Creating then following a working routine as a writer.
Greetings, literary pilgrims.
Welcome back to my madness, to paraphrase my editor.
Today I will blog--even flog, if required--you, dear readers (alliteratively speaking) with methodology, because that is what young and/or emerging writers and authors seek to learn. Preferably for no charge (well, I might pass the proverbial hat, later, but only for new readers).
In my most recent blog, of January 26th, I disclosed my recent history, and failed marriage. Writing material, of course. But primarily as an excuse, I suppose--looking over my shoulder like Donovan in 'Season of the Witch,' the playing of which is in fact the mood setter for my first book, 'Hour of the Manatee.'
So, to the subject at hand: establishing a routine. Here's mine:
1. Wake up at a regular time each day. Every day.
2. Make coffee, make breakfast, drink coffee, eat breakfast, brush teeth (the amount of money spent--and wasted--on orthodonture, dental care, and more dental care ad infinitum being a factor), clear up, clean up, read for one hour (mostly the works of colleagues and/or rivals or for inspiration), exercise for one hour, the second half with (light) weights (being a lightweight).
Then lunch, more reading, a short nap (hey, I'm Cretaceous) Oh, wait, this blog wasn't supposed to be about moi. Sorry. My bad.
Unless my routine works for you as well, that is.
3. To the drawing board it is; your literary drawing board. You will need, and have tools: most likely a computer as in my case hence being able to blog, perhaps a notepad and writing implement, perhaps a beverage--preferably non-alcoholic.
But most importantly, you bring an idea: (aka premise) for a new book, a new addition to an ongoing series, or a first book, the routines should be the same (refined and hopefully improved over time--there is no ultimate for this kind of work). Ideas are infinite.
In the beginning was the idea. This must now be developed into a premise. A proposal. To sell--first to yourself--then develop to the point where you, as a writer whose goal is to become an author, can present it to agents, publishers, etc.
NOTE: Some writers, at the creative stage, might utilize another useful tool: inhalation and/or imbibement of cannabis product(s). Far be it for me not to acknowledge its value; however lay persons should proceed with caution: some might sadly abuse such tools and commodities. There is, however, a saying among authors who use such a tool: write (create) high, edit straight.
( Full disclosure: my principal detective character, Tony Lowell, P.I., makes occasional, if not frequent use of this tool as well. Primarily, however, for recreation only. Being stoned can be hazardous to your health, if, say, being chased by the bad guys. NOTE: The original Sherlock Holmes of Sir Arthur Conan Doyle smoked a true Class A drug: cocaine).
4. Review previous day's work for quick edits, while keeping or making notes for the next move forward.
(This could be your first day of work on this particular project; or ongoing).
If this is a new project, you will have, on your notepad or computer or both, at least a paragraph or two introducing your premise, whether fiction or non-fiction, short or long form. Or a screenplay for that matter, which I used to write on staff(s) in a previous life.
5. Write an outline: each with two steps forward, then one back, pause to refresh (or recover, whatever), restore, move forward, to the first major obstacle.
ACT ONE:
You no doubt have observed a time-honored device used in motion pictures and television: a brief action opener, involving characters you may or may not know. If it's the latest James Bond, you will know. It is my belief that this opening action sequence was invented by and for that series, animated with Sean Connery's profile walking in a gun sight, then turning and shooting straight at the gunner (represented by the gun sight) Bang! And the show begins with that great, simple guitar twang by Vic Flick, for John Barry's score, which is reprised for additional action sequences as the plot progresses: in the case of these films essentially the urgent need to stop a super bad guy from doing something super bad.
But actually, there is a filmed action sequence involving Bond, James Bond and the heavy's henchmen. Probably a chase scene.
Action openers are also useful for suspense-thriller authors such as myself. In murder mysteries the victim is killed in this opening scene or sequence. We don't know who he/she/they were, or anything about them. At first. This information, like the solution to the mystery comes in increments, over time.
These are the essential steps, and components to outlining Act One:
a. Introduce your principle character(s). For non-fiction, e.g. autobiography or how-to etc. this could/would be yourself.
b. Set up the primary goal of your principle character(s). NOTE: there should only be one primary goal or objective. Subsidiary goals? Absolutely. Help out a family member or loved one or friend when you have time. Pay the rent. Struggle with an alcohol problem. The possibilities are infinite. Likewise the inevitable conflict(s), another required ingredient or component.
In virtually any literary creation, as in film and television, conflict is an essential ingredient or component. Element, if you prefer.
The primary goal or objective is to apprehend or win the target person, whether in a crime novel or a romance novel. Even in literary fiction, there is a personified objective.
c. Present obstacles and/or conflict(s) to achieving the intended goal or objective.
This is important for both fiction and non-fiction.
d. The first setback occurs. Enough to require the protagonist's full attention, which may have been scattered beforehand. Just when an obstacle has been overcome and the goal seems attainable, it is suddenly yanked away again, possibly literally.
e. More obstacles appear. The protagonist has made an enemy or enemies in those aware of his/her actions, and goals, which are in conflict with theirs. In other forms of fiction this could be a rival for love, or in brotherhood. Again the possibilities are limitless.
This principle applies even to other forms of fiction, from science fiction to romance, to slice-of-life or literary fiction.
f. In fiction, allow for down time for your principles and the reader. You don't want your readers to be constantly on edge. Give them a good place for a bookmark and a cuppa (or glass of) before picking up your book again. This is the proverbial smoke apres sex. But too early for sex unless it is a particular character trait in someone in need of reformation, or whatever.
Perhaps here might be the beginnings of romantic interest between working partners. This is commonly done for good reason: it works! But it's too early for sex. Call me old fashioned, but hooking up is not romance.
g. In some fiction, as in film and television the police (or an individual cop as in my Tony Lowells) will play a role here: as partners, rivals, or both, or possibly as enemies--especially if corruption etc. is involved. By 'police' I mean any government agency, which would include FBI, DIA, CIA, etc.
(NOTE For non-fiction, Act One is basically your introduction. But you will have topical chapters as well, presenting important information leading to the next disclosure or challenge. Usually this, too, will have a goal and/or objective. And you will certainly be including and describing challenges, obstacles to overcome and how you overcame them).
The remainder of this outline structure is primarily for fiction.
ACT TWO:
(This is always the bulk of your tale, whether in a movie, a novel, or a work of non-fiction).
It begins as your protagonist(s) makes their second leap forward--their first success towards reaching a goal that isn't taken away. But it is only a first. He/she/they have many more obstacles and threats ahead to overcome, of violence or otherwise.
h. Another setback. This one hurts. Perhaps literally.
i. Down time: for romance or recovery, or both. Include suspense. Romance to second base.
This is the time for a romantic interlude. American readers are like American (and English, Irish, Scottish, etc.) film and television audiences: sex and violence sells. Allow time for sex to develop, gradually, beginning with a flirtation, a tease or two with more promised or implied.
As to violence, as a former conscientious objector I have always abhorred violence. But in writing fiction--especially mystery/thriller fiction--I knew that of course it was a necessary element, especially when there is suspense involved (although often the threat of violence is enough: the proverbial offer you can't refuse). Your protagonist will be hurt, nearly killed, and frequently threatened, in a suspense thriller or mystery. Sadly or not, today's audiences and readers demand these elements, and as an author one has to deliver.
Sometimes, like myself, a character might be a pacifist. Or even a failed pacifist, like my Tony Lowell. They might be living with guilt about a harm committed on another. One can try to live a virtuous life without committing violence, even in self defense (running fast often works, also yelling, screaming etc.) and then, like High Noon, finally having to take action. But running, of course, is hardly heroic, and there is violence in real life, whether we/I like or approve or not. And it is a necessary ingredient (at least the threat, such as of a nuclear attack). In such fiction (or retelling of actual events) the primary threat is never executed; always stopped in the literal nick of time. But lesser threats, which can nevertheless be severe and deadly, can and will still happen: the grist of crime novels and thrillers.
(For myself, I resolved my ethical dilemma of having to implement violence into my story lines, while not wanting my principle character(s) to have to resort to it, by creating my first protagonist, Tony Lowell as a war veteran and retired Navy Seal, who has seen and experienced enough violence in war zones to last a lifetime. So instead of having these experiences turn him into a hard, reactive, violent man, I drew upon myself and turned him into a pacifist, within reason: a belief system based in experience, to the extent that he will never initiate violence, only respond--and then preferably with speed and wit--as necessary. Tony Lowell prefers to outsmart, or out-maneuver his opponents, and refuses to carry a gun. Yes, he knows and will resort to those martial arts learned in the Seals. But only in self defense).
j. Back to the front lines for mysteries and thrillers: Action. A chase scene. For romance and so-called 'chick-lit,' (a dated term no doubt soon to be banished) the elements of obstacles and conflict also continue.
k. A near death experience: a beating, a car wreck, both, getting wounded; possible capture and interrogation.
l. Escape, chased, near capture, escape again.
m. Captured again. Finally meet The Boss. Resistance is futile, or--at a cost. Our hero stands up to him or her--female villains are not unheard-of. Again at a cost.
Another step backwards. Or getting knocked on one's ass, backwards.
(NOTE: I have always found it disappointing when writers, or for that matter film and television directors, put over-much emphasis on long chase and fight scenes. I've seen films that were almost nothing much: virtually everything else was a brief interlude. This is often the bulk of the second act, and shouldn't be.
ACT THREE.
Act Three is always the shortest act. This is the climax of your story (whether action or romance, lol).
n. The Big Chase ends, in the final confrontation, whether between mortal enemies or lost lovers. Again too often this becomes yet another fight scene, but of course much more destructive than any previous such, which were, it turns out, mere forerunners to this final confrontation.
One of my favorite, Hall of Fame-worthy films (if there were such a thing, for films) was Alfred Hitchcock's North by Northwest, in which Cary Grant (also his greatest film i.m.h.o.) and Eva Marie Saint are chased up onto the face of Mt. Rushmore by villain James Mason's henchmen.
Interestingly, Hitchcock was not permitted to shoot this scene on the actual mountain, but this problem was brilliantly resolved by a combination of shooting on a rugged landscape north of L.A. and the brilliant juxtaposition of this action on a backdrop created by Universal's legendary matte artist Albert Whitlock, who did this kind and quality of work on most, if not all of Hitchcock's films.
6. Write the novel, self-help, cookbook, travel book, whatever is your inspiration.
Easier said than done, of course. But I've done it nine times, thus far: my five Tony Lowell Mysteries published, and in the process of being re-published in updated new editions.
My new publisher, Speaking Volumes, will also be publishing my new series, featuring investigative reporter Jake Fleming, in The Jake Fleming Investigations, out later this Spring.
Ciao for now,
E.C. Ayres
Welcome back to my madness, to paraphrase my editor.
Today I will blog--even flog, if required--you, dear readers (alliteratively speaking) with methodology, because that is what young and/or emerging writers and authors seek to learn. Preferably for no charge (well, I might pass the proverbial hat, later, but only for new readers).
In my most recent blog, of January 26th, I disclosed my recent history, and failed marriage. Writing material, of course. But primarily as an excuse, I suppose--looking over my shoulder like Donovan in 'Season of the Witch,' the playing of which is in fact the mood setter for my first book, 'Hour of the Manatee.'
So, to the subject at hand: establishing a routine. Here's mine:
1. Wake up at a regular time each day. Every day.
2. Make coffee, make breakfast, drink coffee, eat breakfast, brush teeth (the amount of money spent--and wasted--on orthodonture, dental care, and more dental care ad infinitum being a factor), clear up, clean up, read for one hour (mostly the works of colleagues and/or rivals or for inspiration), exercise for one hour, the second half with (light) weights (being a lightweight).
Then lunch, more reading, a short nap (hey, I'm Cretaceous) Oh, wait, this blog wasn't supposed to be about moi. Sorry. My bad.
Unless my routine works for you as well, that is.
3. To the drawing board it is; your literary drawing board. You will need, and have tools: most likely a computer as in my case hence being able to blog, perhaps a notepad and writing implement, perhaps a beverage--preferably non-alcoholic.
But most importantly, you bring an idea: (aka premise) for a new book, a new addition to an ongoing series, or a first book, the routines should be the same (refined and hopefully improved over time--there is no ultimate for this kind of work). Ideas are infinite.
In the beginning was the idea. This must now be developed into a premise. A proposal. To sell--first to yourself--then develop to the point where you, as a writer whose goal is to become an author, can present it to agents, publishers, etc.
NOTE: Some writers, at the creative stage, might utilize another useful tool: inhalation and/or imbibement of cannabis product(s). Far be it for me not to acknowledge its value; however lay persons should proceed with caution: some might sadly abuse such tools and commodities. There is, however, a saying among authors who use such a tool: write (create) high, edit straight.
( Full disclosure: my principal detective character, Tony Lowell, P.I., makes occasional, if not frequent use of this tool as well. Primarily, however, for recreation only. Being stoned can be hazardous to your health, if, say, being chased by the bad guys. NOTE: The original Sherlock Holmes of Sir Arthur Conan Doyle smoked a true Class A drug: cocaine).
4. Review previous day's work for quick edits, while keeping or making notes for the next move forward.
(This could be your first day of work on this particular project; or ongoing).
If this is a new project, you will have, on your notepad or computer or both, at least a paragraph or two introducing your premise, whether fiction or non-fiction, short or long form. Or a screenplay for that matter, which I used to write on staff(s) in a previous life.
5. Write an outline: each with two steps forward, then one back, pause to refresh (or recover, whatever), restore, move forward, to the first major obstacle.
ACT ONE:
You no doubt have observed a time-honored device used in motion pictures and television: a brief action opener, involving characters you may or may not know. If it's the latest James Bond, you will know. It is my belief that this opening action sequence was invented by and for that series, animated with Sean Connery's profile walking in a gun sight, then turning and shooting straight at the gunner (represented by the gun sight) Bang! And the show begins with that great, simple guitar twang by Vic Flick, for John Barry's score, which is reprised for additional action sequences as the plot progresses: in the case of these films essentially the urgent need to stop a super bad guy from doing something super bad.
But actually, there is a filmed action sequence involving Bond, James Bond and the heavy's henchmen. Probably a chase scene.
Action openers are also useful for suspense-thriller authors such as myself. In murder mysteries the victim is killed in this opening scene or sequence. We don't know who he/she/they were, or anything about them. At first. This information, like the solution to the mystery comes in increments, over time.
These are the essential steps, and components to outlining Act One:
a. Introduce your principle character(s). For non-fiction, e.g. autobiography or how-to etc. this could/would be yourself.
b. Set up the primary goal of your principle character(s). NOTE: there should only be one primary goal or objective. Subsidiary goals? Absolutely. Help out a family member or loved one or friend when you have time. Pay the rent. Struggle with an alcohol problem. The possibilities are infinite. Likewise the inevitable conflict(s), another required ingredient or component.
In virtually any literary creation, as in film and television, conflict is an essential ingredient or component. Element, if you prefer.
The primary goal or objective is to apprehend or win the target person, whether in a crime novel or a romance novel. Even in literary fiction, there is a personified objective.
c. Present obstacles and/or conflict(s) to achieving the intended goal or objective.
This is important for both fiction and non-fiction.
d. The first setback occurs. Enough to require the protagonist's full attention, which may have been scattered beforehand. Just when an obstacle has been overcome and the goal seems attainable, it is suddenly yanked away again, possibly literally.
e. More obstacles appear. The protagonist has made an enemy or enemies in those aware of his/her actions, and goals, which are in conflict with theirs. In other forms of fiction this could be a rival for love, or in brotherhood. Again the possibilities are limitless.
This principle applies even to other forms of fiction, from science fiction to romance, to slice-of-life or literary fiction.
f. In fiction, allow for down time for your principles and the reader. You don't want your readers to be constantly on edge. Give them a good place for a bookmark and a cuppa (or glass of) before picking up your book again. This is the proverbial smoke apres sex. But too early for sex unless it is a particular character trait in someone in need of reformation, or whatever.
Perhaps here might be the beginnings of romantic interest between working partners. This is commonly done for good reason: it works! But it's too early for sex. Call me old fashioned, but hooking up is not romance.
g. In some fiction, as in film and television the police (or an individual cop as in my Tony Lowells) will play a role here: as partners, rivals, or both, or possibly as enemies--especially if corruption etc. is involved. By 'police' I mean any government agency, which would include FBI, DIA, CIA, etc.
(NOTE For non-fiction, Act One is basically your introduction. But you will have topical chapters as well, presenting important information leading to the next disclosure or challenge. Usually this, too, will have a goal and/or objective. And you will certainly be including and describing challenges, obstacles to overcome and how you overcame them).
The remainder of this outline structure is primarily for fiction.
ACT TWO:
(This is always the bulk of your tale, whether in a movie, a novel, or a work of non-fiction).
It begins as your protagonist(s) makes their second leap forward--their first success towards reaching a goal that isn't taken away. But it is only a first. He/she/they have many more obstacles and threats ahead to overcome, of violence or otherwise.
h. Another setback. This one hurts. Perhaps literally.
i. Down time: for romance or recovery, or both. Include suspense. Romance to second base.
This is the time for a romantic interlude. American readers are like American (and English, Irish, Scottish, etc.) film and television audiences: sex and violence sells. Allow time for sex to develop, gradually, beginning with a flirtation, a tease or two with more promised or implied.
As to violence, as a former conscientious objector I have always abhorred violence. But in writing fiction--especially mystery/thriller fiction--I knew that of course it was a necessary element, especially when there is suspense involved (although often the threat of violence is enough: the proverbial offer you can't refuse). Your protagonist will be hurt, nearly killed, and frequently threatened, in a suspense thriller or mystery. Sadly or not, today's audiences and readers demand these elements, and as an author one has to deliver.
Sometimes, like myself, a character might be a pacifist. Or even a failed pacifist, like my Tony Lowell. They might be living with guilt about a harm committed on another. One can try to live a virtuous life without committing violence, even in self defense (running fast often works, also yelling, screaming etc.) and then, like High Noon, finally having to take action. But running, of course, is hardly heroic, and there is violence in real life, whether we/I like or approve or not. And it is a necessary ingredient (at least the threat, such as of a nuclear attack). In such fiction (or retelling of actual events) the primary threat is never executed; always stopped in the literal nick of time. But lesser threats, which can nevertheless be severe and deadly, can and will still happen: the grist of crime novels and thrillers.
(For myself, I resolved my ethical dilemma of having to implement violence into my story lines, while not wanting my principle character(s) to have to resort to it, by creating my first protagonist, Tony Lowell as a war veteran and retired Navy Seal, who has seen and experienced enough violence in war zones to last a lifetime. So instead of having these experiences turn him into a hard, reactive, violent man, I drew upon myself and turned him into a pacifist, within reason: a belief system based in experience, to the extent that he will never initiate violence, only respond--and then preferably with speed and wit--as necessary. Tony Lowell prefers to outsmart, or out-maneuver his opponents, and refuses to carry a gun. Yes, he knows and will resort to those martial arts learned in the Seals. But only in self defense).
j. Back to the front lines for mysteries and thrillers: Action. A chase scene. For romance and so-called 'chick-lit,' (a dated term no doubt soon to be banished) the elements of obstacles and conflict also continue.
k. A near death experience: a beating, a car wreck, both, getting wounded; possible capture and interrogation.
l. Escape, chased, near capture, escape again.
m. Captured again. Finally meet The Boss. Resistance is futile, or--at a cost. Our hero stands up to him or her--female villains are not unheard-of. Again at a cost.
Another step backwards. Or getting knocked on one's ass, backwards.
(NOTE: I have always found it disappointing when writers, or for that matter film and television directors, put over-much emphasis on long chase and fight scenes. I've seen films that were almost nothing much: virtually everything else was a brief interlude. This is often the bulk of the second act, and shouldn't be.
ACT THREE.
Act Three is always the shortest act. This is the climax of your story (whether action or romance, lol).
n. The Big Chase ends, in the final confrontation, whether between mortal enemies or lost lovers. Again too often this becomes yet another fight scene, but of course much more destructive than any previous such, which were, it turns out, mere forerunners to this final confrontation.
One of my favorite, Hall of Fame-worthy films (if there were such a thing, for films) was Alfred Hitchcock's North by Northwest, in which Cary Grant (also his greatest film i.m.h.o.) and Eva Marie Saint are chased up onto the face of Mt. Rushmore by villain James Mason's henchmen.
Interestingly, Hitchcock was not permitted to shoot this scene on the actual mountain, but this problem was brilliantly resolved by a combination of shooting on a rugged landscape north of L.A. and the brilliant juxtaposition of this action on a backdrop created by Universal's legendary matte artist Albert Whitlock, who did this kind and quality of work on most, if not all of Hitchcock's films.
6. Write the novel, self-help, cookbook, travel book, whatever is your inspiration.
Easier said than done, of course. But I've done it nine times, thus far: my five Tony Lowell Mysteries published, and in the process of being re-published in updated new editions.
My new publisher, Speaking Volumes, will also be publishing my new series, featuring investigative reporter Jake Fleming, in The Jake Fleming Investigations, out later this Spring.
Ciao for now,
E.C. Ayres
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