Write Fast and Revise Later, or…?

There’s something to say (see Anne Lamott) for getting to “the end” and doing the worrying later. That way you have a completed draft behind you.

There’s also something to say for avoiding what ultimately seems so discouraging or despicable that revision resembles cleaning out the Augean Stables.

Finally, there’s something best of all to say for choosing something in-between. Why write chapters without scene goals, paragraphs without focal points, and sentences so tortured that even the author can’t decipher the meaning? Why compose an entire whole novel in passive voice while repeating, dragging out, and “telling”? Nor would it help to write so sloooowly that you lose all faith in what originally motivated you. What can you do instead?

~ Make a plan.

This might be a scene goal outline, a storyboard where you write whatever scene turns you on that day, character arcs for everyone important, or even an old-fashioned outline. It doesn’t matter what plan you choose or whether you later change it radically. It only exists to help you produce prose neither ghastly nor too polished for your first stab.

~ Keep a schedule.

Life, as they say, happens. Accidents, birthdays, trouble coming in threes, flu, migraine, date night, and so on. Why pretend that you won’t have dozens of reasons to prevent churning out pages? Create a reasonable, realistic commitment, i.e. x hours a week or y hours a day. Then you won’t have to pretend.

~ Advance both the plot and the number of pages.

It won’t help to have thirty exquisite pages if they’re all you’ll have for the next few years. If your time is precious, don’t squander it reworking material that you’ll change after you know your characters and their journey—because your first draft is done.  Don’t proceed as if you know nothing about how novels work. Also don’t proceed as if you must immediately accomplish everything you know about how novels work.

~ Follow the dream.

Write this book because you love it. If you don’t, maybe you’d rather find a better day job instead. Feed the dream. Don’t starve it by worrying about everything you’ll have to fix. Productivity and passion blend beautifully. Negativity and passion do not.

~ Decide what a strong first draft means to you.

If you can define that without rationalizing, you’ll know just what you need, how much revising you should do right now, how much later. Only you know how good is “good enough.” Set the standard. Follow it, even if you’re having a wildly bad—or good—day.

Tip: You know your process better than anyone. Honor it, but get the first draft done. 

Fire and Ice in Fiction

Zeal and discipline. Spontaneity and rigor. In the preface to Lyrical Ballads, William Wordsworth defined poetry as “the spontaneous overflow of powerful feelings: it takes its origin from emotion recollected in tranquility.”  That applies to lots more than poetry. Unrestrained passion followed by meticulous craft describes not only all writing, but probably all art.

The trick lies in the definitions of “passion” and “craft." In a well-known quotation from Bird by Bird, Anne Lamott claims that the only way she “can get anything written at all is to write really, really shitty first drafts.”

Perhaps. But the problem with writing “crap” is how hard, not to mention discouraging, it is to write past it later on. Besides, quite a substantial gap exists between the stench of dung and the flame of creativity. Maybe Lamott meant that first drafts must emerge impulsively. By all means. Better, though, write not because you have a deadline or think you should or hope to make lots of money. Write because you have to, because you have no choice. Fire like that usually ignites fire in whoever reads what you wrote.

But fire rarely accomplishes the whole deal. Yes, many of the most glorious lines are born without labor pains, like Aphrodite arising from the seafoam. But every serious writer knows that you’ve got to manage all those other lines. As Ernest Hemingway said about revising the ending of Farewell to Arms thirty-nine times, it’s about “getting the words right.” Or, as Joseph Pulitzer put it, “these ten or twenty lines might readily represent a whole day’s hard work in the way of concentrated, intense thinking and revision, polish of style, weighing of words.” And here’s Elmore Leonard on the climax: “If it sounds like writing, I rewrite it.”

Tip: There’s something magical about translating passion into language, then translating passionate language into words so startlingly clear and vivid that they sound effortless.

Except the sensation of effortlessness, like a fabulous musical comedy or garden or quiche or basketball game demands enormous effort. It just doesn’t show.

Are there strategies for accomplishing "emotion" + "tranquility"? For the fire:

·         Neither censor too much nor little.

·         Don’t try to sound like anyone but you.

·         Run a little wild: flirt, giggle, tease, endanger, glorify.

·         Take risks: pick a dangerous, glamorous, unlikely possibility. Follow it.

For the ice:

·         Be patient. Excellence is a slow uphill climb.

·         Be rigorous. Don’t talk yourself out of what you know you ought to fix.

·         Be aware of the rules. It’s great to break them, but only intentionally.

·         Be confident. If you want this badly enough, you can earn it.

Don’t let the ice douse the fire. Use it to temper the right amount of light and heat.