I’ve had my own problems with protagonists who feel helpless, uncertain or just plain lazy. How do you get your characters to stop pondering, philosophizing or just buying donuts and start to make sh*t happen?

Get behind your characters’ motivation. What would *you* do if you thought you had discovered evidence of a murder?! Would it haunt you?

Writing can be like dreaming. I used to have dreams in which something bad was happening and I needed to run but couldn’t. Eventually I realized that this was because my sleeping body thought I actually wanted it to run and it refused to haul itself out of bed just because I was having a bad dream!

A similar lethargy can haunt the writing process. We writers are sitting safely at our desks or wherever, and it seems far-fetched to jump up and start solving murders or actively dealing with major life problems.

But if we were in the actual situation, you bet we’d be taking action–and that is what our characters must do.

First, I told her, open all the manuscripts to page one. Look at anything any one said on page one, and consolidate what is relevant and useful into one book. Go along, page by page, until you’ve reviewed and condensed the whole conversation onto one manuscript.

(On a practical level, this means that you go through each manuscript until you come to the first page that has a comment, and then you let it sit on your bed or floor or wherever you’ve spread everything out, until you get to that page in your review.)

She found it helpful to have this systematic approach, but then she’d finished going through all the pages of all the manuscripts. Now what?

So, what now that you have these comments transcribed?

1) Look through them and make a list of any structural or BIG issue comments that resonate with you but which will need to be addressed on a macro level.
2) These macro issues will take daydreaming, re-plotting, conversations with your character, ripping seams and pulling out nails. Re-visioning. Give them time. Ask yourself questions and let the answers percolate. Draw diagrams, read books, muse.
2) The rest of the comments will be easier: page by page, line by line you look at the comments. If you agree something needs to change, change it.
3) You have to go back to “first draft” writing mode in order to try something out. There’s no way to write something for the first time that isn’t, at some level, a first draft. Sounds obvious, but it’s hard to put first draft material in the middle of a manuscript you’ve been laboring over. There is, however, no other way. You have to experiment, see what works, be willing to get it wrong.
4) Once you think you have something that might work, go on page by page to the next site-specific comment or comments and address those.
5) Keep in constant communication with yourself. Do not fix what does not, to your way of seeing, need fixing. Do not assume that other people’s suggestions will be the right ones to fix a problem. Identify the problem underlying the suggestion and see what your own storyteller has to say about solutions.

I hope this helps others who are wondering how to move forward after a critique! How do you integrate feedback?

In coaching a client last week, I articulated a trio of guidelines for what to keep in piecing together a revision. Now that I have to take my own advice (always a bitter pill no matter how cheerily helpful or accurate the advice), I thought I’d share this with any of you who might also benefit from some revision guidelines.

Keep it if:

1) It fits with your thematic statement. Be sure you come up with this thematic statement by reading through your actual material, not by forcing it or wishing it into being.

2) It presents an good and true obstacle between your protagonist and her desire.

3) It is required, on a “need to know” basis, for set up or because the question it answers has become so big, it’s time to answer it.

Now Deanna Carlyle has shared her list of 1,000 verbs, and I’m going to guess that this one will “go viral.” There’s something about verbs. What can I say? They keep things moving. So shake up your writing and check this out. Then come up with your own 1000 verbs, hey?

http://www.deannacarlyle.com/articles/verb.html

She’s got another great write-up about improving your descriptions. My students are deep into editing their books, and this week, we are working on sentences. I love this part of revision. Your cursor (or your pencil) becomes a scalpel, incising this word, then a needle, appending that. Relief: that first draft really can transform. The wrong words hold place for the right ones, the weak hang out until the strong can be found.

Anyway, I think she’s got some good tips and some great examples:

http://www.deannacarlyle.com/articles/descriptions.html

My monthly writing tip will be going out in the next week or so, and it’s going to be about sentences. If this sounds as enticing as chocolate or a foot massage or breakfast in bed, you are the person to whom I am writing. Sign up over to the right where it says, “Get Monthly News!”

One, Annie Dillard’s triumphant latest novel The Maytrees, lays down line after line, precise, poetic, thick as slabs of homemade, whole grain bread:

Sometimes now Lou searched old albums to test her proposition that nothing so compels a woman as the boyhood of the man she loves. She saw a snapshot of boy Maytree in cap and knickers dwarfed by his cross-eyed father on a wharf. In the prints, Maytree’s cap’s shadow blacked most of his face. Here again he crouched on the beach, as at a starting block, between his hairy mother and his visibly half-dead grandmother, in a wind harsh with that present’s brine. In those prints she saw unease in the boy, as if he had been scanning the offing for the man.

Notice, too, no excess articles: ” in cap and knickers.” But “blacked”! Now that’s a verb.

And for contrast, we go to Junot Diaz’s Drown. I’d read a couple of the stories. One I taught in a creative writing course and another a student had brought in to class. But it was not until I adored The Brief, Wondrous Life of Oscar Wao that I plucked my first edition hard-cover (bought back when that was the only edition available) of Drown from the shelf and devoured it. I think I’d convinced myself that the hype probably had it wrong; instead, I was wrong about the hype.

Check it out, looking again at the mastery of verbs:

He’s tired and aching but he looks out over the valley, and the way the land curves away to hide itself reminds him of the way Lou hides his dominoes when they play. Go, she says. Before your father comes out.
He knows what happens when his father comes out. He pulls on his mask and feels the fleas stirring in the cloth. When she turns her back, he hides, blending into the weeks. He watches his mother hold Pesao’s head gently under the faucet and when the water finally urges out from the pipe Pesao yells as if he’s been given a present or a wish come true.

“Urges” is not a typo; it’s Diaz’s twist.

None of these sentences eats its own tail, crushing meaning, curling in on itself. Neither do they plod, predicting each other. I’ve not picked the best passages or any in particular. I’ve merely leafed through, finding something to put down for you as representative of the whole.

I’ve just finished a pass through the novel I wrote at the end of 2007, starting in NaNoWriMo. The pleasure of editing is that it bolsters the writer, assured that these sentences can be revisited and strengthened. She can

replace “to be” and “to have” with better verbs,

flip the subject of the sentence,

cut excess articles,

move adverbs into verbs and adjectives into nouns by choosing stronger words.

Metaphors can be brought through a sentence, so that the verb alludes to the metaphor, too.

Cliché’s can be tweaked or excised.

Slogging through close editing reminds me that the first draft just needs to get on the page; it’s easier to fix it than to get it right in the first place, at least for me. I get, at the bone, that writing is rewriting. And rewriting. And rewriting.

The good news about the ninety-nine percent perspiration–the secret news–is that the hard work pleasures the mind and the body, which want to pump, push and ache. The doubts and misery about the one percent inspiration melt in the face of the methodical effort that can turn out a perfectly juicy sentence.

This week, my revision course begins with Reading as a Stranger. I just posted the lecture and am reminded that anyone with a legitimate call to writing starts out (and continues on) as a reader first. Getting to be an ace reader of your own work rewards the inner reader that put you in the middle of this writing mess in the first place.

Oh–and I am going to get my monthly “writing tips” newsletter out this week, though there’s been both hell and high water, so if you want to get that in your email box (not more than once a month), sign up in the right side margin.

And if you have nothing to revise? Get something down. The worse it is, the easier it will be to make it better later . . .

The time I’d taken off also gave me the distance to be willing to jettison those first 15 pages, to realize that my character might be happy being madly in love with his fiance the whole book through but that it really didn’t make for an exciting plot, and to see that my character was wussing out on taking action not because that is more “realistic,” but because I’d been so tired while I was writing the book.

Now I have to rip out the seams and move pieces around and then resew it, without leaving gashes and tears or the bumpy hint of new scars.

I want to do everything I know needs doing before my cohorts read the manuscript because I want their critique to give me new information. I also want to keep close to my own personal vision of this book before I hand it over to readers; I fear I was mislead in my copious revisions of my last book because my goal became to please absolutely everybody and that is not only impossible and way too much work, it is actually opposite to the goals of art. These have to do with personal vision and the often uncomfortable edges where we do not all think alike or see eye to eye.

So here are ten things to keep in mind when you want to be your own best editor:

1) Read as if you were a stranger. Give yourself the time away from the material to be able to turn a fresh eye to it, to know what is exciting and what doesn’t really make sense, and also to be able to be moved by your own work, surprised, even.

2) Don’t get discouraged if the beginning isn’t strong. You were probably warming up there. Keep reading!

3) Mark what you like as well as what puzzles, frustrates or irritates you. We often can get into an editing frenzy when we go back to make changes and forget what worked about the book.

4) Keep a “to do” list as you are going, so that you will be able to go back through with ease and also so that you can review your notes and make decisions about what to do, but mostly so that you see that while the work ahead may be enormous, it is finite. (My list is seventy items long!)

5) Make a list of characters as you are going. You can make other lists, too: I started one, during that opening, of settings I might make use of later in the book. I don’t think I’ll really need them, but it helped to make me more willing to cut those pages when I thought that I might be able to use the parts I liked elsewhere. I also made a list of suspects, since my novel has an aspect of mystery to it, and in writing so quickly and without a plan, I had planted a lot of red herrings.

6) Make time to do this work. Enlist the help of your family, mate, coworkers or friends. Let them know that you have a project and a goal. As with writing, it can help to report on your progress to someone. Celebrate the milestones, too. Share the excitement of reading through your book manuscript.

7) Get involved with the story and trust your intuition. As we read a good book, we usually make guesses about what is going on: did that person just lie? Is that person hiding something? Should that person be going down that dark alley? Our guesswork as readers can be our best plotting as writers–you may find out who done it or why or what’s really going on when you read they way an involved reader does, rather than when you have your writer hat on and are trying to map a plot.

8 ) Harness the energy of the moment. If you have an idea of a scene, and you get all excited about it, by all means, go with that momentum and write as much as you can in the moment. We often imagine, when we are feeling inspired, that that feeling will always be there when we think of a particular idea. In fact, the next day, our few notes on something may be drained of energy–so if the horse starts to gallop, hold on and ride to the finish line. Or, you know, something like that . . .

9) Let other books be your teachers. Turn to the writers you love most for advice . . . all found in the books they’ve written. Look back to see how one built her plot, how another created a feeling of love for all of his characters, how a third used setting to create a strong atmosphere. When you wander in bookstores or the library, let yourself be bouyed by the brilliance that is out there.

10) Consider this your “learning how to write a book book.” When I wrote my first book, I called it my “learning how to write a novel novel.” This was tremendously freeing and challenging. What I’ve since learned is that each book teaches me how to write that book. Approaching your work as a student–not an amateur, but a professional sitting at the feet of your craft to learn–allows you to write better than yourself, to become better than your best, to innovate, which is to say, to create.

Revising a book? Join my online course Building Your Book. Early enrollment discounts in effect until Dec. 21, 2008. Visit my courses site for more information. Also, sign up for my newsletter to receive montly writing tips (in the right margin of my home page). See you on the screen!

“Given that I am ending up with chunks of interesting information and scenes but not necessarily fitting the original incline, what are some tactics or techniques for figuring out how to fit the chunks together in a narrative?”

This is an exciting question that inadvertently (but not accidentally) taps into the heart of what storytelling is all about. I say “not accidentally” because when you write everyday, throwing yourself deep into a book as this person has done, you are bound to end up right in the lap of the creature, aren’t you? So there she is, with chunks.

Putting chunks together is exactly how to build a story. We contemporary readers-cum-screen-watchers can jump cut from one universe to another, from one point of view to another, from one era to another without pause. We do not need our chunks cemented with smooth transitions, with careful contextualizations, with complicated explanations. Show us the money, baby. Lay your chunks out like cards.

Cards is a great metaphor, in fact, because what matters when you are turning over one card and then the next–say in a game of War or Black Jack in not so much the card itself as its relationship to the card that comes before or after. But once you know the rules of the game, the cards can just be turned, and the story is all in the turning.

Check it: Twenty-One: First card is a five of diamonds. Second card is an Ace. What next? Tap tap: third card is a seven. You’ve either got thirteen or you’re over with twenty-two, yes? Tap, tap: an eight of spades. You’re golden. Lucky bastard. (Note: My Twentyone experience, such as it is, comes from when I was about eleven and attended a conference in Florida with my father. While he went to boring lectures, I hung out with the bartender and played Twenty-one.)

Five; Ace; Seven; Eight. Chunks. It’s the rules of the game that allow the juxtapositions to take on meaning. What are the rules of the narrative game? Things like this: Whatever someone is counting on will not come to pass; when things are looking very, very bad, something is going to turn around; when things are looking very, very good, something is going to turn around; people change, unless they are the kind of people who think they are going to change radically and profoundly, in which case, they will stay the same; actions build and stakes rise, so things can only get better, or worse–they can’t simply repeat, even in intensity; and it always comes down to a choice.

So you place your first card, and we’re looking to see what’s coming next. We know it won’t be the same. Things are going to go up or they are going to go down. We’re looking to be surprised. What expectation does your first card set up? Your next card is going to upend that expectation. Your third card is going to keep raising the stakes. Your fourth card is going to force a choice. Your fifth card is going to reveal that choice. Your sixth card will announce unexpected consequences to your choice.

So how does this related to real-life revision? Annie Dillard talks about the nine-mile hike you take, around and around a long table, when you are revising. You lay out your chunks–on the floor, on your dining room table, pinned to your walls–and you pace, moving them around. You are looking for electric connections, unexpected conversations between the pieces.

Story is about juxtaposition, as David Mamet talks about in his wonderful book On Direction Film, which is really on writing story. He’s using Eisenstein’s theories of collage–the story comes from the uninflected juxtaposition of two images.

A branch cracking. A deer looking up.

A little dog running toward a curb. A giant wheel of a truck rolling forward. Little dog. Wheel. Little dog. Wheel.

See? Uninflected images juxtaposed create a story. Create meaning. There is no narration. No voice over saying, “Poor little dog, if only I had known . . . “

This means: trust your chunks. Don’t smear loads of glue on the back that will seep around the sides and dry into white plastic paste on the construction paper.

When I first apprenticed myself to writing, I was twenty and had just moved to San Francisco. I had a very plain notebook, the kind you buy at a drugstore for a buck, and I filled it with short scenes. Then I read through it and looked for unexpected relationships between those scenes, and by laying them side-by-side, this character becoming that character, another character becoming roommates with the first, stories emerged from those pages.

I thought of this practice as setting up crosscurrents. A story was usually about at least two things, two unexpectedly juxtaposed things, out of which a third–call it meaning–emerged. The tension in story comes where the crosscurrents create suction, movement, a whirlpool.

Try laying out your cards. Shuffle the deck and try it another way. Card by card, lay out the story, until it’s one you’ve never heard before but which you know to be true.

[I am teaching a six-week-plus online / Skype course in Revision (for writers) and Editing (for editors). I am currently offering several holiday specials and discounts. To learn more, please visit my online learning center. I also send out a monthly newsletter with a writing tip. You can sign up to the right of my blog. Thanks! Elizabeth]

I just had a wonderful conversation with someone who said yes to my goals. She is successful in her own right and she gave me some great advice. I know it is great advice because it is advice that Angie has been giving me for years, advice that makes sense and it practical and doesn’t require anything impossible. And yet because this person said it to me, I got all fired up and ready to go. She said, make a plan. Even if it is a bad plan, it will be something to go back to when things aren’t going well or when you don’t know what to do.

A long time ago, when I first wanted to write a novel and I had no idea how to begin, my wise and wonderful sister Nanou asked me to think about how I’d accomplished other things in my at-the-time realatively short life. Well, I’d accomplished other things by a contorted method of examining every option I could think of it excruciating detail until I finally plunged in one direction. It was torturous. She said, “It sounds as though you do a lot of mapping and planning, and that this leads you to take action.” This was more than kind, but in any case, it set me in a direction that worked quite well for me, indeed.

There’s a wonderful book by Kennith Atchity called A Writer’s Time, that became the perfect road map for a planner like me.

Now it is time for me to make a new road map for a new project. I won’t say too much about it right now, except that it builds on the great online community that has been growing out of the courses I am currently teaching in novel writing and (upcoming) revision.

Around the time that David Foster Wallace killed himself, Terri Gross replayed a part of an interview she did with him some years back. He seemed so scared to step outside of the generational cynicism that dogged him and yet so trapped and frustrated inside it. The conversation reminded me exactly of my graduate school days, the fear I’d had of being sentimental. It’s a terrible place to be, though, because life packs some serious wallops, and pretty soon you don’t know how to address all the feelings you are having that turn out to be common and human, because common + human = sentimental, and sentimental has somehow become the worst thing of all to be.

Of course, the sentimentality that is problematic is a more glib approach to feelings, a desire to tap into emotion without earning it, to push the reader somewhere instead of taking her there. And it’s a tough line to walk, no doubt about it.

But the people who are succeeding–on a variety of fronts–are optimistic, organized, and aware. I am thinking of this woman I talked to this morning who has made herself into a successful wealth manager, but also of Jamie and Laura who have shepherded their baby son Simon through a harrowing ordeal of months in a hospital.

In order to be optimistic, organized and aware, you have to risk sentimentality, you have to risk the muck of human feeling and the dangers of communicating it, to yourself and to others.

I know that out of the exhaustion and surprise of becoming a parent, I really had to earn those feelings that are most frequently described as “automatic” or “maternal instinct.” I had to develop a conscious relationship to those feelings through getting to know these two beings who’d been placed in my hands. Now that they are with me in abundance, I revel in the joy of them. I don’t worry if it is cliched to think my kids are as gorgous and brilliant as anybody on earth; I do notice the texture of it and the specificity of them: Charlie’s joy in saying, “No” in his rumbling baby voice. “No! No!”  Leo’s intent focus as he stacks blocks higher than his own height. Charlie’s witty repartee, as when it is time for good-night songs and he knows what is coming: “Rowrowrowrowrow.” Leo’s process of deciding which car seat he wants this time, heaving himself out of one and into the other, rolling back and forth between them.

See? These are small miracles for me and likely impress you very little. That’s okay. I am saying yes to my sons and yes to my own hard-earned maternal adoration and yes to my big plans. I am saying yes to the risk of sentimentality in the exploration of human connection. Our pediatricians have a handout that suggests that you give your kids ten yesses for every no, that when you say no, you automatically owe them ten yesses. I think I’ll try that with myself for a while . . .

Later, I will be ecstatic that I did it. I will tell you that it changed my life, that I felt like a real writer (and who ever feels like that?), that the writing was better than I thought, that having a first draft of whatever level of worthiness is so much better than having nothing. Do not listen to me. I am a fiction writer; my business is lying in the service of creating truths that are better than the truth we have to live with now.

Sitting down after a day that began at 5 a.m., proceeded through turkey watching, diaper changing, breakfast -making, -consuming, -floor decorating, cleaning enough so that the babysitter will not be appalled, creating curriculum, responding to email, dealing with contracts and bills and house business, negotiating my relationship and lunch (usually at the same time), getting the nap to take, crawling out of a bed I would rather stay sleeping in, in order that I may continue with the previously mentioned work, detailed on a long list that keeps getting longer, making snacks, changing more diapers, cleaning up more (with noticeably little consequence), getting to the park to wear out rambunctious children so that after dinner, bath, story time and songs, they will fall asleep, so I can once again crawl out of a bed in which I and my tired body would so much rather stay and sleep . . . sitting down then to reenter the world of my novel, to conjure plot and setting, to challenge my character and entertain my (imaginary) readers and, ideally, myself (the most curmudgeonly reader of all at this particular moment), is HELL.

I don’t like to say this to my students or my clients, but let’s face it: a lot of writers commit suicide. Would it be dark to suggest that while the tools of writing are generally similar across type and time, the tools of suicide are both varied and creative, at least among writers, and might be more fruitfully studied in master’s programs?

I am sensing that the humor I feel in writing this might not come across on the page.

The truth is (ah, be warned): usually, by about mid-way into my writing session, I have gathered my faith again, rallied my exhausted moral, gotten caught up in the miracle that there is this story emerging, like a small piece of twine I am pulling out of my belly-button.

And I sent emails to my aunt and uncle and mother, by way of doing research, asking them about Los Angeles in the 1950s, and am getting back the most wonderful, rich descriptions. I also live with a historian, it turns out, someone who can imagine a world we’ve never lived in, touched or seen in detail. I suppose I am a literalist. While my best characters are imaginary–inspired by a feeling or reflection perhaps about someone but not in any other way that actual person–my best stories are not, or not entirely. My characters tend, as do I, to think more than they act, to think about acting more than they act, and also to think about everything more than they act. They imagine acting, but then they chicken out at the last minute.

This may be why writing is so hard for me. Writing is, after all, an action. It’s physical and rigorous. It should make you sweat. Annie Dillard writes about this most wonderfully, in her gem of a book The Writing Life:

The materiality of the writer’s life cannot be exaggerated. If you like metaphysics, throw pots. How fondly I recall thinking, in the old days, that to write you needed paper, pen, and a lap. How appalled I was to discover that, in order to write so much as a sonnet, you need a warehouse. You can easily get so confused writing a thirty-page chapter that in order to make an outline for the second draft, you have to rent a hall. I have often “written” with the mechanical aid of a twenty-foot conference table. You lay your pages along the table’s edge and pace out the work. You walk along the rows; you weed bits, move bits, and dig out bits, bent over the rows with hands like a gardener. After a couple of hours, you have taken an exceedingly dull nine-mile hike. You go home and soak your feet. (46)

This is where we are headed, my brave little group of writer/ students and I. And they are one more factor I should mention. They are marvelous. They are marching along, writing, writing, writing . . . as am I, for that matter. We post our word counts to each other and shout out at each glorious milestone. I post jump starts and technique boosts, and we talk via Skype each week, but mostly we are connected as much by the courageous, hellish adventure we are on separately at our own desks, tables and couches, in our own beds as we are by the internet.

And in January, we will be revisiting this mass of material we are currently gathering, whether with zeal or resistance. We will hike our way around it, and we will shout out to each other after each long mile. Worlds are opening up beneath our typing hands; this much I know. I’ve heard fragments of what they are writing, and the reader in me wants to lie down (ah, that bed again) and sink into these worlds. But instead, for now, I must trudge to the very edge of my own known world and invent the ground beneath my feet.

It’s hell, I tell you. But I wouldn’t trade it for the world.

Somerset Maugham is sometimes credited with saying, “There are three rules for writing a novel. Unfortunately, no one knows what they are.” Someone else talked about writing a novel as being like driving across the country in the dark: you can only see the three feet in front of you in the headlights, but you can go all the way like that. (The original quote, needless to say, is a heck of a lot more elegant.)

The main thing I’ve learned from both writing and teaching is that it doesn’t matter how it is done, it matters only how *you* do it. When I taught in the creative writing program at Pratt Institute, I worked for a whole year with fifteen creative writing majors. One of my assignments for them was to create a contract with themselves and me for the work they would do over each semester and how that work and its quality would translate into a grade. Each student had to contract individually, and what I noticed was that everyone came in to our initial conference and said something like, “I tend to write abstract poetry, so I am going to focus on narrative.” Or, “I tend to write really long, epistolary novels, so I am going to try flash fiction.” If they found that they stayed up for long weekends, hardly sleeping, and produced copious quantities of prose, they decided to force themselves to write for an hour each day. If they wrote best in the park, they were going to try to work at a desk. If they preferred to journal, they would try the computer, and if they read for inspiration, they were going to put those books aside.

This tendency–for the creative to try to reinvent themselves–is not isolated to my Pratt students. There are times when it seems that becoming an entirely different person would be easier than facing that next revision or approaching today’s blank page.

So the question is not, HOW do you write a novel? It is, How do YOU write a novel? And the answer, always, is that you write a novel in the same flawed, frustrating way that you do anything else in your life. Are you a list maker? Are you a fumble-blind-refuse-to-look-at-a-map-nik?

I guess this was the epiphany of my life, because I feel like I’ve written about it in every blog entry, but when I was giving birth, when I was waiting to be able to push my baby out, at a moment when most people have moved beyond language and become the animal beings that we all are, I was repeatedly asking, “What’s the plan? What’s the plan?”

So I am going to propose that changing who you are is about 700 billion times harder than getting down to business with the tools you’ve adapted to your own crazy way in.

Still, I am teaching a class, which is to say, I am offering myself as a sort of a guide, and in order to do this the best way I can, I asked myself, what do you need to write a novel? My answer is: some sort of framework (plot) to keep the thing up off the ground; a novelist’s instinct, so that you create vivid scene, characters, dialog, and so on, so that, in short, you write a novel and not a tract; and then another framework with which to approach the thing once it’s piled before you (likely, on your screen). And this is what I am offering in my courses, more or less.

Last year, when I wrote a novel draft in six or seven weeks, I started only with an idea. It was an idea I’d been harboring (and confessing) for about fifteen years. But it was only an idea. Now, rampantly, each night, it became a specific story with a protagonist who was in trouble. Lots of trouble. I had no idea what he should do, honestly.  I was still learning a lot of basic things about being a parent of two, and other basic things about writing 2000 words a day, and I had little to offer by way of advice for this guy chasing down priceless documents that offered him personal and professional redemption and the chance to turn at least his particular world upside down.

But because I had to go into a room and stare down the screen and make things happen, I did. Night after night. I winged it. And I learned a lot from winging it.

Now in the title of this blog, I am trying to make prayer stand in for planning, for asking for advice, for thinking ahead and staving off the trouble you can get yourself into if you do not. This may stretch the definition of prayer–or it may come kind of close to matching it. But go with me, if you will.

I have given all of these assignments to my students so that they may plot their novels, and I am giving myself the same assignments. (I marketed this as the course I wished I’d taken last year, and so it is.) But I notice that I am a little bit reluctant to give up on winging it, to see what emerges out of my head or heart or fingers or whatever it is that steers the story when I have two hours to produce 2000 words, bleary-eyed and sleep-deprived.

At the same time, I have the manuscript from last year, and even though I think it is the best thing I ever wrote, it still needs support in many places where it sags to the ground, and it needs cropping where I resorted to babbling (in character) because I was waiting for something to happen and I had no idea what that might be. And if I could save myself the trouble of some of that, I suspect there’s something I’d get in exchange, which is a different level of discovery.

It’s the difference between being told a story–say, how your parents met–and being transported to that time and place to be the proverbial fly-on-the-wall. What I mean is, without knowing anything much about my plot and character going in, I am essentially telling myself the story, listening for what is going on, what happens. But if I know what happens, then I am going in to learn what the textures and subtleties and meanings are in each moment, in each room, between people. I am creating the experience for myself.

There will be discoveries all the same, but instead of discovering the plot, I will be discovering the flesh of the flesh of the story.Or, to revert to my original metaphor, a little wind beneath the ol’ wing may loft me to a better view . . .