To be honest, I don’t have full answers to the issue of reviving enthusiasm in a writing project but based on recent experience, I think the following things have helped:
- A writing routine- Lately, I’m keeping to a routine of working on my WIP for 5 days a week and 1 page of writing per writing day plus specific writing related tasks every day of the week
- One of my writing related tasks is the compiling of what I call craft summary, a set of extensive notes on the writing craft. One of the ‘lucky finds’ of doing this is that I re-discovered the section on dealing with procrastination that I had written up for the set of How to Write a Novel online courses that I did a few years back on the edX platform. Which leads to
- Doing a side writing project purely for leisure
That’s my short share for today. If anyone has other strategies, let me know via comments.
What you are seeing in the picture above is my vision board that I created a few years back to reaffirm my identity as a writer. As you can see, it’s mostly uplifting phrases or writing mottos.
However, today I want to blog about a motto that isn’t up there (yet), that I’m feeling keenly right now. The motto is: The Chase has got to be worth it.
What does it mean in context to me and my writing? Well, I am very much a process-driven person as opposed to goal-oriented. So it’s not enough for me to have a goal dangled in front of me to push on. Nope, I need to be enjoying the actual process of doing something in order to be motivated to continue with it. So now I think you see how the motto applies to me directly: I need to be enjoying the process of writing a novel in order to continue writing it.
So why am I feeling it keenly? You can probably guess. I’m in a low energy phase with my WIP at the moment. This was a project first conceived by me at the end of 2016 and now it’s already nearing the end of 2020. I have still not completed a first draft for it. That will be my aim for next year.
And what am I doing about this? I’m doing another side project or pleasure project, to get me to once more feel the excitement of writing. I’m also trying to find different entry points into scene writing, thinking of trying on different methods other than my usual. I am also trying to keep myself accountable in terms of time use. At the time of writing, I’ve kept track of three weeks’ time use via an Excel file. I create a new sheet for each week and block out half an hour per row from 8:00am to 9:00pm. On each sheet I would make grey my day job hours as well as other major time commitments and then record down how I’m using the other half-hour slots around my week.
And that’s my share for this week. See you around next week.
I’m going to do another Q&A today with myself. It’s been a while since I last did a reflection on myself as a writer so it’s time for a revisit.
At what level do you assess yourself to be as a writer now?
Weren’t you calling yourself a beginning writer a few years ago? When did that change?
Yes, well, I forgot exactly when that changed but within the last 2-3 years, I would say.
What contributed to this change?
A combination of self-confidence and knowledge. Self-confidence is hard to say anything about but knowledge… I’ve done the usual learning through doing but I’ve also gotten into online writing courses. I highly recommend UBC’s How to Write a Novel set of courses offered through the edX platform. I’ve just finished the last of this set of 3 courses in Feb.
What are the 3 main lessons about writing you’ve learnt?
- Every writing project is different. I used to believe that I can take a standard novel planning method across all projects but I’ve found that’s not even true. Take my WIP. Yes, I’ve kinda settled down on the default method or methods for outlining but it’s just different in so many other ways from other novels or short stories I’ve written or attempted to write. For example, I’ve had to move between outlining and drafting as opposed to having a clear divider between the two stages. For example, I’ve had to take detours and side tracks in order to get into scenes etc.
- Find multiple points of entry to your work. This is what I learnt through one of UBC courses and I’ve never needed to do that so much as for my current novel. And it really helps. I used to think writing myself into a dead corner was a major problem for me but with this insight/advice, I can start to self-devise ways to tackle my WIP from a different angle. Some of the ways might not be the most efficient but I’ve still gained insights into the WIP from it and writing a novel is really a long game. You want to accumulate as many insights into your characters, your world etc. as possible and you never know which ones might blow your story right open later down the track.
- The interplay between the external journey (the events in the story and its structure) and the internal journey (character growth and all that). This is important knowledge that I learnt through the UBC courses that I’ve never known before and couldn’t have picked up through learning by doing. Not only that, I’ve also picked up a whole set of tools to get these two elements right.
And that’s all for today.
Aside from the about page, I don’t think I’ve properly introduced myself so let’s do this here up front. I’m a Chinese who migrated to Australia at the age of 12 after I completed primary school. Because I came from Hong Kong, I lean towards modern values (at least in gender roles and such) but I also lean towards the conservative at the same time (I have all these conceptions about proper behaviour for women like not swearing, not that I judge others on them, just that I don’t do that myself and I prefer women not doing them). I also love ancient Chinese literature: the lyrical prose of Chinese poetry, classics like the Dream of the Red Chamber and just in general the magic of the Chinese language which encompass idioms, folklore etc.
Now onto the meat of this post: in what forms do the Chinese influence in my writing occur? Well, one obvious answer is in my chosen sub-genre of Chinese fantasy. As a Chinese who loves fantasy, I write in the genre that I love to read and bring my ethnical identity into the genre. So that includes creating an entire world of fictional ancient China with fantasy elements, borrowing heavily from folklore and real history but ‘subverting’ them with my imagination as well as attempting to capture the essence and nuances of living as a Chinese in Chinese society.
Then, there are less obvious influences. One example, which I detected long after it happened, was during that abandoned attempt at novelling aka the Genghis Khan and wife story. From the get go, each chapter of that story takes the format of being driven by exactly two events when I outline it. The two events might or might not be interrelated but there are always two for each chapter. That wasn’t something I did intentionally, just the way my mind told me to structure it in. Then one day years down the track, like last year when I was outlining my WIP and taking an online writing course on outlining, it suddenly hit me that this 2-event chapters style was actually the influence of Chinese classics: essentially the ones I had read all had chapter headings that were in the couplet format. For those who don’t know, couplets are basically 2 phrases each of 5 or 7 Chinese characters and the words or characters in each part of the couplet are supposed to have correspondence to each other. A well-known example of a couplet is “Distance tests a horse’s strength, time reveals a person’s heart.” where the correspondences are distance to time, tests to reveals etc. I’ve now migrated away from this format but I was quite surprised that my Chinese reading managed to creep into my writing that way.
My fellow writer followers, how has your self-identify cropped up in your writing? Let me know in comments. For my reader followers, hope that you found this post interesting.