I have some misgivings about writing a novel. One of them is just silly. I worry that without building my short story muscles, I will lack the strength to endure the grueling novel writing process. However, when I really think about it, aren’t novels and short stories fundamentally different? At risk of overusing an analogy, I would compare the two to sprints and marathons. Sure, being particularly strong in one may help you in the other — but that is no guarantee. The types of stories I want to tell involve more than a what I can cram into a 20-page short story. So, why keep these ideas stuffed in my head or crammed in my “brainstorm” OmniOutliner document? Why not just muddle through and get to work on them?

After spending a few days cogitating, mulling over one of these ideas, writing down thoughts, developing a nifty OmniOutliner template (complete with cunning use of AppleScript!), I did just that today — got down to business. Essentially, my attitude is this: “The best time to work on my first novel is right now.” So, I work on it. I do all I can to eschew idiotic questions with which I constantly wrestle:

• Is it good enough?
• Who wants to read this?
• Will publishers laugh at my very existence?

Forget all that. Just write. I can’t say I’m pleased with my production — but I am pleased to say that I got in at least a few good things. Does it need work? Absolutely. Even the best writing can use a nice day at the spa (some writing, however, needs extensive surgery and prolonged hospital visits…).

I was browsing a book earlier this week called Ernest Hemingway On Writing. Good title. Hemingway never really wrote specifically on this topic, but through his letters and A Moveable Feast, we can learn a bit about his thoughts on writing and his process. Editor Larry W. Phillips has cleverly arranged these snippets (a sentence from here, a paragraph from there) into various themes. In one of these sections, I found a quick note from Hemingway about when it is best to write. Essentially, he says that the best time to stop writing is when you know what is going to happen next. That way, when you pick it up the next day, you’ll have a place to start.

I find a lot of wisdom in that. So much of writing is momentum. I’ve got to keep that momentum rolling or else the project feels like it stalls — at which point those ugly questions really come to the fore.

Earlier today, I was talking on the phone with a comedian friend of mine. He was saying that distraction (losing momentum) during writing causes a really nasty chain of events that looks like this:

This isn’t funny → There’s no way to make this funny → I’m not funny → I’m a bad person.

Funny — but true! I get down on myself.

So, here’s to taking Hemingway’s advice and conserving some momentum. I’ve written over 1500 words on this thing today, and no exactly what happens next — I’ll pick up there tomorrow (or later tonight if I care to…).

I’ve been working on a story that has been called “Execution.” The protagonist, a teenager named Heath, witnesses a public lynching — which haunts him of course, all the more because the victim is closely related to his longtime crush. As I’ve read through the manuscript, making various notations, I’ve come to realize a few things.

First, I am not a fan of overly long short stories. I think 20 pages of decent-sized type is a good length. When you get into short stories that are 50, 60, 70 pages long, you cease to have the ability to sit down and just read them.

Looking at “Execution,” there is definitely the opportunity here for some expansion. I think the story would be served by exploring character and setting in greater detail. For the most part, I rush through the action because that’s what is more in my head than anything else. The conflict. What’s happening? What’s going on? I like to get that stuff out. Now it’s time to flesh out this world a little more. Unfortunately, the story is already 30+ pages before the necessary expansion that will come with this fleshing out. What to do? Keep the story in “short” format, or expand the story into novel format?

When thinking about writing a novel, a few important factors must be taken into account. Here is my reckoning:

1. Do I have enough material for a novel?
– The short answer here is “no.” The longer answer is “maybe.” I really like some of the characters, and I really like some elements of the story. However, I’d have to think long and hard about where to go with it. I don’t simply want to add fluff to make it novel length.

2. Do I have the patience?
– One of the great things about short stories is that they are nearly instantly rewarding. You can complete a draft in a matter of a few days and have a nice warm feeling in your tummy. Novels, unless you’re doing something like NaNoWriMo do not work in quite the same fashion. Am I prepared for the marathon? Or am I still a sprinter?

3. To what degree do I plan?
– With short stories, it’s easy to start with a basic idea and just go. You’re off and running in no time and the story is taking you wherever it wants to go. I don’t doubt that the same could be true of novels, but I suspect that some greater level of planning would be of real benefit.

So, I find myself at an impasse. After completing the first draft of “Execution,” I was looking forward to rereading it (after my requisite 4-week cooldown) and separating the wheat from the chaff. Instead, I find I want to add to it, rather than take away.

I wonder if this is a common feeling.

I got my thousand words in nice and easy by moving to something new. My new project is a short story about a guy who carries on a conversation with himself while driving. It’s late at night and he talks himself into a paranoid fit as he observes a car behind him that he is convinced is following him.

The story has taken an altogether different tone than I first imagined. Originally, I had based it on an episode that I’d had recently where I was convinced I was being followed. I realized quite early on in this little episode that I was being ridiculous. Basically, a car had made the same turn that I’d made — on to a busy street no less! For some reason, however, I felt a great deal of anxiety.

In my initial concept, the man expressed increasing amounts of fear as he tried to shake this car tailing him. This isn’t exactly what’s going on. Is he afraid? You bet. But, as I’ve dug a little deeper, I’ve discovered that this guy is borderline schizophrenic, talking to himself and remembering events from his past as he moves along.

Where will it lead? Not sure yet. Stay tuned.

On a fairly unrelated topic–I’m glad to announce that I will begin the revision process for “Execution” in only 4 days (completed on January 7, you see). I’ve been thinking about some elements in that story, and I am excited to get back to work on it.

Only half production tonight. I had left a scene for “Without Vision” uncompleted during my last writing session. I finished off that scene, putting me at what felt like a very natural stopping point. Unless the story grows outside of its current walls, I don’t expect it will be more than a few days before it’s done–perhaps a week.

Stories Grow

This seems like a good time to think more carefully about the “growth” of stories. I have said before that, for me, the emergence of a story is a very organic process. Essentially, it all begins with a germ of an idea. This idea is collected in a brainstorming document (created by OmniOutliner, of course), typically in the form of a single sentence or sentence fragment. From the “brainstorm” slush pile, the germ gets moved to a section of the document called “In Progress” (an old favorite phrase of mine–describes my life, really). Absolutely no guarantee exists that the finished draft will even resemble whatever that original sentence or fragment says.

A story is as much a part of me as my arm or leg, yet it definitely exists outside my body. Stephen King compares the process to an archaeologist excavating a dinosaur (or, more to my taste, an ancient ruin). The story exists. The author uses the appropriate tools to expose its form.

Sometimes you begin with a story that you think is simply going to be a humble ancient hut. In the end, you may find yourself standing inside a gigantic temple. This is part of the fun–even when you are playing God, you don’t know the outcome.

“Without Vision” could go in three possible directions. The question in this case becomes what kind of statement the characters want to make. Where do there values lie: government, religion, family. Big, even heady, ideas all. Yet, I don’t feel that I am writing to serve my agenda. I am documenting what these characters are thinking or feeling. In a sense, they control their destiny far more than I do. Sometimes, I’d love to see them do something else–perhaps the “right” thing. But, ultimately, I do feel powerless. Their decisions are determined by their character and their predispositions and the type of story that they involve themselves with.

What I’ve found is that stories tend to grow. What began with this germ of an idea becomes a new world, already in existence, time ticking away. I’m a journalist (admittedly, with unprecedented access) documenting that world.

Problems I’m Seeing in “Without Vision”

Right now, the characters feel flat and static. This is not good, obviously. I know that they are not, because I have an inkling of what they are about to do. But, you can’t have five pages of flat characters before finally getting to some meat.

In addition, the language feels not like mine. This isn’t entirely bad–it just means that I spend a lot more time second guessing word choice. On the flip side, it challenges me–nearly always a good thing.

Story Stuff

After a weekend of fun in Austin, I got back to it tonight, putting down a little over 1,000 words for a story that is, at least in the short term, called “Lacking Vision”–or some such thing. I hope to accomplish a couple of things with this story. Let me list them here:

• Third Person. I am very comfortable writing in the first-person. I would think that most young writers are. We put ourselves into the character’s shoes, and sentences flow naturally as we hear them in our head. For this story, however, like so many others, it makes a great deal of sense to move to the third person. As the story is envisioned, several characters have skin in the game. Consequently, I want to be able to move in and out of their points-of-view. Switching between “close third” (where the action is being interpreted very much through the main character’s eyes) to “distant third” (where the action is being interpreted from a wider, bird’s-eye view) is something I really hope to practice. Mastering that particular technique is quite important to me.

• Change in Style. So often, my stories are dramatic. This is what I’m good at; this is my bread-and-butter. This story definitely has some drama coming (though it hasn’t happened quite yet). However, I’d really like to balance that drama with some laughs. The first two scenes that I have written may have some of that–mostly due to a sardonic style that is really more akin to how I personally talk and think. I wonder if this is due to the fact that I am the narrator, rather than a character–never thought about that.

Other Issues

Writing 1,000 words each night is becoming an easy thing. I don’t know if it will always be like this, but I am considering upping the quota. Perhaps 1,250 words will stretch me a little more and help me to get some more progress made on these things. My real hope is to have 3 or 4 completed manuscripts by the end of January. I’m not sure that’s possible without upping my writing time. We’ll see.

I’m still reading Postcards by Annie Proulx. I must admit, it’s getting a bit difficult. I may need to break it up with some Raymond Chandler or Michael Chabon — I have a few short options that might provide a remedy.

Finally, I just wanted to briefly mention OmniOutliner Pro. I’m a big fan of the OmniGroup, I think they put out great software. During my school days, I did outlines for papers and note-taking in OmniOutliner. Since then, I have found that I use it less and less. At the moment, I’m using it to write brief outlines/sketches of ideas that I have for stories (as well as websites and silly money-making schemes!). However, what I really need is a repository for ideas…small snippets…a sentence or two here or there. Is OmniOutliner the best for this purpose? I’m not sure. Your opinions¹?

Notes

¹ Remember that I am a Mac-only dude. Don’t come to me talking about how awesome some piece of Windows software is. Upon deaf ears it will fall.

More progress on “Execution” today. Things didn’t come easily, though. I got in 1,200 words fairly quickly, but in my mind it was a struggle.

The biggest demon I often battle is self-doubt. It’s funny that I should be embroiled in self-doubt today. Currently, I’m working my way through The Best American Short Stories 2007. This morning, as I was reading a story (which will remain nameless), I thought to myself: “I’m at least this good.” Perhaps this is an arrogant thing to think. But, even if I’m wrong, confidence is a must.

As I was writing tonight, I kept thinking: “This isn’t good enough.”

I have to remind myself: “It’s not supposed to be.” This is just a first draft. We’ll finish it up in the next day or two, put it in the drawer, and then revisit it in a few weeks. That will be the time to decide how it measures up. For now, I just need to get the thing out.

Prior to finishing up On Writing, I had little idea how best to proceed with the story writing process. Part of me wanted to sketch out some characters, put them in a situation and let them act on their own. Another part of me wanted to plot out the details of the story in an outline, and then fill in the blanks.

The latter definitely worked well for writing research papers and whatnot at Harvard, however, it never really worked well for me when it came to writing stories. Stephen King let me know that it was okay not to know exactly where the story was going. If characters are going to be real, then they need to live and breathe and make their own decisions. As an author, we can often find ourselves playing the role of God a little too zealously. Back off. Let the characters make the decisions.

So, I took this attitude to “Execution,” and I was surprised where it took me. Salome and Heath made it out to the Cartwrights’ place and were surprised by what they found in the matriarch, Maggie. I was surprised too. In fact, it may be that this tail is taking a whole new direction because of just who or what Maggie has turned out to be.

In my mind, Maggie had just been another old hag. Turns out she’s a living breathing person! Distraught over the actions of her son, Bill (who has murdered someone), yet unable to bring herself to defend him.

1. ROUTINE
2. LET ‘EM LIVE

King also thinks that the writer should set himself a quota for a variety of reasons. First, because it keeps your butt in the chair working. Second, because it creates a false sense of pressure. We tend to do our best when pressured a little bit.

So, I have created a schedule on the calendar for writing time. Now, all of this time won’t be spent writing, but a good chunk of it will. A lot of that time, however, will be spent reading and updating this journal. So, perhaps “research and writing” would be a better title. Still, I think I’ll stick with “writing time.”

Today, I got more progress done on “Execution.” I rearranged some stuff a little bit. Essentially, Heath is now heading out to the Cartwrights’ place to see if he can figure out Poor Bill’s motives. Lucky for Heath, Salome has intercepted and accompanied him. I’ve left off just as he and Salome arrive. I want to think about this for a bit and attack it tomorrow (or later today, if I get a wild hair).