Five Ways
Subscribe to my newsletter and get a free story!
Share this:

On Writing Process: Writers Just Effing Write

Man Standing on His Head Playing the Guitar
If this man can play the guitar standing on his head, surely you can write in unfamiliar circumstances.
Here is one of the wisest things about writing process ever told me, said by Syne Mitchell during a Clarion West Friday mystery muse visit: “Try different things, find out what works for you, and then do that. Lots.” Brilliant.

It’s to the point because everyone’s process differs, and may change due to time and circumstance. I can write with some ambient noise, for example, so I can take a notebook over to Soul Food Books in order to grab coffee and one of their tables and know I’ll have a productive afternoon. Here at home, I need more quiet, and it takes me a little longer to get focused, but once I’m started I can write fast and furiously for a stint that’s good for a chunk of words. I like writing in airports, but it’s scattered writing, flashes of notes, observations about people, notes for stories I’ll write later.

Sometimes I write on the computer, other times by hand in a notebook. I’ve tried dictating and at first it didn’t work well for me but over the course of a decade has become crucial to my process. I sample different notebooks – I like big artist’s sketch pads to write in, actually, because I like all that white space with plenty of room for extra notes and diagrams. I don’t like writing on small surfaces, like business cards or Post-its; I don’t think I’d get much done if forced to rely on those.

And actually, I take that back. If all I had to write on was index cards, I’d make that work. Because sometimes you have to, or else give up on writing. A new parent, for example, won’t have the uninterrupted bouts of time that they once had. They have to start thinking about writing in short bursts, or at a time they’d normally be in bed. The trick is to write, to resist the temptation to slack off, to give yourself a break.

Try new things. Go write somewhere today where you haven’t written before and turn out a few hundred words there: sitting on your front steps, or on an aquarium bench while tourists pass, or sitting on the back of one of the lion statues outside the Art Institute in Chicago while a November wind gnaws at your fingers. Or write a list of ten places to try – and then try at least one. Or stay at home in your usual place, that’s fine too. As long as you’re getting some writing done.

The mantra of our household is: writers just effing write. Because it’s so much easier not to do it, to spend time reading blog posts or alphabetizing the spice rack or making plans and blueprints for the wonderful story we’ll produce, once we get sufficiently prepared. Prepare yourself for the writing, don’t prepare the writing for you by fiddling with outlines or research or format.

Enjoy this writing advice and want more like it? Check out the classes Cat gives via the Rambo Academy for Wayward Writers, which offers both on-demand and live online writing classes for fantasy and science fiction writers from Cat and other authors, including Ann Leckie, Seanan McGuire, Fran Wilde and other talents! All classes include three free slots.

Perefer to opt for weekly interaction, advice, opportunities to ask questions, and access to the Chez Rambo Discord community and critique group? Check out Cat’s Patreon. Or sample her writing here.

3 Responses

  1. Cat –

    I would only quibble a very tiny bit with your last sentence, and only because (as a *rank* *beginner*) I need to organize something as big as a novel a _lot_ (maybe my engineering training). I can write a short story (up to ~5000 words) without an outline; I’ve kinda stalled on a 10-12000 word story (having made some scene-by-scene rough notes); my “great American SF novel´´ (the one I’ve been puttering at for nearly two decades) is making more progress as I formally write up character sketches and scene lists. But what I think that’s really doing is just making things jell in my head, so that I can finally get the words onto paper.

    But without a doubt, I *most* *heartily* endorse your basic premise – “Writers Just Fscking Write!”

    – JDB

Leave a Reply

Your email address will not be published. Required fields are marked *

Get Fiction in Your Mailbox Each Month

Want access to a lively community of writers and readers, free writing classes, co-working sessions, special speakers, weekly writing games, random pictures and MORE for as little as $2? Check out Cat’s Patreon campaign.

Want to get some new fiction? Support my Patreon campaign.
Want to get some new fiction? Support my Patreon campaign.

 

"(On the writing F&SF workshop) Wanted to crow and say thanks: the first story I wrote after taking your class was my very first sale. Coincidence? nah….thanks so much."

~K. Richardson

You may also like...

On Writing: Have an Impact on the Reader

Cover for Asimov's Science Fiction, March 2014, an illustration drawn from novelette "All the Pretty Little Mermaids" by speculative fiction writer Cat Rambo.
if you're looking to find some of my recent work, I have a novelette, All the Pretty Little Mermaids, in the March 2014 issue of Asimov's. I've also got a non-fiction interview with Bud Webster in Analog.
This came up in the advanced workshop – how does one grab a reader and have an impact on them? Because surely this sort of emotional identification that makes a reader experience a story as though it were a blow aimed directly at their heart is crucial to the best storytelling. The student pointed at an interview with Yoon Ha Lee in Clarkeworld magazine where she says:

The whole point of a short story is to assassinate the reader. You don’t have the time or the space to go to war or do large maneuvers, you can’t do chapters of elaborate setup, there’s much less room for character development””a good writer can get more character development in, but that isn’t my particular strength. Anyway, everything in the short story has to drive toward a short sharp point, whatever it is you’re trying to leave the reader with at the end of the story.

I say “assassinate” and it sounds hostile, because it is. I work better when I can think in terms of opponents. The thing is that I don’t want the reader to see the short sharp point clearly from the beginning, but I want it to make sense afterward as the angle of attack. Tactical sense, I guess, in the context of the story’s setup.

Most of the time I write didactically, as if a short story were a proof. There is some object lesson, or ethical question, I want to leave the reader with. “Ghostweight” is a good example of this; it doesn’t pretend not to be didactic. So when I build the character and their strengths and weaknesses and motivations, when I build the setting, the majority of it needs to be in support of that point. With a proof, you want to include all the necessary axioms and arguments, but leave out the extraneous. A short story is very similar. I am not sure my math professors would approve of the use I am making of my college education, but there it is.

To me this is connected to something Michael Swanwick told my Clarion West class: in a short story, pick your antelope out of the herd and chase it whole-heartedly. If you change course midstream because that other antelope is limping or that other one comes with a garnish, you are likely to have no antelope at all.

So you must determine your antelope, by which I mean, you must figure out what’s the emotional core of the story, what’s its heart? What does it say about the state of existence? And once you know that, you can construct a narrative that grabs the reader through devices like sensory engagement, identification with the main character, and other beguilements until you have them trapped, at which point you force them to confront some fact of existence that may be normally unseen or even actively avoided.

Enjoy this writing advice and want more content like it? Check out the classes Cat gives via the Rambo Academy for Wayward Writers, which offers both on-demand and live online writing classes for fantasy and science fiction writers from Cat and other authors, including Ann Leckie, Seanan McGuire, Fran Wilde and other talents! All classes include three free slots.

Prefer to opt for weekly interaction, advice, opportunities to ask questions, and access to the Chez Rambo Discord community and critique group? Check out Cat’s Patreon. Or sample her writing here.

...

Writing Progress and Thinking About Frame Stories

Image of a tortoiseshell cat named Taco
A tortoise shell spoke from her perch on the arm of a weathered Adirondack chair, a second-story balcony overlooking the way. That's not how it was.
I finished up “Villa Encantada”, a short story with a frame clocking in at 4500 words yesterday. It’s urban fantasy, the same world as the novel I just sent off to beta readers.

The story’s set in a fantasy version of the complex I live in, which has been FRAUGHT with HO meeting woes that I will not get into here. It’s the result of sitting at many meetings thinking about how much more interesting it would be to live in Villa Encantada, a similar condo complex filled with witches, retired gods, defunct oracles, and even a centaur. Hopefully there will be more set in the same setting.

The story’s also dependent on a secondary frame story,, which I’m not sure about. Here’s the beginning:

The cats were telling stories, from their spaces in the Game, scattered around the sun-baked parking lot of the Villa Encantada complex.

A grizzled Siamese had grabbed control of the telling. He licked his haunches and said, Once upon a time there was a woman who could not forgive herself. Every day she tried to kill herself in the smallest of ways, with cigarettes and lack of sleep and careless driving. She punished herself for a crime she couldn’t name, burning cups of coffee uncushioned by food, high-strung nights of crap television, unsatisfying and numbing all at once.

A tortoise shell spoke from her perch on the arm of a weathered Adirondack chair, a second-story balcony overlooking the way. That’s not how it was.

He blinked, a gesture as majestic as an ice shelf, kilometers high, sliding into the sea.

The tortoiseshell remained undaunted. She continued.

This is how it was.

There’s pieces from the frame used in the actual story itself, which I think makes it feel less superfluous, but I’m also always wary about devices like that. When they work, they’re beautiful – when they don’t, they’re awkward and distracting. So what makes one frame “work” where the next one doesn’t?

Making the frame a story in and of itself is something that often works. If you want to see a book that is concocted of nothing but frame stories, look to Catherynne M. Valente’s The Orphan’s Tales: In the Night Garden (Kindle version and The Orphan’s Tales: In the Cities of Coin and Spice and Kindle version). Valente weaves frames in and out of each other so deftly that she constructs a beautiful basketwork ball of them, a construction where, following one line, you slip into another, and another, then somehow find yourself back in the beginning, with nothing but the world changed.

Other considerations for frame tales: they should be (in my opinion and perhaps not yours but who knows, feel free to chime in with a comment) as well-written as the content they contain. They should be connected somehow, so there’s a reason for the frame tale, something it contributes to the overall shape of the story.

For example, in Villa Encantada, the tortoiseshell cat appears in the story as well, and it becomes, through the interjection of the frame, her story, the story of her efforts in the Great Game played by the cats of Villa Encantada. And then I twist that again in the ending, but I won’t spoil that. :p

So, to recap, frame stories should be:

  1. actual stories (or contain the sense of a larger story) in themselves
  2. beautifully written
  3. connect with the internal story and change its meaning

Anything else? What are your favorite frame stories and why? What have you tried with them and what’s worked best (or worst)?

...

Skip to content