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Writing Scenes (Part 1) – The Importance of Cause and Effect

This series of posts will teach you all you need to know about writing scenes. We’ll look at matters such as Scene and Sequel, scene structure, scene goals, and the like. The aim is to build a comprehensive starting point for any new author. In this first post we’ll start with the basics.

So, let’s begin with:

What is a scene?

The term ‘scene’ comes from the theatre, where it describes the staging of action in a physical setting. It is derived from the old Greek ‘skene’, which meant, amongst other things, ‘that which is represented on stage,’ (etymonline.com).

Author Jack Bickham, in his book Scene and Structure (1999), defines scenes as ‘a segment of story action [that] could be put on the theater stage and acted out.’

This vague definition gives rise to more questions. Fortunately, Bickham then explains what a scene isn’t: it’s not a summary of events, or something that goes on in character’s head. To Bickham, a scene is a blow-by-blow account of dramatic action – played out in full view – for the audience to savour. Scenes exist in the story ‘now’ and are ‘something physical.’ (Bickham, 1999).

Compelling characters undertake significant actions

C.S. Lakin echoes this on her blog, livewritethrive.com She quotes from the book Make a Scene (2007) by Jordan Rosenfeld: ‘Scenes are capsules in which compelling characters undertake significant actions in a vivid and memorable way that allows the events to feel as though they are happening in real time.’

Although a bit of a mouthful (!) it’s a comprehensive and useful definition. Scenes are not story summary or a character’s reminisces, but moments of vivid significance acted out in real time. No different to the theatre, except for the location of the stage.

Why bother writing scenes?

The first question is: why write scenes at all? Why can’t we just tell the story? Why must we ‘stage’ it?

Let’s look to the theatre for clues. Imagine a one-man show or even a stand-up comedian. The performer might ‘transport’ you into their story – into another world – via their storycraft. And yet, no matter how skilled they are, you’ll retain the awareness that you’re watching a person tell a story.

Contrast with this the theatre or the cinema. A well-staged play creates a deeper suspension of disbelief, because your senses are seduced by the actors, the dialogue, the costumes, and the mood. Staged drama is hypnotic; it draws you closer to the action.

The told style of monologue, and the shown style of staged drama, each have their respective strengths and limitations. One is not superior to another – they’re just different forms. But, as a general rule, showing is more potent than telling. Hence the old adage…

Narrative summary speeds a story forward, but scenes excel at slowing things down and showing us drama in satisfying detail. Scenes are not just capsules; they are portals into our character’s most difficult moments. They play out in our imagination and we feel involved.

“What is drama but life with the dull bits cut out.” ― Alfred Hitchcock
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These emotions are why people pay their money. And it is why scenes are so important. If your reader’s mind really is a stage, then you are are the director.

Don’t leave your audience wishing they’d stayed at home.

Length, characters, setting, oh my…

If a scene is a ‘capsule’ of compelling drama, we need to know what it should look like. Questions arise, such as:

• How long should a scene be?

• Is it restricted to one setting, like the theatre?

• How many characters does a scene need?

• Can those characters come and go, like in a play?

And so on… However, these questions are not so important (just yet). Scenes are less defined by their attributes – location, characters, setting, length – and more by their function. Raymond Obstfeld, in his book Crafting Scenes (2000), writes that ‘length doesn’t define a scene – focus does.’ He goes on to say that scenes may have different purposes:

• Some scenes exist to further the story’s plot.

• Some scenes might foster tension.

• Some scenes might highlight a character trait or action.

• Some scenes show characters in conflict.

Obstfeld argues that the best scenes will combine some or all of these aims. He also states that a) the writer should know what the scene is trying to achieve, and b) it ‘justifies its existence by being memorable.’ The most important question is not setting, length, or the number of characters, but the scene’s point. Why does it exist?

P.G. Wodehouse
Not all scenes are the same

In his book Writing for Emotional Impact (2005), Karl Iglesias defines three different types of scene:

• Exposition scenes: they provide information, establish the mood and tone, or provide context by showing the transition from one locale to another.

• Spectacle scenes: where the main purpose is to make the audience go ‘wow!’

• Dramatic scenes: the ‘core of storytelling. Story is drama; therefore, conflict is essential in these scenes. These are the scenes that change a character, move the plot in a different direction, and produce the most emotional impact.’ (Iglesias, 2005).

Granted, this is from a screenwriting book – but it pays to recognise that some scenes focus more on conflict than others. This is echoed by Bickham (and countless others) when he introduces a new set of categories:

• Scene: which in this case means the ‘dramatic scene’ listed above. A protagonist encounters conflict. He takes action that, after some cut and thrust, provokes a disastrous turn of events.

• Sequel: the protagonist reacts to these new circumstances by wrestling with the resulting dilemma. He then decides on a new course of action – or not – which takes us into the next scene.

Things aren’t as cut and dried as they first appeared. Scenes aren’t just moments of drama, existing in the story ‘now’. They come in two halves – the Scene and the Sequel – which combine to create a sense of cause and effect.

One thing leading to another. If story had a golden rule, it would probably be this.

A Series on Scene and Sequel

In this series of posts, we’ll look at these two types of scene: the dramatic Scene and the reactive Sequel. As others have stated, these terms can seem confusing, but they’re the accepted jargon so let’s run with it. To make it clearer, we’ll use Scene and Sequel (capitalised, italics) when using these specific terms, and ‘scene’ (no capitals or italics) to refer to scenes in general.

These terms were presented by Dwight V. Swain in his book Techniques of the Selling Writer – a book I have not read, but which I have since ordered. His ideas have taken hold in the novel writing community, and with good reason – they describe the process of action and reaction, which is fundamental to story on every conceivable level.

“In the language of an actor, to know is synonymous with to feel” ― Konstantin Stanislavski
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To understand scenes, we must first put the whole concept of cause and effect under the microscope.

The importance of causality

The king died and then the queen died is a story. The king died, and then queen died of grief is a plot. — E.M. Forster

Two similar statements – two very different effects. But why?

The first statement ‘The king died and then the queen died,’ describes two events. It generates little curiosity because they’re just vaguely related moments. The second statement ‘The king died, and then queen died of grief,’ piques our interest due to causality. We’re interested because we want to know how one event lead to another. Cause and effect can be fascinating. For instance, consider this innovative ad from car manufacturer Honda:

Well-written stories unfold with a clear sense that one thing leads to another. In his book, Bickham argues this helps us comprehend – or at least escape from – our random, jumbled up world. Perhaps this is why we detest it when, in fiction, implausible or coincidental things happen. We want our stories to be neater than real life. We want them to make sense.

This linear pattern of cause and effect is woven throughout story on every level. Whenever anything happens, we must a) show why it occurred, and b) show what happens as a result. There has to be causality:

• Foreground events: your protagonist’s car breaks down down in the middle of a zombie infested city. Hopefully you planted the notion that the engine could fail – it cannot be random bad luck.

• Background events: you spend half a page describing a deathly cold night. You must refer to its consequences. The frost can’t just vanish, unnoticed.

• Character actions: your protagonist robs a bank. He cannot then woo the girl next door without any mention of the bank job for the remaining 300 pages! Otherwise, why is it in your story?

• Character motivations: your protagonist robs a bank. And yet, she’s a well-paid advertising executive who values stability above all else. Where is the cause and effect in her motivation? Without it, her actions make little sense.

• Storyworld objects: you’ve hung ‘Checkov’s gun’ from a wall. It has to go off – otherwise, why did you put it there?

• Small details: two characters are playing catch. If one throws the ball, the other must do something with it. Otherwise, somewhere in your brain the obvious question forms: ‘what happened to the ball???’ (This last example is taken from Bickham, and it’s illuminating; although a small detail in itself, these broken chains add up, rotting your story’s credibility from within).

In good storytelling, every cause must create an effect, and every effect must have a cause*. This needn’t cause predictable or pedestrian storytelling – we should still encounter the unexpected. But, no matter how unexpected or unpredictable your story, there needs to be a plausible basis for each twist and turn.

(∗ Of course, rules can be broken. Frogs rain from the sky in Paul Thomas Anderson’s ‘Magnolia’. Indiana Jones shoots a bad guy who’s wielding Checkov’s sword. But these are rarities; consider breaking this rule only to create examples that will be discussed for decades to come!)

More likely, the failure to consider cause and effect will cause your story to descend into hodgepodge. Your reader to stop suspending their disbelief, causing them to toss your novel into the nearest wastepaper bin.

Waiting for your story to add up
Cause and effect on the scene level

If cause and effect is woven through all levels of story, then it must also apply to scenes and their consequences. Hence, the Scene and its Sequel.

The dramatic Scene – goals, conflict, and disaster

Dramatic Scenes should accomplish one thing above all else: to show your character’s struggle against immediate conflict. Without conflict (arising organically from your protagonist’s hopes, fears, choices, and personality) it isn’t a scene.

According to Bickham, your protagonist should state their intention clearly at the beginning of each Scene. He refers to this as your protagonist’s ‘scene goal’. This prompts the question: will the protagonist achieve their goal? Posing this ‘scene question’ creates suspense in your readers.

For the scene to be interesting, someone – or something – must block your protagonist’s path. A dance unfolds: punch and counterpunch; feint and counter-feint. This is conflict. It is the process of cause and effect unfolding between incompatible forces. Suspense combines with the vicarious thrill of drama, and we feel compelled to read on.

Orchestrate this cut and thrust correctly, and your protagonist’s actions will provoke an unexpected turn of events. And, in most cases, there’ll likely be disastrous consequences. In his excellent book Into The Woods: How Stories Work and Why We Tell Them (2013), John Yorke notes that ‘scenes exist because they have a turning point. It is why the writer selects them to tell their story.’

This is the moment where the ‘scene question’ is answered. Will the protagonist attain their goal? Perhaps the answer will be a simple ‘yes’ or ‘no’. More likely, the answer will be ‘yes, but…’ or even ‘no, and furthermore…’ Whatever disaster you visit on your characters, it should to move the story forward but set the protagonist back.

These are moments of change; of figurative (or even literal) death. They must run deep and hit hard. Disasters cannot be trifling.

“I thought drama was when actors cried. But drama is when the audience cries.” — FRANK CAPRA
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The Reactive Sequel – reaction, dilemma, and decision

It makes little sense to describe a deathly cold night, only to neglect its consequences… There has to be some fall out. There has to be cause and effect.

In the previous Scene, your protagonist’s attempt to achieve their goal provoked unexpected – and disastrous – circumstances. Surely, this is going to sting a little? To gloss over their emotional response would not be true to life. Your reader will detect something is missing. It’s another example where Jack Bickham would ask: ‘where is the ball???’

Whatever emotions your protagonist feels, they will now face a dilemma. According to author K.M. Weiland, on her blog post ‘The Three Building Blocks of the Sequel’:

Sometimes this dilemma will be as general as, “What do I do now?” Usually, it will be more specific: “How do I undo the disaster?” “How do I keep my best friend from finding out the truth?” “How do I avoid the truant officer when he comes after me?” “How do I apologize to my son before he leaves?”

And so on… This dilemma needs to be picked apart and analysed, turned over and understood. Your protagonist regroups, and works out what to do next.

And then? Well, once your protagonist has worked out their next move, they have a new goal to focus on… and therefore a new scene. The cycle of Scene and Sequel starts again. This is cause and effect in action.

Storytelling is fractal

In any written story, time is measured in units of change. There can be no forward movement without it.

As your story’s events flow from one moment to the next, there has to be a discernible sense of change. This is true on the small-scale, where your protagonist’s smallest actions – and their consequences – build towards setback after setback; and it is true on the larger-scale, where disastrous consequences give rise to new goals, new perspectives, and new experiences.

Groovy…

But this change cannot be random – there has to be causation. Understand this, and you’ll see why the Scene and the Sequel are two halves of the same unit. They are the in-breath and out-breath of your story; the engine that drives it forward.

Five take home points

• Scenes are moments of significance acted out in real time. They play out in our imagination, allowing us to feel involved.

• Some scenes focus on conflict more than others. There is the active Scene, where the protagonist comes into conflict, which then leads to a disastrous turn of events.

• There is the reactive Sequel, where the protagonist reacts to these disastrous circumstances, before deciding on a new course of action. Sequels tend to focus less on conflict.

• Well-written stories unfold with a clear sense of one thing leading to another. This helps us comprehend (or at least escape from) our random, jumbled up world.

• The Scene and the Sequel also reflect this flow of cause and effect. They are the inbreath and outbreath of your story.

In the next post of this series, we’ll look at scene structure in more detail.

Do you have any helpful tips or techniques for writing scenes? If so please share in the comments below. Comments are encouraged!

And if you enjoyed this post, then please share it – you will help get more people writing. I am grateful to you for that!

The post Writing Scenes (Part 1) – The Importance of Cause and Effect appeared first on writezu.com.

Learn How to Stop Procrastinating and Write More

How to Stop Procrastinating and Write More

So you want to be a writer? Then “read a lot and write a lot” – that’s what they say. Unfortunately, getting words on the page is impossible if you don’t know how to stop procrastinating.

You know the feeling. You want to write but your brain has other ideas. The result? A hopeless battle against procrastination.The compulsion to do less-important stuff always seems to win. We’re left frustrated, despondent, and full of wasted potential.

Procrastination is miserable – and writers are especially prone to it.

This irrational avoidance is not random; it can be analysed, understood, and beaten. The epic post you’re about to read (near 5000 words) will help you build self-control and vanquish procrastination for good. What could be more important?

There is a free download-and-print PDF checklist available to accompany this post. It has been designed to guide you through the techniques you’re about to read. Get your copy now for free.

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We’ll start by exploring the contrast between rational and emotional thinking. Understand this difference, and you can learn how to stop procrastinating. But first? Make yourself a coffee and buckle up. To overcome procrastination, we must journey deep within. It’s going to be quite a ride.

Want to stop procrastinating? The key lies with your emotions…

Procrastination makes little sense. We want to be writers, so why don’t we just write? Unfortunately, people are not entirely rational, and this leads us into difficulty.

Thinking ‘I want to write’ is not enough. Such thoughts pop into our minds… and then pop right out again. Rational thoughts rarely inspire action because they carry no emotional power; they are just ghosts of the mind.

Emotions, on the other hand, can be very powerful. Emotional thoughts provokes visceral sensations; it sculpts our perception and directs our behaviour. Recognise emotional thinking and you can stand vigilant against procrastination. This is your first step towards freedom.

Learning to stop procrastinating means learning to change your emotions

Writing is the act of putting one word after another, forming (hopefully!) coherent sentences. Without the behaviour of writing, there is no writing. This sounds zen-like, but really I’m just stating the obvious.

Procrastination starts to make sense when you recognise the power of emotion thinking, and its impact on human behaviour:

• You rationally think: ‘I need to do some writing.’

• You emotionally think: ‘I really don’t want to do any writing!’

• Your behaviour: you’re not going to do any writing. (In fact you’ll probably do anything other than writing).

Writing is difficult when thoughts and emotion comes into conflict. Emotion typically wins, and we tailspin into unhappy procrastination. Worse still, we then berate ourselves for being lazy, weak, or stupid – which only makes matters worse. How many hours have you lost to this constant battle? We need to find another way.

Good advice… if you can follow it

How do people stop procrastinating and write a lot? By learning how to feel like doing it. Our emotions then help rather than hinder, and we’re free to acquire ‘the writing habit’. From there, writing becomes virtually automatic. It feels like arriving home.

But first, you must learn to avoid the avoidance. Procrastination is a trap; once sprung it’s difficult to break free. We need to be smart about this.

A detour: what are you doing right now?

Procrastination is a facet of human consciousness. (I could wax lyrical about this at length, but this post is long enough, it wouldn’t necessarily help you to stop procrastinating!) However, it is worth noting that you’re reading these words in a kind of trance.

This might come as a bit of a surprise, but bear with me!

According to Dr. Stephen Wolinsky (in his excellent book Trances People Live) people spend their lives in a series of trance-like states. You’re currently in a ‘reading trance’, which is characterised by certain attributes:

• Your attention is mostly focused on the screen in front of you, to the point where you’re less concerned with your environment.

• To understand this text, you’re processing these words internally. You’re engaged with your inner experience: the sounds, images, and feelings in your ‘mind’s eye’.

• A great deal of your present experience – how you’re stood or sat, your comprehension of these words, the operation of your device – is unfolding with little conscious input. You’re on a kind of autopilot.

Autopilot trances get us into difficulty

This narrowed attention, coupled with ‘less conscious’ decision processing, is trance-like – not dissimilar to driving, watching a movie, playing with a pet, or arguing with a loved one. In Dr. Wolinsky’s view, trance-states are not mystical, exotic or other-worldly; they are naturally occurring states of mind, common to daily life.

Photo by Flickr user TheeErin and reused here with Creative Commons license.

So why is this relevant to procrastination?

Consciousness is fluid and evolving, and the focus of our attention – internal, external, clear, cloudy – reflects this. Whether you procrastinate in a passive way (e.g. watching TV, surfing the web) or an an active way (e.g. cleaning, socialising, exercising) the focus of your attention is away from what you ‘should’ be doing, and towards some other activity instead.

When procrastinating, our decisions are taken without a fully-conscious input. We’re in a kind of procrastination trance. Emotional thinking bounces us into procrastination, and our trance-like decision-making keeps us there.

And this brings us to our first technique.

Techniques to stop procrastinating #1 – notice when you’re procrastinating:

Apologies should this seem obvious, but to stop procrastinating you must learn how to ‘snap out of it’. This is trickier than you think. Procrastination is semi-conscious and compelling; it develops without much conscious control.

So, the next time you start procrastinating, force a moment’s honest clarity with yourself. Tell yourself, out-loud if possible, “I am procrastinating here, and it will cause me harm in future.” Dramatic? Not really: procrastination leads to untold frustration and failure. This statement just affirms an honest truth.

The importance of this cannot be overstated. Recognising – and ending – procrastination states is a key step towards setting yourself free.

Sorry to break this to you, but you are not a robot…

Learning to snap out of procrastination trances does not mean you can ‘just get on with’ being a writer!

Anyone who says ‘just get on with it’ hasn’t experienced true procrastination. For the procrastinator, such easy self-control does not exist. As Tim Urban (from ‘Wait But Why’) states on his excellent post on procrastination, telling a procrastinator to ‘just do it’ is like ‘telling beached whales that they should avoid being out of the ocean.’ Procrastination is involuntary and difficult to control – especially when the habit is entrenched.

You don't write because you want to say something. You write because you have something to say. —F. Scott Fitzgerald
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Procrastination is not dissimilar to alcoholism. An alcoholic has little control over their drinking, and procrastinators have little control over their endless avoidance. Procrastination also ruins lives, albeit less dramatically. It can be a miserable place to exist.

Alcoholics are advised to abstain from drinking altogether. This approach ‘solves’ the problem of there’s no such thing as one drink. This advice works for procrastinators too, because there’s no such thing as one cat video… (sorry!)

The power of excuses…

Abstaining from procrastination is no easy task. It takes practice and an honest heart. It helps to spot the warning signs before procrastination takes hold. This means being mindful of your excuses.

To excuse our procrastination we tell ourselves things like:

• “I can’t write now, I haven’t got time.”

• “I can’t write now, I’m too tired.”

• “I can’t write now, I’m not in the mood.”

• “I can’t write now, I have to clean / check Twitter / do the shopping / etc.”

Or the worst lie of all:

• “I will do some writing, but I’ll just do this other thing first…”

Why do we do this to ourselves? It’s because – for whatever reason – our brain imagines that writing will be stressful. Our excuses offer a ‘get out clause’, because we want to avoid this imagined stress. Unfortunately, our self-deception seems very tempting, even though it will sabotage our progress and causes great frustration.

So why does our brain find the idea of writing so stressful? Usually, it is because:

• Emotionally, we dislike the predicted effort of writing.

• Emotionally, we dislike the predicted amount of time we’ll spend writing.

• Emotionally, we feel overwhelmed and unsure where to start.

• Emotionally, we are worried that our work will not be good enough.

• Emotionally, we are worried that our efforts will attract harsh judgement.

• Emotionally, we feel writing will be a pointless, rewardless exercise.

And so on… People can want to write – but hate the idea of writing – at the same time. This creates cognitive dissonance, and we abandon our desire to rid ourselves of this unpleasant feeling. Our excuses seem to promise relief, although in reality they deliver a mediocre life.

Clearly, we need another way through this swamp.

Your excuses are comforting lies

To truly abstain from drinking, an alcoholic must accept their lack of self-control around drink. This means an end to denial and excuses; one drink means many drinks – they must be honest about the consequences.

To stop procrastinating requires the same admission. Accept that five minutes delay could lead to many hours delay, and our excuses are revealed to be dangerous, irrational lies. The key to stopping procrastination is the hesitate before you start. The ability to ‘think twice’ is crucial.

And that sits at the heart of our second technique.

There is a free download-and-print PDF checklist available to accompany this post. It has been designed to guide you through the techniques you’re reading. Get your copy now for free.

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Techniques to stop procrastinating #2 – dismiss your procrastination excuses:

When you find yourself trying to excuse yourself from writing (or anything else for that matter), tell yourself, out loud if possible, “that’s just an excuse. Writing is important to me and I want to do it.”

Robert Harris

The aim is to highlight the excuse for what it is: an attempt to medicate the imagined stress of writing, yes, but also a gateway into inertia, frustration, and eventual failure. Our excuses are not to be trusted.

Revealing your discrete excuses

If you’re a long-term procrastinator, your excuses may be fleeting and automatic. This leaves us abandoning our writing without giving it a second thought! It’s like we’ve accepted our procrastination, and we’re okay with that. Our decision to delay unfolds completely on autopilot.

(Hint: you are not okay with abandoning your writing, otherwise you wouldn’t be reading this).

In such moments ask yourself: “how am I excusing the decision to procrastinate?” Then, when your brain conjures up an excuse, challenge it using the technique above. Remind yourself how important writing is to you.

The friend test

Procrastination excuses are persuasive because they usually contain some truth. Time is at a premium, and writing is difficult – especially if we’re ‘not in the mood’. This plausibility is no accident. Our brain wants us to believe our excuses.

So, if you’re struggling to recognise your excuses for what they are, try this simple technique:

• Imagine stating your excuse to a skeptical friend. How would they react? Would they agree or would they see right through you?

Your reasons must pass the ‘friend test’, otherwise they’re just excuses – no matter how plausible they seem.

Excuses are not the only way forward

Let’s recap this. Our brain can find the idea of writing stressful, so it scrambles for a ‘get out’ clause. The decision to procrastinate will seem reasonable – automatic even – because your brain wants you to avoid the discomfort it predicts.

Instead, get into the habit of challenging your excuses  and you will realise a powerful truth: you don’t have to avoid writing just because brain wants you to. There is an another way.

Frustration is a prison of the mind (and the nervous system)

Cast your mind back to your school days. Remember how it felt to be stuck inside on a sunny day. Watch through the window; other kids yelling and having fun. Every fibre yearns to join them, but you’re trapped in this stuffy classroom. The teacher droning on and on… if only you could escape into the sunshine.

This is frustration. It is our emotional response to restriction.

If we focus on the negative aspects of writing – the effort, the pressure, the risk of failure or judgement – we become frustrated. Our intolerance of this frustration sits at the heart of procrastination; it is why we scramble for excuses.

And yet, frustration is a form of stress – and that is something we can control.

Just write every day of your life. Read intensely. Then see what happens. —Ray Bradbury
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Ignore your procrastination excuses, and you must confront your deeper frustration. This often feels like a braced, inner reluctance – a tense feeling that prevents forward movement. At this point, you have three options:

Give in anyway and do something else. The immediate stress will ease, but you’ll taste future regret and mediocrity.
Suck up your frustration and write. Unfortunately, frustrated reluctance is not the ideal state for writing! It’s like wading through quicksand.
Ease past the frustration and write with a happier state of mind.

I recommend option 3. The following simple technique really helps. I use it several times per day, and think of it as taking the handbrake off.

Techniques to stop procrastinating #3 – relax your nervous system (mindful breathing):

Step 1. Breathe in slowly through your nose, mentally counting to five as you do so.

Step 2. Exhale slowly through your mouth. Tell yourself: ‘Let it go. Just relax.’

Step 3. As you exhale, tune into your inner reluctance and let it to release.

Step 4. Repeat ‘Step 3’ five times (no less!) Target your shoulders, jaw, back, chest, stomach, hamstrings, and feet as you exhale – these areas carry the most stress.

Step 5. Remember: you cannot rush this! Give yourself the time you need to let go.

Don’t expect miracles straight away. Sadly, we’re not calling in the masseuse! And try not to be judgemental of any feelings; you can’t stress about stress and hope it goes away. Look at this as a form of letting go.

With practice you can gently loosen the grip of inner resistance and clear the way for action.

Frustration Intolerance: A Prison of the Mind

This exercise works really well with your eyes closed (unless you’re driving, in which case that’s a bad idea). To get the most out of the technique:

• Use it several times per day, especially if you feel reluctant to write.

• Use it immediately after dismissing any excuses.

• Use it to ease past the frustrations that naturally occur when you write.

(If you’re chronically stressed, consider using a more thorough technique. There are some excellent apps out there (android / iPhone). Use whatever you tools you need to learn how to relax properly. Your ability to ease past stress will improve and you can then use shorter techniques).

Everything changes: the power of planning and the ‘growth mindset’

Once you’ve uncoiled your inner reluctance – even just a little – you then need to get a handle on the situation. This means boosting your confidence.

Writing is difficult when our confidence is low. However, confidence is not a fixed attribute – it can be deliberately improved. Your brain is plastic (neurons that fire together, wire together…) and your capacity for personal growth is greater than you think. Improve your confidence and discouraging thoughts become mere shadows; they lose their emotional power.

Of course, people don’t wake up one morning and think, ‘I have confidence!’ (Unless you’re Julie Andrews). It needs to be bolstered, and there are two ways we can do this.

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What’s your method? The importance of getting a plan together

People feel more confident when they’re clear on the steps they’re about to take. 

Without a plan, we may feel tempted to just sit and ‘await further instruction’. Instead, we need to determine the method we’re going to follow. This stops us feeling overwhelmed or uncertain, because we have an idea of what’s involved. Your method should be broken into simple, executable steps – nothing too complex or intimidating.

So, what would this look like?

• If you’re starting from scratch, perhaps your ‘method’ will mean scrawling ideas on a blank page or jotting down some bullet points (this works for fiction and nonfiction).

• Perhaps you need to expand your basic ideas and reorder them.

• Perhaps you need to ‘trim the fat’ and cut out words, sentences, or even paragraphs.

• Perhaps you need to polish your sentence structure or word choice.

• Perhaps your ‘method’ will involve reading your work aloud.

And so on… Be clear on your aims and identify the steps required. Focus on one thing at a time. Keep your steps small, simple, and specific. Use action-oriented verbs and write them down! This last point is very important.

Notice how each ‘method’ calls for different levels of precision. Being realistic about this combats perfectionism. After all – a painter starts with broad strokes, not eyelashes. Save thoughts of perfection until the very end.

Working in blocks to stay organised and in control

Once you’ve sketched an appropriate method, it helps to know how long a ‘block’ of writing will take.

This is how you do it: you sit down at the keyboard and you put one word after another until it's done. —Neil Gaiman
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This does not mean the time required complete the work, or even the time you could spend writing that day. A ‘block’ is the time you’ll write for before requiring a break. One approach – The Pomodoro Technique® – suggests blocks of 25 minute, followed by a five minute rest. It is a good place to start.

This segmented approach keeps us from feeling overwhelmed. It gives us structure and helps us stay focused, because your writing blocks are solely for writing – anything else during that time* is procrastination.

(* If your house on fire, then maybe you can pause your writing. Anything less pressing is definitely procrastination. FYI: this post was written in 52 minute blocks, with 17 minute rest periods. I use the iPhone app ‘5217 Pomodoro Plus’ to time myself, and stick to this reasonably well, but not perfectly).

A note on the ‘rest’ period. Resting does not mean tinkering with your writing, answering emails, or checking Twitter. It means getting up, walking around, making a cup of tea, doing a bit of stretching, gazing through the window, and changing the focus of your eyes. Take a complete break from your screen.

Staying relaxed

Your brain isn’t stupid. If getting your method together causes more stress, it means you’re anticipating what’s around the corner. Stay calm, relax your breathing, and keep ‘the handbrake‘ off. All you’re doing is devising a quick plan. At this stage it’s all theoretical.

You’ve committed to nothing. There’s no need to bounce back into procrastination.

Complete these steps – they take just a few minutes – and you’re almost ready to go. We just need to remember the true nature of success. And it’s something we often forget.

Methodical action and success are usually the same thing

Deciding on a method negates stress. We’ve switched from ‘not knowing where to start’ to knowing the steps. You’ve laid down the parameters for action.

To further improve our confidence, and keep ourselves relaxed, we must remember what we’re trying to achieve. We’re not attempting to emulate the giants of fiction or create our masterpiece (at least, not yet). We’re not trying for perfection, or guaranteed publication, or to inoculate ourselves from harsh judgement. We’re not even trying to complete the piece of work.

No, all we’re trying to do is execute our method for a chosen number of minutes. And then we’re going to take a break. Take a moment to accept this truth: executing your plan gets words on the page and strengthens your brain. It creates progress. Your ability, your determination, your resilience – and your word-count – will grow.

Progress is success

This is the true nature of success. Save other considerations for another time.

Techniques to stop procrastinating #4 – you’re here to execute your plan and grow

Let’s bring this together then – it’s very simple:

• Step 1: Define an unfussy, perfectionism-free writing method that reflects the task at hand. Keep the steps small, simple, specific, and easy to follow.

• Step 2: Decide how long you could carry this out for until you’d want a break. 25 minutes is an excellent place to start. Choose a time you’re comfortable with.

• Step 3: Forget your desire for a completed, perfect piece of writing. Instead, accept that carrying out your method equals progress and personal growth. This is success.

Your complacent brain might think otherwise, but it’s important to write these steps down. Do not skip this! It’ll take just a couple of minutes at most.

The secret power of flossing just one tooth…

Let’s recap. There has been a lot to take in:

Technique #1: Notice when you’re procrastinating. We often procrastinate in a trance-like state, and learning to ‘snap out’ of it is a key skill.

Technique #2: Recognise your procrastination excuses. Would a skeptical friend accept your reasons for not writing? If not, then dismiss your excuse as a dangerous self-deception. Otherwise you’ll bounce back into uncontrolled procrastination.

Technique #3: Relax away frustration. Dismissing your excuses means confronting the stress associated with writing. Deep, mindful breathing helps to regain composure and takes ‘the handbrake’ off.

Technique #4: Get a quick plan together: devise your method, decide how long you’ll work for, and remember that progress, not perfection (or even completion), is your goal. This is true success.

So, what next? You’ll notice we’ve still not written anything. Dismissing excuses, relaxing, and cultivating a growth mindset is great, but it’s not action. Only action is action. (Again, apologies for the zen-like pronouncements!)

Because, ZEN!

To write, you need to minimise your inner resistance. This means starting with the smallest action possible; something that doesn’t require too much commitment, but which will help you get started. You can build momentum once you’ve taken the first step. Getting started is key.

Techniques to stop procrastinating #5 – ‘just five minutes’:

This is actually very simple:

Step 1: Start a countdown timer (set to 25 minutes or whatever) and get into position (be where you need to be and open Scrivener, your notepad, etc.)…

Step 2: Take a deep breath and execute your method once. Scribble one idea. Write once sentence. Edit one paragraph. Replace one word. Whatever your method calls for.

(Yes, just once. If you can’t execute it once, then your steps aren’t clear or succinct enough. Consider revising them).

Step 3: Did you execute your method once? Feel okay? Good, then take another breath and execute it once more. Don’t think about anything else – just stay focused on the step in front of you.

Step 4: Stay calm and relaxed. If frustration flares up, breathe slowly and ease past it. Execute your method just one more time.

Step 5: Slowly and calmly, repeat Step 4 – one step at a time – until it’s time to take a break.

You might be incredulous, but this approach is very powerful. Let’s inspect it more closely.

The power of momentum (and where it can take you)

Earlier we noted that procrastination is difficult to stop when it takes hold. This is known as behavioural momentum – the human tendency to continue what we’ve started. If you floss one tooth, you’re far more likely to floss a second tooth, and then a third. In fact you’re likely to floss all of your teeth. This is the power of momentum.

Do you want to know who you are? Don’t ask. Act! Action will delineate and define you. —Thomas Jefferson
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The ‘floss one tooth’ approach to writing – i.e. write just one sentence or edit one line – works in a similar way. Once you’ve repeated your method for a few minutes, you’ll often think ‘I’m doing it now. I might as well keep going.’

If it all feels too hideous and you just can’t manage, then give yourself permission to stop. Try the relaxation technique again and break your method into clearer, smaller steps. Perhaps you need to stop thinking about completed, perfect work. Remember: executing your plan is success. Even a couple of minutes will do, to begin.

If, however, you’re content to carry on then do so. After fifteen minutes you’ll probably find yourself ‘up and running’ and in a state of flow. Keep it one step at a time for the whole 25 minutes and take a break. Then, restart as before: focused just on one step at a time.

You’re not fooling me!

Your mind knows precisely what you’re doing. Anticipate objections such as:

• ‘I know what you’re doing! You’re going to make me write more than just one sentence.’

• ‘What’s the point? It’s a measly sentence and I want to write a whole book!’

• ‘Even once is too hard. I just can’t do it!’ (If so, then try a more thorough relaxation process).

And so forth… Remember, your aim isn’t to complete a perfect piece of work. It is to narrow your focus and complete your method just once. Nothing else. This narrow, near focus is a mental skill; you block out other considerations and carry out the small steps in front of you. You floss one tooth!

The approach is adapted from a technique known as ‘micro-habits’, and it works very well.

Even if you managed just five minutes writing per day, your habit will grow into something more substantial. And often you’ll manage more than five minutes. So, although our impatient minds may try to dismiss this as meaningless, do not listen – it’s just more excuses. For more information on micro-habits, check out this excellent Tedx Presentation from B.J. Fogg:

The recipe for ending procrastination

The best way to stop procrastinating then is to relax, decide on your method, remember that action equals success, and build momentum by taking one small step at a time. Getting started is key, so make it easy to do so. Keep your commitment low and focus only on what’s in front of you.

Get this right and you’ll feel like writing. Procrastination becomes a thing of the past.

Yes, gratitude is a buzzword – but it’s also important

Why does Stephen King advise us to ‘write a lot’? Because it develops our skill and boosts confidence. Just as weightlifting sculpts the body, so writing shapes the mind – into that of a writer. Action and success become the same thing. Understand this, and you’ll see there’s no need to fear failure. Write for long enough, and unforeseen opportunities will come your way. It’s how things generally work.

And this brings us to our sixth and final technique.

Techniques to stop procrastinating #6 – ‘be grateful to yourself’:

After you’ve made your five minute dash for glory, look inwards for a moment and offer yourself some gratitude. Writing – even sh•tty first draft writing – is success. Striving to create is not easy, so take a moment to appreciate yourself.

What to do when you stumble

Inevitably, you’ll encounter some frustration as you write – especially if you feel uncertain or stuck. Anticipate these moments and the risk they carry. You could easily slip back into procrastination. It pays to remain vigilant.

When frustration strikes, do the following:

Step 1: Repeat the breathing exercise and calm your frazzled nerves!

Step 2: Go back to basics. Execute your method, just one step at a time, adjusting the steps if required.

Step 3: Be slow and deliberate. Take your time. Remember – writing is success. You do not need to rush. Remain composed.

The procrastinator’s brain always looks for escape routes, so be mindful during frustrating moments. Avoid the trap of seductive excuses! Otherwise, you’ll be back in the vortex of frustrated, uncontrollable delay. This isn’t quite ‘back to square one’ – but it’s still not ideal.

Your time is limited, so don’t waste it living someone else’s life. —Steve Jobs
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Navigating frustration is like driving along a treacherous piece of road. Don’t freeze or panic. Just slow down, focus on the road in front of you, and inch forward with care. Progress, no matter how slow, is the goal. The frustration will pass and you’ll soon be back into the flow. Just don’t spin off the road completely.

In summary

Make a start. And then keep going during the tricky moments. It boils down to this. Develop the required mindset and you’ll feel able to follow this advice. The techniques in this post will help. If you’re lost, remember the key: small steps build momentum and make things easier.

Everything is practice

And that’s it! We’ve come to the end of the road ourselves. On this page you have everything you need to overcome procrastination and write a lot. Of course, reading about procrastination will not help you overcome it. You need to practise these techniques and turn them into skills. Only then can you truly master your self.

You don’t need to fear failure, criticism, comparison, or change. Regular writing will transform your anxieties and give you access to an new way of thinking. In fact, the only thing we should fear is inaction: so relax, get into position, and write.

3 final things

Do you have any helpful tips or techniques for beating procrastination? If so please share it in the comments below so that we can learn from your real-life example. Comments are encouraged!

And if you enjoyed this post, then please share it – you will help get more people writing. I am grateful to you for that!

There is a free download-and-print PDF checklist available to accompany this post. It has been designed to guide you through the techniques you’ve read about. Get your copy now for free.

Enter your name and email to receive free download.

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The post Learn How to Stop Procrastinating and Write More appeared first on writezu.com.

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