Category Archives: Creative Writing

Finding Your Creative Time

By Melanie Anne Phillips

You sit in your favorite writing chair, by the window, on the porch, or in the study. You wear your favorite tweed jacket with the leather elbow patches, or your blue jeans, or your “creative shoes.” You look around at the carefully crafted environment you spent months arranging to trigger your inspiration. Reaching eagerly forward you place your hands on the keyboard or grasp the pen or pencil, and… Nothing happens.

You look around the room again, out the window, sip your coffee, cross or uncross your legs, finger your lucky charm, reach forward and… Still nothing

What in blazes is wrong? You know you are full of inspiration; you can feel it! Why the ideas were flowing like a deluge just this morning, last night, or yesterday. Frustrated, yet determined, you try several more times to get the words to flow, but to no avail. “Good pen name, ” you think,” Noah Vale.”

So what’s the problem? How can you feel all primed to write, sit in your favorite environment with everything just perfect and still nothing comes?

Perhaps the problem is not where you are trying to write, but when!

Each of us has a creative time of day and a logistic time of day. Never heard of this? I didn’t discover it until quite recently myself. As a writer, I always thought creativity came and went with the Muse, sometimes bringing inspiration, sometimes spiriting it away. Like most writers, I had found that creating a quiet refuge, a creative sanctuary, increased the frequency and intensity of visits from the Muse. What I didn’t know was that the Muse keeps a schedule: she comes and goes like clockwork.

Here’s my scenario and see how it might apply to you… I’ve always felt guilty when I write – guilty that I’m not out cleaning something, building something, visiting someone, or even just getting out in the real world and living a little. But writing always draws me back. I find it therapeutic, cathartic, invigorating, stimulating, and, well, just plain fun. Sometimes… no, make that ALL the time, it’s as good as… no, make that BETTER THAN sex! And food! And earning a living! I often feel (when writing) like that rat with the wire connected to his pleasure center who kept pushing the stimulation button until it starved to death because it forgot to eat!

Well, the urge to write is there all the time. But, because I feel guilty I try to get all of my chores done I the morning, clearing the way to spend the afternoon or evening writing guilt free. But then I sit there watching the sun go down, full of the desire to write but completely unable to do so.

Recently, however, I had the good fortune of actually finishing all my chores the night before. I found myself with the whole morning free and guilt-free as well! At first, I was just going to goof off, do some reading, watch some TV, but then that old Writing Bug took a nip of my soul and off I was to my study to pound the keys. And you know what? The words just spilled out like secrets from the town gossip! This was wonderful! What an experience! I was pelting out the thoughts without the least guilt and without the slightest hesitation. I was flying through my own mind and playing it out on the keys! It felt very much like when I play music.

But why was this happening? I was truly afraid the feeling would go as quickly as it came and I would be lost in the creative doldrums again. In fact, it did fade with time – not abruptly, but gradually… slipping away until it was no more. But it did not leave a vacuum. In its place was a rising motivation to clean something, build something, visit someone, or get out in the real world and live!

Then, it hit me… Perhaps my creativity does not spring from where I write, but when! Perhaps the morning is my creative time and the afternoon, my practical time! I experimented. Try to write in the afternoon, the evening, at night, the morning. Quickly I discovered that if I felt free from the guilt of non-practical activity, I could write in the morning as if I were designed to do nothing else! But no matter how many chores I might accomplish in the morning, by the time the sun dropped below the horizon, my inspiration dropped away as well.

In fact, my creative time seems tied to the sun. For me, it brightens in the morning, peaks around noon, and fades away to nothing at dusk. Interestingly, I recently moved to the mountains and dusk comes early hear in the canyon this time of year – far earlier than when I lived down in the flatlands of the city.

Looking back over the years, I could see that my daily creative cycle depended upon the direct rays of the sun, not the time of day. And all those years I tried to get the practical stuff done in the morning to avoid guilt didn’t help my creativity but hindered it!

Lately, I just know that when the sun goes down it’s time to get practical. As a result, I know in the morning that I’ll accomplish real world logistic things later in the day. That eliminates guilt because the work part is already scheduled. And, that frees my mind to play with words all morning long.

When is your creative time? Just being a “morning person” or a “night person” isn’t enough because that only determines when you have your most energy. But what KIND of energy? Perhaps you are more energetic when you are working on the practical, so you think that just because you get your greatest energy at night you are a night person. This is not necessarily so! Suppose your creative side is NEVER the most energetic part of you, but is strongest in the morning. Then you are a Practical night person and a Creative morning person.

Your Creative Time might be any span of hours in the day. Or, it might even be more than one time. For example, you might be most inspired from mid-morning until noon and again from mid-afternoon to dusk. Everyone is a bit different. The key is to find your Creative Time and then adjust your daily schedule to fit it. It is important to remember to avoid guilt feelings while trying to determine your Creative Time. To do this, don’t just focus on when you are going to try writing, but make sure to also schedule other time to concentrate on chores. This way your “reading” of the level of your creativity will not be tainted by negative feelings of guilt, and you should arrive at more accurate appraisals.

After a week or so of trying different combinations, you should be able to determine the best creative and most practical times of the day. From that point forward, you will almost certainly find inspiration is present more than it is absent, and writing becomes far more joyful a process and less like work.

But there is a little bit more… Our lives are not just creative or practical. In fact, there are four principal emotionally driven aspects to our days: Creative, Practical, Reflective, and Social.

We need our Reflective time to be alone, to mull the events of our life over our minds eye, to let our thoughts wander where they will: to daydream. We need our Social time to recharge our batteries in the company of others, to express ourselves to our friends, to de-focus from our own subjective view by standing in the shoes of those around us.

I’ve found for myself that Saturday is a Social day for me, and that Sunday a Reflective day. I don’t do much of either on the weekdays at all. Whether this is nurture, nature, or something else altogether I can’t say, and to be truthful, it doesn’t really matter. What matters is that I have come to recognize it.

When is your Reflective time? Do you have some every day, just on weekdays, only on weekends, or some combination of these? How about your Social time? Do you ever feel guilty wanting to be alone? Do you ever feel deprived because you ARE alone? Part of these feelings may come from trying to do each of these activities in times that (for your) are actually geared toward the other.

Once you have mapped our your Creative, Practical, Reflective, and Social cycles, you’ll find that you get so much more accomplished, and with so much more fulfillment. All four aspects of your life will improve, and the improvement in each will remove emotional burdens and therefore increase the energy in each of the other three!

In short, you can be in phase with your emotional cycles, or out of phase. The more you schedule your activities to match the flow of your feelings, the more your life experience will buoy itself higher and higher with less and less effort. And best of all, the more inspiration you will find when you sit in your tweed jacket and reach for the keyboard.

Make the most of your creative time:

Get Out Of My Head!!! (A tip for writers…)

By Melanie Anne Phillips

This tip is excerpted from my book, Write Your Novel Step By Step.  Click the link to read it free on my web site.

In this step, we’ll  explore how to clear your mental decks to make room for all the story development to come.

When beginning a new novel, writers are often faced with one of two initial problems that hinders them right from the get go.  One – sometimes you have a story concept but can’t think of what to do with it.  In other words, you know what you want to write about, but the characters and plot elude you.  Two – sometimes your head is swimming with so many ideas that you haven’t got a clue how to pull them all together into a single unified story.

Fortunately, the solution to both is the same.  In each case, you need to clear your mind of what you do know about your story to make room for what you’d like to know.

If your problem is a story concept but no content, writing it down will help focus your thinking.  In fact, once your idea for a novel is out of your head and on paper or screen, you begin to see it objectively, not just subjectively.

Often just having an external look at your idea will spur other ideas that were not apparent when you were simply mulling it over.  And at the very least, it will clarify what it is you desire to create.

If, on the other hand, your problem is that all the little thoughts, notions or concepts that sparked the idea there might be a book in there somewhere are swirling around in a chaotic maelstrom….  well, then writing them all down will make room in your mind to start organizing that material by topic, category, sequence, or structural element.

For those whose cognitive cup runneth over, the issue is that one is afraid to forget any of these wonderful ideas, or to lose track of any of the tenuous or gossamer connections among them.  And so, we keeping stirring them around and around in our minds, refreshing our memory of them, but leaving us running in circles chasing our creative tales.

By writing down everything your are thinking, not as a story per se, but just in the same fragmented glimpses in which they are presenting themselves to you, you’ll be able to let them go, one by one, until your mental processor has retreated from the edge of memory overload and you can begin to pull your material together into the beginnings of a true proto-story.

Whether you are plagued by issue one or two, don’t try to fashion a full-fledged story at this stage while you are jotting down your notions.  That would simply add an unnecessary burden to your efforts that would hobble your forward progress and likely leave you frustrated by the daunting process of trying to see your finished story before you’ve even developed it.

Sure, before you write you’re going to need that overview of where you are heading to guide you to “The End”.  But that comes later.  For now, in this step, just write down your central concept and/or all the transient inspirations you are juggling in your head.

In the next step, we’ll look at what to do with what you’ve written down…

Need personalized story help?


Try my story consultation service for free!

Just email me with a bit about your story,
and I’ll give you some initial feedback and
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Storytelling Tip 8 of 50 – Flashbacks and Flash Forwards

Storytelling Tip 8 of 50

Flashbacks and Flash Forwards

There is a big difference between flashbacks where a character reminisces and flashbacks that simply transport an audience to an earlier time. If the characters are aware of the time shift, it affects their thinking, and is therefore part of the story’s structure. If they are not, the flashback is simply a Storyweaving technique engineered to enhance the audience experience.

In the motion picture and book of Interview With The Vampire, the story is a structural flashback, as we are really concerned with how Louis will react once he has finished relating these events from his past. In contrast, in Remains Of The Day, the story is presented out of sequence for the purpose of comparing aspects of the characters lives in ways only the audience can appreciate. Even Pulp Fiction employs that technique once the cat is out of the bag that things are not in order. From that point forward, we are looking for part of the author’s message to be outside the structure, in the realm of storytelling.

Read all 50 Storytelling Tips for Free HERE

Storytelling Tip 6 of 50 – “Non-Causality”

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Trick 6

Non-Causality (Out of Context Experiences)

There is often a difference between what an audience expects and what logically must happen. A prime example occurs in the Laurel and Hardy film, The Music Box. Stan and Ollie are piano movers. The setup is their efforts to get a piano up a quarter mile flight of stairs to a hillside house. Every time they get to the top, one way or another it slides down to the bottom again. Finally, they get it up there only to discover the address is on the second floor! So, they rig a block and tackle and begin to hoist the piano up to the second floor window. The winch strains, the rope frays, the piano sways. And just when they get the piano up to the window, they push it inside without incident.

After the audience has been conditioned by the multiple efforts to get the piano up the stairs, pushing it in the window without mishap has the audience rolling in the aisles, as they say.

Excerpted from the book
50 Sure-Fire Storytelling Tricks
Download for just $2.99

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Storytelling Tip 5 of 50 – “Building Importance”

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Trick 5

Building Importance (Changing Impact)

In this technique, things not only appear more or less important, but actually become so. This trick was a favorite of Hitchcock in such films as North By Northwest and in television series such as MacGyver. In an episode of The Twilight Zone, for example, Mickey Rooney plays a jockey who gets his wish to be big, only to be too large to run the race of a lifetime.

Usually things become more (or less) important as a result of their implications or of changing contexts.  As the old saying points out, “for want of a nail the horseshoe was lost” and eventually, because of that lacking nail, the entire war was lost.

Someone might have an allergy that is an annoyance until it helps authorities locate a device planted by terrorists.  Someone whose only claim to fame is that they can hold their breath longer than anyone else might survive to rescue others in a room filling with smoke.

Or, on the contrary, a doctor whose entire knowledge-base and clientele revolves around treating an incurable disease might find themselves without value when a cure is unexpectedly discovered.

The fun part of this technique for a writer is that you have the option to play the very same thing as becoming important or becoming unimportant or even having it flop back and forth.  For example, an electronic currency trader may suddenly find himself without value in a zombie apocalypse, only to discover that his skill for tracking subtle patterns allows him to predict the movements of the zombie herd, only to be without value once again when the herd mutates and becomes chaotic in their movements.

So, to liven up a story, look for opportunities both close to the core of your story, such as with Mickey Rooney as that jockey, and also look for fun changes of fortune (of importance or value) not only for characters with unique traits or skills, but also for items as in MacGyver or that infamous horseshoe nail.

50 Sure-Fire Storytelling Tricks available on Amazon.com

StoryWeaver Software

The perfect balance between heart and mind

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Click for details…

How Art is Made (The Battle Between Heart and Mind)

heat-and-mindRealize that your mind is a narrative-generating machine. That is why narratives exist in the first place: because they mirror the processes of the mind. But the mind is also a repository of topical information – subject matter – and engages in the process of synthesizing two or more old ideas into a new one. The new ideas may or may not fit into the narrative the mind is constructing. And yet the heart is drawn more to the new ideas, just as the mind is drawn more to a balanced and complete structure.

And so, in waking and in sleeping our conscious and subconscious minds each rule for part of our lives, with the other being the opposition party for a few hours. And in the term of office of each, they push through their agendas: more subject matter, ever-expanding or more accurate structure, ever-refining.

The act of creation is a political war between our conscious and sub-conscious selves – our hearts and our minds – our love of a subject and our need to put that subject in a contextual framework.

Only when negotiations commence and compromises are made is a balance between topic and matrix achieved. And then, though our hearts and minds will never be fully satisfied with the treaty between them, they will let the work of art go out into the world and call it complete, as the loss of some of our most important story elements ultimately is less than the ongoing losses within us in a war between our emotions and our reason.

That, is how art is made.

StoryWeaver Software

The perfect balance between heart and mind

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Click for details

Back to Work, Writers!

BACK TO WORK, WRITERS!

Yes, writing is work. Though sometimes in the thrill of inspiration the process can be an amusement park of experiences, more often it is frustration, drudgery and stress. Over the years I’ve found that most of my clients for story consultation are looking for a silver bullet – some sort of creative elixir that throws open the floodgates of inspiration so that ideas just spill out all over their stories. And when they discover that while I can provide techniques to get their Muse in gear and insights to keep them on a good story development course, they are disappointed – no, perhaps “deflated” is a better word. Getting them over that hump and down to the serious business of writing is always the first priority. Quite honestly, some of them can’t make that climb – the hill is just too high. So, they turn away from that path and instead spend hundreds and often thousand of dollars on every patent medicine every snake oil story guru has to offer. Now to be sure, most teachers of story aren’t charlatans. And most aren’t gurus either. Rather, each has found some small “t” truth that works for them and they offer it up to any others it might help. But one size never fits all, so whatever one is hawking, there’s only a percentage of the flock who need your particular brand of wool curler. There is a big “T” truth out there to be sure, but as zen would have it, the tao that can be spoken is not the Eternal Tao – meaning that you can’t have your cake and eat it too. In other words, either it is teachable or it is Truth. So as you go back to work, you writers, you, consider that there is no single source for enlightenment, no special knowledge that turns work into play, and no silver bullet that severs the ties that bind better than a healthy amount of mental elbow grease to ease the friction of untying the damn thing.

Melanie Anne Phillips

Storymind.com

How I Beat Writer’s Block

After twenty five years as a teacher of creative writing, I finally discovered the cure for writer’s block.  I call it the Idea Spinner Method.

It worked so well for me, I turned it into a software tool to make it even easier to use.

Here’s a quick video demo that’s pretty cool, if I do say so myself!

Idea Spinner BEATS WRITER’S BLOCK or your money back. It ‘s just $19.95. That simple. Watch…

How do you create a main character who is an antagonist?

A writer just asked, “Can I make my main character an Antagonist instead of the Protagonist?”

My reply:

The main character is the one through whose eyes the reader or audience experiences the story. It is the one around whom the personal issue or problem of the story seems to revolve. The main character is, essentially, the “first person” point of view in the story. It is through them we most passionately experience the story first hand by identifying with them.

Protagonist and antagonist are not point of view characters but are character functions. The protagonist is the one who is the prime mover of the effort to achieve the goal. The antagonist is all about preventing the protagonist from achieving the goal. In our own minds, protagonist represents our initiative – the motivation to affect change. Antagonist is our reticence – the motivation to maintain the status quo, or at least to return to it.

So, any character in a story can be the main character, not just protagonist or antagonist. it could be a by stander, simply providing a passionate point of view on the plot, just as if the story were a football game, the main character doesn’t have to be the quarterback (protagonist) or opposing quarterback (antagonist) but could be the half back or any of the linesmen, or ever then water boy. But, whomever is your main character, it is they who grapple with the underlying moral issue of the story, it is they who are brought to a point where they must either stick by their guns or change their ways in regard to some philosophical or moral point of view or manner. It is the main character who must make a leap of faith. And, their connection to the story at large is that as a result of their decision on the central message issue, either the protagonist or antagonist will succeed.

When you select one of your players as a protagonist and also as the main character you get the stereotypical hero – a character who grapples with the moral issue, represents the reader/audience point of view, and is also leading the charge in the logistics of the plot. But, the main character can be anyone. For example, in most James Bond movies, Bond is a main character antagonist – not a protagonist – because it is the villain who is affecting change due due their evil scheme, making them the protagonist, and it is Bond who seeks to prevent that change or return things to the status quo, even though we see things through Bond’s eyes, making him the main character with whom the reader/audience identifies. And what of Bond doing the other main character job of grappling with a moral issue? In a few movies he does, but the moral issue is actually a personal battle over what is proper between the main character and the influence character who represents the opposing moral viewpoint. They thrash out the message of the story between them, independent of whether either of them is a protagonist or antagonist. So, in bond films, he almost always remains steadfast on that issue, while it is the influence character who is changed in their moral point of view by Bond’s intransigence.

In the Dramatica software, you can assign the main character view and Influence character view to any of your characters in the Build Characters window.

Hope this helps.

Melanie
Storymind