Who’s afraid of the blank page?

January 4, 2014

Hey everybody. Hope you had great holidays and that the new year is starting off bright! I’m doing okay up here, though I’m already tired of the wintry weather in Ontario.

Just wanted to say something about an email that I got weeks ago from Writers of the Future, with a link to an article about fear of the blank page. And I realized that, though I have a lot of fears and insecurities about writing, that isn’t one of them anymore. I can get worried that I have nothing new to say, or that I won’t be able to do justice to a particular story idea. But I don’t really associate either of them with a fresh digital document. (If we’re talking about a physical blank page, then I just get angry at the notion of having to write in longhand, but that’s a different topic that I’ve already covered.)

But the blank ‘page’ on my computer screen is always something I associate with the pure joy of creativity and I usually can hardly wait to rush in, start typing and fill it up–and then hesitate after a few paragraphs when I realize I have no idea where I’m actually going, now that I’ve started writing. I’m not sure how far back in my writing history that goes. Possibly, like a lot of my writing habits, it started to gel when I was cranking out Buffy the Vampire Slayer fanfic in university.

So, what about you? Do you have the blank page fear? If you’re a writer, how do you tackle it?

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Discovering a new revision process

August 2, 2013

It’s often hard for writers to figure out what process works for them. Natasha posted to a blog chain sharing a few thoughts on her process a few weeks ago, and Storywonk Sunday devoted most of their podcast last week to talking about process, including their concept of the ‘Frog Box’, which I love; it’s a feature on their website that prompts you with process ideas to try, that other Wonks have sent in.

I stumbled across something new in terms of process for revising while I was at Odyssey, and apparently it’s stuck with me. The first thing you need to understand is, I’ve done a lot of critiquing before going to Odyssey, but aside from the few in-person writer’s circles I’ve gone to, most of it has been with electronic manuscripts; the novel swaps forum on Nanowrimo.org and the CSSF short stories workshop rely on email, and critters.org has a hybrid system where you can get manuscripts emailed to you or download them off the website, and send them in either way as well.

At Odyssey, everything was hard copy. You printed out your story when it was ready, Jeremy the work-study writer made fifteen photocopies, stapled them, and handed them out to everybody at the morning lecture. We made notes in pen on the hard copy, typed up and printed our overall critique of the story, and handed in the critiques and the marked-up manuscript back to the author after everybody had said their piece in the circle.

It’s a system with a lot to recommend it; there’s no confusion over possible multiple copies emailed out, or any possibility of somebody not getting the manuscript critiqued because the college wifi decided it didn’t like their laptop. Also, it means that it’s a lot harder for anybody to keep copies of somebody else’s work, which I can understand a lot of workshoppers being concerned about.

I have issues with pens. I’ve been holding them an unusual way ever since I was little, my handwriting is horrible to read, and for most things, writing in pen on paper saps my creative energy like a black hole sucking up everything that comes near. But marking up a printout in pen is never the worst thing. I’ve been able to critique in pen on paper before, and I did some of my Block Revision last summer with pen and paper–but when I needed to write long passages I had to switch over to the Alphasmart.

When I was working on a story to submit in week 2 of Odyssey, after I’d come up with a first draft, I was having a hard time looking at what I’d written on the computer screen and figuring out what changes I needed to make before I submitted it. So, somewhat whimsically, I printed it off and tackled it with my official Odyssey pen as if it were somebody else’s story I were critiquing, and that worked quite well. Like with Block Revision, I wouldn’t write many words on the manuscript, but generally with just a short scribbled phrase I could tell myself what I needed to know to expand on a scene or insert new action. I did that with every piece I submitted for the rest of Odyssey, and for the story I abridged to read at the Flash Fiction Slam in Nashua.

I guess I hoped that after being home from Odyssey for a week, I could go back to editing by staring at the computer screen. Either that, or I entirely forgot about this new approach. But I went back to the paper and pen approach for my new revision of ‘Masterpiece’, and it’s still working great. Something about having a pen and a printout really brings the best out of my Inner Editor; who’d have thunk it. Maybe he’s just trying to find his own thing and emphasize how different he is from my Inner Pantser, who’s all about fingers on the keyboard. Whatever. As long as he’s willing to perform, I don’t mind killing a few trees for him.


Strangely unique: about pens and handwriting.

January 7, 2012

Okay, first off, the good news – my homework for my Holly Lisle lesson three is done, finally! Fifty-one scenes from ‘Won’t somebody think of the children’ on four by six index cards, after nearly two weeks.

Part of the reason that it took so long was that I was filling out the cards by hand, with a pen, since the instructions warned strenuously against using ‘software index cards’, and I don’t currently have a typewriter that can handle index cards.

I don’t like handwriting. I don’t have very legible handwriting, except maybe when I’m right in the zone AND taking a lot of time to be very careful about it. Actually, I never have legible cursive handwriting. I sometimes have half-decent hand-printing, when I’m in the zone and taking a lot of time to be very careful about it.

And when I’m not in the zone, it sucks a lot of energy out of me to have to keep handwriting. Sigh.

One of the things that I was reminded of while doing these index cards was the very strange way that I have of holding pens and pencils. I don’t really remember when I picked up this very peculiar habit, but I think that I was probably around grade three when somebody with the school got the notion of making me print with rubber things slipped onto my pencils to try and break me of it. That plan didn’t last for too long.

Okay, here’s how most people normally hold a pen, I think. Apologies for the picture quality, it’s a bit hard to take a picture of your right hand with your left:

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