3 Paths to Holistic Writing

The past two weeks, I have been reading articles on holistic approaches to psychology, martial arts, lifestyle, and medicine. So of course I decided to explore what people said about holistic writing on blogs, Facebook, LinkedIn, and the web in general.
I found near silence.
So I decided to tackle the idea myself.
Holistic comes from the noun holism,which is most commonly used in three ways. Below are three holistic approaches to writing based on these definitions.

#1

• Unity. In one use of holism, the parts can only be understood as they contribute to the whole. If you wish to use this approach, then look at your target section as a whole unit instead of as a lot of pieces because those pieces interact to form the whole piece.

Example 1: A scene often includes dialogue or monologue PLUS action PLUS description. You can certainly look at each element individually but to gauge the effectiveness of the scene, you probably should look at how these elements interact to form the whole. In this approach,we do not just look at the dialogue, action, description, etc, in isolation but in terms of how it/they contribute to the entire section. And we look at the section (be it a beat, scene, or chapter) not in isolation but in terms of how it contributes to a greater unit (the beat to the scene, the scene to the chapter, the chapter to the book, the book to the series).

#2

• Synergy. In a similar yet distinct usage of holism, the whole is more than the sum of the parts. To clarify, in the first definition, the pieces interact to make a whole unit. In this second definition, the parts synergize to form a whole that is greater than the parts.

Example 2: This holistic approach requires getting into your "reader mind". A reader does not analyze each part of a beat, scene, or chapter. the reader absorbs the entire experience presented by a blending of all the writer's techniques. Ask an uncritical reader and s/he hopefully say  "awesome", "couldn't put it own to sleep", "totally engrossing". What writing technique causes this? No single technique but the synergy created by every tool in your arsenal.

 #3

• Integrity. In this third use of holism, I use "integrity" not in the moral sense but in the structural sense -- specifically the broader structure of our lives.

Example 3: While some people try to live their lives in compartments, a more integrated life-style can greatly benefit your writing. First of all, by not compartmentalizing ("this is office time, this is family time, and this is writing time"), your writer mind will be more alert. You will have an easier time drawing on experiences that occur outside your "research and writing time".
Example 4: Healthy life-style practices definitely  affect your ability to function as a writer (especially in terms of creativity, productivity, and stamina). Making priorities of physical, mental, and spiritual health -- integrating healthy practices into your lifestyle -- is an important part of taking care of yourself as a writer.
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There you have it. Three different paths to holistic writing! I enjoyed writing this post and hope you find it helpful.

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Has this post prompted any ideas of your own? We'd love to hear about your ideas and experiences in the comments section!
Have a question or topic you'd like to see addressed? Drop me a line!

Writing: Difficult, Easy, or Both?

Today I am reminded of the quote...

“A writer is someone for whom writing is more difficult than it is for other people.”

― Thomas Mann
 

Normally, I'm not sure I agree with this. Writing is difficult and easy in turns. For me, it is difficult at the beginning. My mind is very sneaky in the ways it tries to sabatoge me. I learned to write anyway.

In one way, though, writing may be more difficult for writers. Writers sometimes take themselves and their writing too seriously. When writing becomes a life-or-death matter to the writer, she starts to block herself. She struggles more because it has turned into a fight with high stakes.

Or maybe writing is more difficult for “writers” because the writer has an arsenal of technical skills, forms, and rules that she juggles. The casual writer does does not bother with all that.

So maybe the easiest way to write is by not being a writer. Once the groundwork is laid, just write. Write like someone who doesn't know how difficult it is to write.

Tough Choices: Character-Informed Dilemmas

(Photo Credit: OffGamers)
Since we're talking about choices, we are obviously talking about characters. Regardless of the genre or the specific situation, it is the character who has to make the choice. An easy choice is almost no choice at all. While the specifics change from character to character, every character will have needs and wants. When the two or more clash, you can create tough choices.
The clash between a need and a want might be an easy choice... or it might not. Think of the many ways that we procrastinate fulfilling a need by chasing a want. Stopping this cycle can be difficult. A twist is when a need is mistaken for a want, or the reverse situation.
A clash of two or more wants can create a dilemma when the wants are almost the same intensity. A twist on this can be when one of the wants is given its intensity by a time limit, situation, or another character (ex, the real want is to please or impress another character).
A clash of two or more needs can be intrinsically more stressful for the character and engaging for the reader because of the very real possibility that one or more need will be sacrificed. Most often, these will be inner needs unless physical resources (food, shelter, etc.) are scarce.
I carefully avoided giving character-specific examples here (except for in the opening picture) and instead spoke of wants and needs. This is because the unique natures of your characters may contrast sharply with one another. What may be a need or want for your character may or may not even register with your villain. Happy writing!

Ch 1 Blunders: Missing Beats

(Photo Credit: Imgur)
Don't confuse your readers with illogical flow of sentances and action!
Last month, I received some fantastic feedback on the first quarter of my current MS. For this series of articles, I will draw from the remarks of my wonderful Beta readers and discussions I have had with other writers on these topics.
In some ways, I did not have a logical flow of events. Here were three bloopers that I made in the first chapter...

• Action-reaction. Both need to be external. There can be a stated internalization (thoughts, feelings) but both the cause of the action and the response to the action need to be external and sensory (I'd say physical but depending on your genre...)
• Rising action. Things should get worse for your character. I like to use a "Rule of 3". Set-up, Complication, Disaster. But I'm learning to keep the set-up short by removing backstory and other forms of explanation.
• Scene flow: Okay, I did not use on in this book -- but I have in others! The first scene needs to cause thee second scene, and so on. Possible exception is if you change point of view to someone like a villain or love interest who is not in the same place as the MC and can't logically be affected by the MC's actions.

DISCLAIMER: This was feedback for one author's MS and should not be taken as all-or-nothing advice for all stories.

(what is a beat, action-reaction, exception is action-internalization-reaction)

Ch 1 Blunders: Generic Characters

(Photo Credit: Adventures in Married Life)
Few readers will read about stick figures!
Last month, I received some fantastic feedback on the first quarter of my current MS. For this series of articles, I will draw from the remarks of my wonderful Beta readers and discussions I have had with other writers on these topics.
In some ways, I used fleshed out stick figures. Here were three bloopers that I made in the first chapter...

• Interchangeable characters may be well rounded but have overlaps in personality, functions, or appearance (physical, speech patterns, names). Overlapping personalities can be a source of conflict (especially in opposing forces) but can also mean that you are not fully exploring the posibilites that people offer.
• Emotional reactions are a must even in the most action-driven story. Ultimately, the reader reads because of the character. Readers can relat better to characters who react and act emotionally. Emotion provides motive -- and therefore logic -- for the action, too.
• 2-D: Okay, I did not use on in this book -- but I have in others! Archetypes are one possible building block for character design. However, if you do not "build" but instead stick with the model, you can end up with stereotypes.

DISCLAIMER: This was feedback for one author's MS and should not be taken as all-or-nothing advice for all stories.

Ch 1 Blunders: Premature POV Changes

(Photo Credit: The Metropolitan Museum of Art)
Don't blur your reader's vision of your story!
Last month, I received some fantastic feedback on the first quarter of my current MS. For this series of articles, I will draw from the remarks of my wonderful Beta readers and discussions I have had with other writers on these topics.
In some ways, I made it difficult for my readers to connect with my characters. Here were three bloopers that I made in the first chapter...

• Establish the character first before changing points of view. This may mean that you keep the first chapter mostly or entirely in the main character's (or villain's) POV. Give the reader space to invest in a character before you change POV. A point-of-view switch will build reader if done after the reader cares about the character you are leaving for the moment.
• Confuse the reader. Aside from caring about the character and needing to identify the main character, rapid POV changes can confuse the reader. Changing points of view means looking through another seet of eyes -- and the minds behind those eyes. Gender, assumptions, mood, emotions, involvement, goals, and focus all change each time you change perspectives. Confusing!
• Who is the MC? Okay, I did not use on in this book -- but I have in others! Typically the character given the most POV scenes is the main character. the importance of other characters is often determined by the reader according to 1) the order in which the characters are presented and 2) the amount of "air time" each character is given.

DISCLAIMER: This was feedback for one author's MS and should not be taken as all-or-nothing advice for all stories.

Ch 1 Blunders: Generic Settings

(Photo Credit: Popupology)
Don't leave the reader guessing about where the story takes place!
Last month, I received some fantastic feedback on the first quarter of my current MS. For this series of articles, I will draw from the remarks of my wonderful Beta readers and discussions I have had with other writers on these topics.
In some ways, I started my reader off in a generic setting. Here were three bloopers that I made in the first chapter...

• Genre can easily be established through setting details. A shoreline backed by imposing cliffs seems a distinctive setting but could appear in many different genres.  Add a dragon in the sky, a castle on top of the cliff, or a metal dome instead of sky, and you have swiftly taken advantage of genre -- and oriented the reader -- with very few words.
• Any old shoreline.  After (or while) you've established genre, show what makes this shoreline into this shoreline and not another in your world. One way to do this is to use landmarks personally important to the reader. Have the dragon circle her home, the castle belong to her brother, the shoreline is the only shoreline in the space station.
• Missed opportunities: Okay, I did not do this in this book -- but I have in others! How does the shoreline play into other elements of the story? It may be a recurrent setting, a symbol for the edge of two choices the heroine must make, set the mood, and so forth.

DISCLAIMER: This was feedback for one author's MS and should not be taken as all-or-nothing advice for all stories.

Ch 1 Blunders: Starting Too Late

(Photo Credit:  Pinterest)
Don't let readers leave your book behind!
Last month, I received some fantastic feedback on the first quarter of my current MS. For this series of articles, I will draw from the remarks of my wonderful Beta readers and discussions I have had with other writers on these topics.
In some ways, I started some elements of my story too late. Here were three bloopers that I made in the first chapter...

• Main story I started this too slowly. Although the Inciting Incident does not start until the end of the first portion of the book, I should have introduced an important clue or trigger to get that snowball rolling.
• Tangents are the main reason I started too slowly. I started with an arc (okay, maybe a whole subplot) that my main character pursued before fiding that important clue.
• Prologue: Okay, I did not use on in this book -- but I have. Prologues are tricky creatures and should be handled with care.

DISCLAIMER: This was feedback for one MS by one author and should not be taken as all-or-nothing advice for all stories.

Clche Traps

(Photo Credit: Ethereal Illuminations blog)
      “Once upon a time an evil dragon kidnapped a beautiful princess from her father's castle. The king offered half the kingdom and her hand in marriage as a reward for her rescue.  A handsome, brave, kind-hearted, orphaned knight with a magic sword slew the dragon and won the princess's heart. Everyone cheered and loved the orphan because he was the best hero ever. He ruled wisely and well. And they lived happily ever after.”
 
      After you read the first line, did you have any doubt about the last line? As soon as you read that the princess was beautiful, did you have any doubt that there would be a hero who was handsome? Once the antagonist was identified as an evil dragon, did you guess that there would be a princess, a prince, and a castle?
      I don't want to take up more words providing you with lists of cliches. Instead, let's look at three problems that cliches pose...

1. less conflict. At first, this may not seem to be the case. After all, there's a knight and a dragon, right? but that's as far as it goes. Lots of missed potential -- even if you throw in an evil step-mother. If you went beyond the cliche, there could be conflict between the princess and dragon, princess and king, knight and king, king and dragon, etc. And that's just external conflict. What if someone had mixed feelings about the princess's capture or the rescue or the reward or the wise rule of the hero? Or if the inner conflict belonged to the dragon? And don't forget about conflict between person and society/nature/fate. So yes, there is still conflict but also many missed chances.
2. too much predictability. You were able to predict most -- if not all -- of the Westernized story, right? Maybe you thought there would be a prince instead of a knight but... Readers instinctively look for patterns. Nothing wrong with giving the reader what he wants. But as much as your reader thinks he enjoys guessing the next move correctly, what most readers really want is for you to surprise them. Cliches are patterns that have been over-used to the point that they have lost most of their potency. There's some fun for the reader to predict them but...
3. boring characters.  Cliche characters are a bad idea for the above reasons. Cliche characters are not just the "perfect character" but also over-used combinations of traits.

      All that said, cliches can be used deliberately for humorous effect. Or as a starting point. After all, you have to start somewhere. Only when you fail to develop a predictable boiler-plate character/setting/conflict does it become cliche. Before then, it's fair game.

Ch 1 Blunders: Floating Characters

(Photo Credit: Pinterest)
Don't leave your characters to float in a vacuum!
Last month, I received some fantastic feedback on the first quarter of my current MS. For this series of articles, I will draw from the remarks of my wonderful Beta readers and discussions I have had with other writers on these topics.
In some ways, I did not ground my characters. Here were three bloopers that I made in the first chapter...

• Setting: Ground your character in physical surroundings either immediately or almost immediately. This can be tricky if you start with dialogue or thoughts but if you do not physically ground your character then you risk confusing the reader and/or making the action (verbal or otherwise) less immediate.
• Mood: Think about the mood of your story (comic, dark, sensual, etc.) and make sure your character introduction is permeated by this mood. This may mean going back and rewriting your hook from scratch or taking the already-written hook and changing the angle.
• Genre: Okay, I did not use on in this book -- but I have in others! It is important to establish your genre (and preferably your subgenere) in the first few pages. The reader who picked up your book typically expects a certain genre but don't leave the reader guessing. Show her that she chose the right book and the right character to meet her fantasy/romance/suspense desires.

DISCLAIMER: This was feedback for one author's MS and should not be taken as all-or-nothing advice for all stories.

(cartoon) too many characters or too few?

(Photo Credit: Zooky World)

Ch 1 Blunders: Starting Too Soon

(Photo Credit: Pinterest)
Sometimes you have to wait!
Last month, I received some fantastic feedback on the first quarter of my current MS. For this series of articles, I will draw from the remarks of my wonderful Beta readers and discussions I have had with other writers on these topics.
In some ways, I started my story too soon. Here were three bloopers that I made in the first scene...

• Character-driven action can be risky. Her actions are, of course, affected by her unique make-up. But opening action should show her "normal" while being interesting. LESSON: Show her normal before her deviation from normal!
• Backstory-driven action is a no-no when it confuses the reader instead of intriguing. Details of backstory should not be spelled out in an opening scene (or chapter). Engage the reader's curiosity. LESSON: Delay backstory-driven action until after the frontstory is established!
• Many characters: Okay, I did not make this mistake this time. But it is a common blooper. Typically, it is easiest on the reader to when the writer introduces characters one at a time in the general order of importance.

DISCLAIMER: This was feedback for one MS by one author and should not be taken as all-or-nothing advice for all stories.

Tough Choices: Genre-informed Dilemmas

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Since your genre has a specific focus, why not make use of this fact when brainstorming dilemmas? Every genre has built-in reader expectations for focus, issues, stye of world-building, etc. You can exploit built-in assumptions while developing touch choices for your characters. Here are three examples of what I mean...
Historical fiction often touches on how past conditions shaped -- and were shaped by -- social conditions. Hopefully, you are familiar with what makes your time period unique. A Great Depression has different built-in dilemmas than does a Renaissance, Great War, or a Liberation Movement. People living in times like these often feel strong pulls in multiple directions... tough choices.
Detective fiction often deals with issues of justice, injustice, and the grey area between the two. Likely, you have fine-tuned your area of interest.  Your explorations do not need to be limited to your main plot. Maybe a character changes as a result the tough choices she makes.
inspirational fiction often handles a very character-focused struggle to find and/or keep religious faith in times of trial. Since the character always chooses to follow her faith, the trick to making this a tough choice is to set up scenarios that strongly tempt the character to make the wrong choice.
Remember your genre as you write. Readers of your genre are picking up your book with certain expectations. Whether you flip,stretch, or reinforce the assumptions, there are issues that the reader expects will be addressed. So keep your genre in mind as you write.

Create Motivation: External Benefits for Writing

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One way to overcome your writing fears is to make sure the benefits of writing outweigh the fears. I've heard many times, “writing is lonely work” and this is usually seen as a problem. This does not need to be true for you. Even though the most important motivation comes from within, you can also create chances for motivation by becoming more involved with the people around you.

Don't be afraid look to other people – writers, family, friends, strangers – for motivation. Other people can offer encouragement, affirmation, and recognition.

Even if you prefer a quiet and secluded work-space, consider writing regularly (even if not often) at a public location such as a deli, coffee shop, or bookstore. Strike up conversations with strangers and – if appropriate – mention that you are writing something.

When someone learns that you write, he often wants to know what you write. And if you see the same person again, he might very well ask “how's the writing coming?” When you go to the same public place routinely, you start to meet other regulars. When they know that you are there to write, you start to feel a stronger pressure to write while you are there.

If you are serious about completing a project, consider telling family and friends about your project. They can help keep you on track, give pep-talks, ideas, and generally keep you moving forward. Also, you are likely to feel pressure to meet their expectations. This can provide the push you need to keep moving forward when your writing slows down.

If you are serious about pursuing writing professionally (or already are a professional), external motivation for the professional writer can also come in the form of publication and income. To involve others in raising your motivation, network with other writers via social media, professional organizations, and less formal critique groups. Facebook and Twitter are great places to share (and read) goals, trials and successes. You can also post daily (weekly, etc.) word counts. Or challenge others to a competition. All three options give you access to people with similar enthusiasms – which can be very stimulating.

More (Productive) Writing Time: Partitioning

 By Alina Chase

 

Partitioning both your time and thoughts will help you enjoy more productive writing time—and may help you find more of it.

The benefits of partitioning time, focusing on one and only one task at a time, may be more obvious when you think about non-writing activities. Like texting while driving. Like shampooing a cat while trying to convince your boss over the phone that you’re hard at work on that proposal. Like wandering inside to take a cool shower while homemade kabobs burst into flames on the grill—objective not accomplished, and now who’s going to clean up the mess?

So when you finally set aside an hour to write, why are you also checking email, responding to texts and keeping an eye on whatever’s on TV? A few minutes here and there eat away at both your writing time and creative focus. So eliminate disruptions and mental clutter! Decide what you want to do now, and give whatever that is all of your attention.

If you’re not going to do something now, don’t think about it now. When you leave work, forget about work. And when you finally find time to write, just write.

And as I switch gears from writing to not burning tonight’s dinner, I’ll leave you to ponder this quote from a very funny book:

Like the good Reverend King

I too “have a dream,”

but when I wake up

I forget it and

remember I’m running late for work”

                       Paul Beatty, The White Boy Shuffle

Today I am reminded of the quote...

“A writer is someone for whom writing is more difficult than it is for other people.”

― Thomas Mann

Normally, I'm not sure I agree with this. Writing is difficult and easy in turns. For me, it is difficult at the beginning. My mind is very sneaky in the ways it tries to sabatoge me. I learned to write anyway.

In one way, though, writing may be more difficult for writers. Writers sometimes take themselves and their writing too seriously. When writing becomes a life-or-death matter to the writer, she starts to block herself. She struggles more because it has turned into a fight with high stakes.

Or maybe writing is more difficult for “writers” because the writer has an arsenal of technical skills, forms, and rules that she juggles. The casual writer does does not bother with all that.

So maybe the easiest way to write is by not being a writer. Once the groundwork is laid, just write. Write like someone who doesn't know how difficult it is to write.

Writing During Holidays

For many people, holidays are a time for family and friends. But if you forget to take time to write, you will pay for it. So what to do? If your holiday means family, friends, and special activities, not only can you still write – you can take advantage (in a good way) of these changes to your routine.

• When someone asks what you're writing, try giving a pitch summary. If you can't do this for your story, you probably are not clear enough about it in your own head.
• Save a list of quandaries in your work – research questions, choices to be made – and use them as discussion material
• Find character contrasts and assk others' opinions on them (ex: mentally linked idealist and cynic)
• Pay attention to thee current weather and how it affects the people around you.
• How do the people around you react when under pressure (there's sure to be some stressful situations when lots of people spend large amounts of time together).
• Pay attention to the festive foods, dress, and décor. How is it unique to your culture? Brainstorm with your loved ones about a similar holiday and how your character would celebrate it.
• Ask several people to read the first chapter. This is a great time for feedback. If you're worried they will give you false praise, ask for just 3 things you could work on as well as everything they liked about it.
• Flash fiction, short stories, and poems make great gifts or supplements to holiday cards. If they are nonfiction reminisces, so much the better.

Finally, if you respect yourself as a writer, it is not too much to ask that others respect you too. Set aside some time for you and your writing. Even a small time (or several small times) evvery day will help keep you from getting rusty, your ideas from stagnating, and your story moving forward.

Break From the Herd

“I once complained to my father that I didn’t seem to be able to do things the same way other people did. Dad’s advice? “Margo, don’t be a sheep. People hate sheep. They eat sheep.”

Margo Kaufman

From The Portable Do It

John-Roger and Peter McWilliams

TIME-SAVING TACTICS

Break From the Herd

By Alina Chase

Do you ever shop at 5 a.m.? Hardly anybody does.

Simply by doing what most people do not, when they do not, you can reclaim enough wasted time to write at least a few more pages per week.

Schedule the first appointment of the day with doctors and dentists and you’re less likely to wait. Arrive at the mall as it opens. Instead of waiting in traffic just to wait in line at the bank at noon on Friday, do banking on Tuesday. Eat out at 5 p.m. instead of 7 p.m. You’ll get a table without waiting—and probably better service.

Begin running errands at 6 a.m. on Sunday and you’ll cruise through deserted streets, park near the door, zip through aisles, breeze through the checkout. Employees and customers are less stressed, actually smiling!

And you’ll be back home and writing before most folks have rolled out of bed…

Guidelines for Writing Subplots

I'm hammering out the broad shape of two big subplots in my new book. Sadly, I don't believe that any book will help me with this. Subplots are unique to each story. But some elements are standard for subplots that span the length of most the book.

• Introduction. Characters may be set up in the Introduction or they may first appear in the Early Middle. Since major subplots typically do not start in the Introduction (common exception: major romance subplot), the characters and/or situation are often in stasis at this point, maybe feeling the pressures of the situation (or maybe not) but not yet pushed into doing anything about it.
• Arc. Subplots are structured very like the main plot with a set-up, inciting incident, crisis that makes the character(s) turn from reactive to proactive, a point that propels them into the final showdown, the show-down, and resolution (optional). These points may or may not occur at the same time as in the main plot.
• Timing. Subplots alternate with the main story. Long-term subplot are usually introduced in order of importance (the most important – like a romance – first). And finish up the least important subplots first. Subplots typically are resolved before the final battle of the main plot. A possible exception can be when the outcome of the subplot depends on the final battle's result.

Chase Scenes: the Physical Element

There is so much out there on the physical element of chase scenes. No discussion of chase scenes is complete without it – maybe because it is the most obvious defining element of this type of scene.

• World: Remember that the chase scene takes place in the character's point of view – with a few exceptions. If you want to show parts of the setting that the view-point character cannot see, consider using multiple points of view, starting the scene with a broad scope that quickly narrows down (a narrow view-point is frequently more immediate to the reader), or introduce the invisible details in an earlier scene. You might want to consider creating a map of the chase scene, complete with obstacles an potential escape routes.
• Limits: Even Superman has physical limits but boy did they have to work hard to create them. Hopefully you will be more generous with your character's physical (and maybe supernatural) limits. Limits make the chase more exciting, cut down on your character's choices and chances, and can place your character at a disadvantage (raising the tension and suspense). Some tlimits have a built-in timer (which further ramps up suspense) like stamina, the time your character can hold her breath, the distance she can jump. Other limits are stable, like no depth perception, lack of strength. An injury can be stable or worsen as a result of the character's choices, further limiting their choices.
• Obstacles: Physical obstacles are limits imposed by the outside that must be avoided or overcome. Consider turning one into the other. Introduce an obstacle to be avoided at all costs and change the flow of action so it must be overcome. Introduce an obstacles that appears that it can be overcome bt turns into a dead end – possible causing harm to the protagonist or allowing the antagonist to catch up (or almost catch up) with the protagonist. In the pursuit scene, the antagonist may introduce obstacles (such as traps) to slow or block the progress of the protagonist.
• Action: Readers really get excited by close calls. The trick is to find a way to bring the two forces face-to-face (or in close range) without allowing an all-out confrontation. If the view-point character receives a handicap at this point (a wound, for instance) that makes further escape/ pursuit more difficult, so much the better. If this is a BIG chase scene, consider adding a stunt. These are times of high stakes, high emotion, and (if done right) highly memorable for the reader.