes would not be helpful, either.
My goal was to help make her script stronger and better, but she was focused on the criticism and not the constructive aspect. When you receive a note on your work, divorce yourself from being its creator. Ask yourself if you were reading this as an outsider, would you have the same comment or question? More than likely, yes.
Remember: Constructive = Helpful.
I Give Myself Permission to…Have Fun When Writing!
No matter what you write, you have to enjoy the process, enjoy the journey, and enjoy what you’re working on. It’s reflected in your work. If you had a good time, invested in the characters and their story, laughed at their jokes, cried with their tragedies, and held your breath while they were in peril, you can bet the audience will do the same.
Passion can transfer from the page to the reader or from the screen to the viewer, and the more heart and energy and love and fun you put into it, the greater reward it is for the audience.
If you don’t like your story, figure out why and change it for yourself. Write the story you want to write, that you want to see, that you want people to enjoy.
I hope these statements or affirmations give you the permission your need to move past those blocks that plague all writers, new and experienced. You have a story to tell. Don’t let fear stop you from making it a reality.
Happy Writing, and I’ll see you in two weeks!
September 29, 2021
Writer’s Workshop Wednesday: Dean Koontz
While I’ve heard his name before, I read my first Dean Koontz novel earlier this year, Strangers (1986). Strangers is a mix of suspense and sci-fi. It was definitely an engaging book with interesting characters and an intriguing twist.
Koontz is a prolific suspense author whose first novel, Star Quest, was published in 1968. Since then, Koontz has written well over 100 books, including the Odd Thomas series, Frankenstein series, and Jane Hawk series. While known mainly for suspense, Koontz writes in many genres, including thriller, horror, and satire.
Koontz wrote several novels under pseudonyms, including John Hill, Deanna Dwyer, K.R. Dwyer, and David Axton. He used the names “after several editors convinced him that authors who switched back and forth between different genres invariably fell victim to ‘negative crossover,’” which could affect readership from established and new readers. The last novel he wrote under a pseudonym was 1987’s Shadow Fires under the pen name Leigh Nichols.
I definitely want to read more of his books, and my interest is piqued by the Frankenstein series.
To check out his Official Website, click HERE.
Check out the interviews below where Koontz talks about his career, writing, and his varied works.
Enjoy!
Dean Koontz 1
Dean Koontz 2
Dean Koontz 3
Dean Koontz 4
Dean Koontz 5
Dean Koontz 6
Dean Koontz 7
Back in two weeks with another great author!
Koontz is a prolific suspense author whose first novel, Star Quest, was published in 1968. Since then, Koontz has written well over 100 books, including the Odd Thomas series, Frankenstein series, and Jane Hawk series. While known mainly for suspense, Koontz writes in many genres, including thriller, horror, and satire.
Koontz wrote several novels under pseudonyms, including John Hill, Deanna Dwyer, K.R. Dwyer, and David Axton. He used the names “after several editors convinced him that authors who switched back and forth between different genres invariably fell victim to ‘negative crossover,’” which could affect readership from established and new readers. The last novel he wrote under a pseudonym was 1987’s Shadow Fires under the pen name Leigh Nichols.
I definitely want to read more of his books, and my interest is piqued by the Frankenstein series.
To check out his Official Website, click HERE.
Check out the interviews below where Koontz talks about his career, writing, and his varied works.
Enjoy!
Dean Koontz 1
Dean Koontz 2
Dean Koontz 3
Dean Koontz 4
Dean Koontz 5
Dean Koontz 6
Dean Koontz 7
Back in two weeks with another great author!
September 26, 2021
Writing Tip of the Week: Finding a Beta Reader
Writing can be a very personal and intimate experience. Your internal thoughts, feelings, ideas, and actions leave your brain and settle onto the page. If you’re writing in a private journal or diary, these thoughts and feelings can remain secret, with no possibility of them being displayed publicly.
But if you’re writing for people to eventually read or see your work in the public sphere, it’s essential to have people around you to read and critique your work before it is out for the world to see. Consider these people a buffer, a set of eyes that can see your work from a different perspective, and someone who isn’t afraid to give you feedback that will make them work better.
A Beta Reader is an excellent resource for anyone to have in their writing toolbox.
What Exactly Is a Beta Reader?
A Beta Reader is the first fresh set of eyes to read your work and offer constructive feedback. Once you are confident that you have a completed novel, non-fiction book, short story, play, or screenplay, a Beta Reader is an independent third party that can help you make the work better.
This person can help point out story problems, plot holes, continuity problems, or other aspects that don’t work. At the same time, they are an ideal audience to see if what you wished to convey on the page was successful.
A Beta Reader’s feedback should be helpful, pointed, specific, and detailed. If what they tell you is too vague or generalized (“I don’t like your hero, Mark, but I don’t know why”), then the information isn’t helpful.
Beta Reader vs. Editor
A Beta Reader is for the creative side of writing (story, plot, continuity), while an Editor looks for technical issues (spelling, grammar, syntax, word choice). Both are essential to the writing process, but each has their own skills to contribute.
Obviously, a Beta Reader can find spelling or grammar errors and an Editor can give you feedback about story or character issues, but each does serve a different purpose in the grand scheme of things.
So, how can you find a Beta Reader that fits your needs?
Who Do You Know?
Is there someone in your circle of friends that likes your writing? Someone supportive that takes an interest in what you’re working on but offers constructive advice if asked? Do you have a friend with opinions about films and TV shows that you respect? This might be the person to ask.
You want someone open-minded, who likes the genres you write in, and can focus on the specific areas you want them to provide feedback on and give comments and suggestions that strengthen the work.
Obviously, being a Beta Reader is a time commitment on the person’s part. After all, you’re asking them to read a 500-page manuscript or a 110-page screenplay, so there are hours of work ahead of them. If you have someone in mind, ask them if they would be interested in reading your work and giving you feedback.
If they say yes, that’s great. If not, and you’re out of people you can trust and rely on, there are Beta Reader services you can pay to help you out.
So, what about my mom or my brother-in-law? Could I use them as a Beta Reader?
Well, I suggest that you…
Look Outside Your Family
Unless you can compartmentalize and keep your writer life and personal life separate, I recommend finding a Beta Reader outside your family circle. I feel this is a wise move since you don’t want to get false praise that negatively impacts the work, and you also don’t want to get criticism that leads to a rift in the relationship.
This doesn’t mean you can’t use a family member, but I’d like to think that keeping the Beta Reader outside the family is a good way to stave off future trips to a family therapist or a segment on Dr. Phil.
Start With A Sample
But let’s say you have a friend or former coworker who is on board and wants to help. Great. If they haven’t read anything of yours for a while, give them a sample of your work. As them to focus on one or two things (i.e., description and pacing), and see what they come back with.
Don’t just toss the pages out there and say good luck; give them specifics about what you want them to look for. Based on their feedback, you’ll be able to tell if they are a good fit. If you have to pump the information out of them or they are afraid to be critical, this isn’t a good match. At the same time, if their feedback is too harsh, it won’t work, either.
The key is to find a healthy balance where the feedback you receive strengthens the weaknesses, and the positive comments keep you motivated to get onto the next draft.
To Pay or Not to Pay?
I pay my Beta Reader for his time. It’s the right thing to do, and it also makes him take the job seriously. He’s been hired to do a job, deliver what is asked of him, and I give him a logical deadline to read the manuscript (a couple weeks at least), take notes, and have a meeting with me to discuss his feedback.
If you take it professionally, your Beta Reader will, too.
Patience is a Virtue
It may take time to find someone who has the time to assist you during this process. As I said above, it’s a time commitment on their part, and you are entrusting them with your manuscript with the hope that their feedback will make it better. If you’re not happy with the feedback you get from someone or feel it’s lacking, you can always look for someone else.
A Beta Reader is a part of your team. Just like with dating, sometimes it takes a while to find the right person. But once you do, you know you’ve found your ideal match.
All writers need feedback. All writers need a trusted source of constructive criticism and positivity. Finding a Beta Reader that meets these criteria can be a great motivator to keep the words flowing since you have a trusted person available that can help make you a better writer.
Do you have a Beta Reader? What have been your experiences? Leave a comment and let me know!
But if you’re writing for people to eventually read or see your work in the public sphere, it’s essential to have people around you to read and critique your work before it is out for the world to see. Consider these people a buffer, a set of eyes that can see your work from a different perspective, and someone who isn’t afraid to give you feedback that will make them work better.
A Beta Reader is an excellent resource for anyone to have in their writing toolbox.
What Exactly Is a Beta Reader?
A Beta Reader is the first fresh set of eyes to read your work and offer constructive feedback. Once you are confident that you have a completed novel, non-fiction book, short story, play, or screenplay, a Beta Reader is an independent third party that can help you make the work better.
This person can help point out story problems, plot holes, continuity problems, or other aspects that don’t work. At the same time, they are an ideal audience to see if what you wished to convey on the page was successful.
A Beta Reader’s feedback should be helpful, pointed, specific, and detailed. If what they tell you is too vague or generalized (“I don’t like your hero, Mark, but I don’t know why”), then the information isn’t helpful.
Beta Reader vs. Editor
A Beta Reader is for the creative side of writing (story, plot, continuity), while an Editor looks for technical issues (spelling, grammar, syntax, word choice). Both are essential to the writing process, but each has their own skills to contribute.
Obviously, a Beta Reader can find spelling or grammar errors and an Editor can give you feedback about story or character issues, but each does serve a different purpose in the grand scheme of things.
So, how can you find a Beta Reader that fits your needs?
Who Do You Know?
Is there someone in your circle of friends that likes your writing? Someone supportive that takes an interest in what you’re working on but offers constructive advice if asked? Do you have a friend with opinions about films and TV shows that you respect? This might be the person to ask.
You want someone open-minded, who likes the genres you write in, and can focus on the specific areas you want them to provide feedback on and give comments and suggestions that strengthen the work.
Obviously, being a Beta Reader is a time commitment on the person’s part. After all, you’re asking them to read a 500-page manuscript or a 110-page screenplay, so there are hours of work ahead of them. If you have someone in mind, ask them if they would be interested in reading your work and giving you feedback.
If they say yes, that’s great. If not, and you’re out of people you can trust and rely on, there are Beta Reader services you can pay to help you out.
So, what about my mom or my brother-in-law? Could I use them as a Beta Reader?
Well, I suggest that you…
Look Outside Your Family
Unless you can compartmentalize and keep your writer life and personal life separate, I recommend finding a Beta Reader outside your family circle. I feel this is a wise move since you don’t want to get false praise that negatively impacts the work, and you also don’t want to get criticism that leads to a rift in the relationship.
This doesn’t mean you can’t use a family member, but I’d like to think that keeping the Beta Reader outside the family is a good way to stave off future trips to a family therapist or a segment on Dr. Phil.
Start With A Sample
But let’s say you have a friend or former coworker who is on board and wants to help. Great. If they haven’t read anything of yours for a while, give them a sample of your work. As them to focus on one or two things (i.e., description and pacing), and see what they come back with.
Don’t just toss the pages out there and say good luck; give them specifics about what you want them to look for. Based on their feedback, you’ll be able to tell if they are a good fit. If you have to pump the information out of them or they are afraid to be critical, this isn’t a good match. At the same time, if their feedback is too harsh, it won’t work, either.
The key is to find a healthy balance where the feedback you receive strengthens the weaknesses, and the positive comments keep you motivated to get onto the next draft.
To Pay or Not to Pay?
I pay my Beta Reader for his time. It’s the right thing to do, and it also makes him take the job seriously. He’s been hired to do a job, deliver what is asked of him, and I give him a logical deadline to read the manuscript (a couple weeks at least), take notes, and have a meeting with me to discuss his feedback.
If you take it professionally, your Beta Reader will, too.
Patience is a Virtue
It may take time to find someone who has the time to assist you during this process. As I said above, it’s a time commitment on their part, and you are entrusting them with your manuscript with the hope that their feedback will make it better. If you’re not happy with the feedback you get from someone or feel it’s lacking, you can always look for someone else.
A Beta Reader is a part of your team. Just like with dating, sometimes it takes a while to find the right person. But once you do, you know you’ve found your ideal match.
All writers need feedback. All writers need a trusted source of constructive criticism and positivity. Finding a Beta Reader that meets these criteria can be a great motivator to keep the words flowing since you have a trusted person available that can help make you a better writer.
Do you have a Beta Reader? What have been your experiences? Leave a comment and let me know!
September 15, 2021
Writer’s Workshop Wednesday: Grady Hendrix
While I was on vacation this summer, I bought The Final Girl Support Group by horror author Grady Hendrix, intrigued by its cover and premise. I had never read anything by Hendrix before, but I was immediately drawn into the story and the myriad twists that came along the way.
While Final Girl is his latest novel, Hendrix has also written many other novels, including My Best Friend’s Exorcism, We Sold Our Souls, and The Southern Book Club’s Guide to Slaying Vampires; and the non-fiction books Paperbacks from Hell: The Twisted History of ‘70s and ‘80s Horror Fiction, and Dirt Candy: A Cookbook (which he co-authored with his wife).
Hendrix was born in Charleston, South Carolina and worked in a library before becoming a professional writer. He has written articles for Playboy, The New York Post, and The New York Sun. He’s also a screenwriter, a playwright, and writes short stories.
Check out his official website HERE.
Below are some interviews with Grady Hendrix where he talks about his works and his process.
Enjoy!
Grady Hendrix 1
Grady Hendrix 2
Grady Hendrix 3
Grady Hendrix 4
Grady Hendrix 5
Grady Hendrix 6
Grady Hendrix 7
Back in two weeks with another great author!
While Final Girl is his latest novel, Hendrix has also written many other novels, including My Best Friend’s Exorcism, We Sold Our Souls, and The Southern Book Club’s Guide to Slaying Vampires; and the non-fiction books Paperbacks from Hell: The Twisted History of ‘70s and ‘80s Horror Fiction, and Dirt Candy: A Cookbook (which he co-authored with his wife).
Hendrix was born in Charleston, South Carolina and worked in a library before becoming a professional writer. He has written articles for Playboy, The New York Post, and The New York Sun. He’s also a screenwriter, a playwright, and writes short stories.
Check out his official website HERE.
Below are some interviews with Grady Hendrix where he talks about his works and his process.
Enjoy!
Grady Hendrix 1
Grady Hendrix 2
Grady Hendrix 3
Grady Hendrix 4
Grady Hendrix 5
Grady Hendrix 6
Grady Hendrix 7
Back in two weeks with another great author!
September 12, 2021
Writing Tip of the Week: Writing a Fearless First Draft
The ominous blank page. Whether it’s a blank page flashing a taunting cursor from a screen, or a lined notebook daring you to fill its pages with ink, it can sometimes be challenging to get your brain and body moving in the same creative direction.
Every day, we see films, novels, and TV shows that move and amaze us. But what we don’t see are the hundreds of hours of hard work, gallons of coffee or energy drinks, and the multitude of drafts that went into making what you’re watching or reading available for mass consumption.
The drive for perfection of the first try can be a detriment to creativity. We demand perfection from ourselves, it doesn’t happen off the bat, so we beat ourselves up and walk away. But nothing we see or read is the first draft. Nothing we see or read didn’t start as something worthy of the recycle bin.
Everyone’s first draft sucks.
And that’s okay. If we were given insight into the early drafts of any best-seller or Oscar-winning film, we would be surprised to see that what is considered the standard of great writing starts off as mediocre at best…and unsalvageable at the very least.
I say this to tell you that writing the first draft of anything need not be a perilous and disastrous endeavor. Quite the opposite, in fact. First drafts are supposed to be bad. That’s why they’re called first/rough drafts.
So, let’s talk about them.
For Your Eyes Only
First a foremost, this draft is for you. No one else. Not your significant other. Not your Beta reader. Not your favorite child or pet. You are the sole audience for this version of your story, and that’s that.
This is a place where you can openly write ideas, dialogue, description, and more that might be pushing limits or boundaries. This is the place to test out ideas and story threads to see where they go. This is the place to have fun with what you’re writing. You are the Creator in this world; what you decide to do is what happens.
This draft should be unfiltered, unedited, and uninhibited. While you’ll want to have a basic road map guiding where the story is headed, don’t let that stop you from shifting your imagination and creativity into overdrive in this draft.
You can always change it later. The important thing here is to get everything down and out of your head so it can be fixed in subsequent drafts, because whatever you do…
Don’t Look Back!
You finished a chapter last night and woke up this morning with a new idea to change what you wrote. Great. That means your creativity is doing its job, but don’t return to that chapter and attempt to edit it. Why not write a new version of the chapter with the new material instead?
Writing a first draft is about momentum, the momentum to get from the beginning to the end without the pitfalls and hazards or going back and editing and revising. You’ll have plenty of time for that later. Plus, what if you erase what you had and then realize later there was some dialogue you deleted that would’ve worked great in the revised version? Now it’s gone.
Keep it all in the first version and do that heavy lifting later.
Write the Fun Stuff First
We all have our favorite things to write. It could be action sequences, romantic scenes, or comedy moments that really help drive the story and are fun for you to write. These moments are likely the big payoff to a long buildup, so writing them can be an enjoyable experience.
However, we shouldn’t deny ourselves the opportunity to write these when we want to. Write them when you feel like writing them. When it comes to drafting, you always have the power to rearrange and change where chapters or scenes are located in the story’s world. If you want to write the big finale first, do it. Have a romantic scene that you’re itching to write? Write it.
While there may be traditional story structures needed when you put the story out there for the world, in the drafting phase, you can write what you want, when you want. And no one can stop you.
The Creative Brain on Auto-Pilot
Sometimes your characters will begin to dictate what they want to do, what they want to say, and where they want to go. Don’t fight this feeling; let them take you there. Often your subconscious knows what’s best for your story and can take you places you didn’t initially think of.
This isn’t some weird phenomenon; it does happen. And if it does, let your characters take the wheel. Remember, if they steer the story down a wrong path, you can fix it later. If they show you something fresh and new about your story or characters, it can be a great win for you and your story.
Getting here requires you to tell that evil, no good, despicable part of your brain to shut up and go on vacation. And that part is…
The Evil Voice of Doubt and Negativity
This horrible creature likes to loom around your creativity, giving making you unsure of what you’re writing, how you’re writing it, and if you should even be writing.
I sure hate this creature!
There are 24 hours in a day. Give this monster a few hours off as your write and keep them locked out as you work on your draft. This is all for you, not anyone else, so this evil creature is wasting your time by creeping into your head as you charge forward. Even if the monster makes a good point about a scene or chapter, make a note or rewrite the chapter, but keep going.
Creativity is a big enough challenge at times without this specter of negativity floating about.
When You Feel Blocked…
Writer’s block does happen, but it’s how you handle it that makes the difference. I would suggest when you do hit a wall moving on to another part of the story or work on another project to keep the creativity flowing.
It’s very tempting – and I’ve done this – to close the laptop, lay on the couch, and watch TV instead of writing. While this is a quick fix, it doesn’t get you to your goal of finishing your draft and moving on to the next project.
Do your best to stay focused and stay on track. You may falter, but don’t let the block prevent you from writing for too long.
Have Fun!
As I said before, this draft is your time to play. It’s your time to test out ideas, see how they work or don’t work, and see if your characters take you anywhere new.
If you are bored with your story, have lost interest, or are dreading writing this draft, then there may be something wrong with your story, not you. What is the reason you aren’t excited to write? What aspect of the story is holding you back?
Unless you are writing this draft as part of an assignment, reevaluate your story and see where the issues are. Maybe you are challenging yourself to write in an unfamiliar genre, or you don’t like the main character. Whatever it is, make the changes you need to make the process enjoyable.
Writing is a journey. It’s a process. It’s a challenge. And it’s something that can become addictive in a positive way. As you begin to write your first/rough draft, remember that Stephen King, Jordan Peele, Grady Hendrix, and Maya Angelou all had to start with an idea, a blank page, and a first draft.
You can only get better once you have the first version out of your head and out on the page.
Happy writing, and I’ll see you in two weeks!
Every day, we see films, novels, and TV shows that move and amaze us. But what we don’t see are the hundreds of hours of hard work, gallons of coffee or energy drinks, and the multitude of drafts that went into making what you’re watching or reading available for mass consumption.
The drive for perfection of the first try can be a detriment to creativity. We demand perfection from ourselves, it doesn’t happen off the bat, so we beat ourselves up and walk away. But nothing we see or read is the first draft. Nothing we see or read didn’t start as something worthy of the recycle bin.
Everyone’s first draft sucks.
And that’s okay. If we were given insight into the early drafts of any best-seller or Oscar-winning film, we would be surprised to see that what is considered the standard of great writing starts off as mediocre at best…and unsalvageable at the very least.
I say this to tell you that writing the first draft of anything need not be a perilous and disastrous endeavor. Quite the opposite, in fact. First drafts are supposed to be bad. That’s why they’re called first/rough drafts.
So, let’s talk about them.
For Your Eyes Only
First a foremost, this draft is for you. No one else. Not your significant other. Not your Beta reader. Not your favorite child or pet. You are the sole audience for this version of your story, and that’s that.
This is a place where you can openly write ideas, dialogue, description, and more that might be pushing limits or boundaries. This is the place to test out ideas and story threads to see where they go. This is the place to have fun with what you’re writing. You are the Creator in this world; what you decide to do is what happens.
This draft should be unfiltered, unedited, and uninhibited. While you’ll want to have a basic road map guiding where the story is headed, don’t let that stop you from shifting your imagination and creativity into overdrive in this draft.
You can always change it later. The important thing here is to get everything down and out of your head so it can be fixed in subsequent drafts, because whatever you do…
Don’t Look Back!
You finished a chapter last night and woke up this morning with a new idea to change what you wrote. Great. That means your creativity is doing its job, but don’t return to that chapter and attempt to edit it. Why not write a new version of the chapter with the new material instead?
Writing a first draft is about momentum, the momentum to get from the beginning to the end without the pitfalls and hazards or going back and editing and revising. You’ll have plenty of time for that later. Plus, what if you erase what you had and then realize later there was some dialogue you deleted that would’ve worked great in the revised version? Now it’s gone.
Keep it all in the first version and do that heavy lifting later.
Write the Fun Stuff First
We all have our favorite things to write. It could be action sequences, romantic scenes, or comedy moments that really help drive the story and are fun for you to write. These moments are likely the big payoff to a long buildup, so writing them can be an enjoyable experience.
However, we shouldn’t deny ourselves the opportunity to write these when we want to. Write them when you feel like writing them. When it comes to drafting, you always have the power to rearrange and change where chapters or scenes are located in the story’s world. If you want to write the big finale first, do it. Have a romantic scene that you’re itching to write? Write it.
While there may be traditional story structures needed when you put the story out there for the world, in the drafting phase, you can write what you want, when you want. And no one can stop you.
The Creative Brain on Auto-Pilot
Sometimes your characters will begin to dictate what they want to do, what they want to say, and where they want to go. Don’t fight this feeling; let them take you there. Often your subconscious knows what’s best for your story and can take you places you didn’t initially think of.
This isn’t some weird phenomenon; it does happen. And if it does, let your characters take the wheel. Remember, if they steer the story down a wrong path, you can fix it later. If they show you something fresh and new about your story or characters, it can be a great win for you and your story.
Getting here requires you to tell that evil, no good, despicable part of your brain to shut up and go on vacation. And that part is…
The Evil Voice of Doubt and Negativity
This horrible creature likes to loom around your creativity, giving making you unsure of what you’re writing, how you’re writing it, and if you should even be writing.
I sure hate this creature!
There are 24 hours in a day. Give this monster a few hours off as your write and keep them locked out as you work on your draft. This is all for you, not anyone else, so this evil creature is wasting your time by creeping into your head as you charge forward. Even if the monster makes a good point about a scene or chapter, make a note or rewrite the chapter, but keep going.
Creativity is a big enough challenge at times without this specter of negativity floating about.
When You Feel Blocked…
Writer’s block does happen, but it’s how you handle it that makes the difference. I would suggest when you do hit a wall moving on to another part of the story or work on another project to keep the creativity flowing.
It’s very tempting – and I’ve done this – to close the laptop, lay on the couch, and watch TV instead of writing. While this is a quick fix, it doesn’t get you to your goal of finishing your draft and moving on to the next project.
Do your best to stay focused and stay on track. You may falter, but don’t let the block prevent you from writing for too long.
Have Fun!
As I said before, this draft is your time to play. It’s your time to test out ideas, see how they work or don’t work, and see if your characters take you anywhere new.
If you are bored with your story, have lost interest, or are dreading writing this draft, then there may be something wrong with your story, not you. What is the reason you aren’t excited to write? What aspect of the story is holding you back?
Unless you are writing this draft as part of an assignment, reevaluate your story and see where the issues are. Maybe you are challenging yourself to write in an unfamiliar genre, or you don’t like the main character. Whatever it is, make the changes you need to make the process enjoyable.
Writing is a journey. It’s a process. It’s a challenge. And it’s something that can become addictive in a positive way. As you begin to write your first/rough draft, remember that Stephen King, Jordan Peele, Grady Hendrix, and Maya Angelou all had to start with an idea, a blank page, and a first draft.
You can only get better once you have the first version out of your head and out on the page.
Happy writing, and I’ll see you in two weeks!
