Thursday, August 28, 2014

Why Do You Write?

I initially misread one of the questions I answered for the last blog. I thought it asked, "Why do you write?" I've been asked this before, and have never been sure how to answer this until now.

I'll answer with my own question. Why do you breathe?

Why do I write? Because I have to. Because I don't know how not to. I mean, you [I] can stop breathing [writing] for a while, but eventually something you can't control kicks in and you do it again. If an external force is stopping you from breathing, you start fighting. Your very life demands it. My physical life doesn't demand that I write but there's a real, vital part of me that does.

I've read almost as far back as I can remember; I've written most of that time as well. I vividly recall the first time Mom taught me to form letters. I was already captivated by the alphabet, words, punctuation, sentences, paragraphs, stories, books, magazines, you name it... but the idea that I could write? That I could make those same things? How could it be true? Oh, the bliss!

I wrote my first letters and thank you cards before grade school. I wrote well over a thousand "lines" my first month of school. Some of these were for getting creative with writing lines. That was NOT ALLOWED. But it was in my bones.

I wrote the first poem I was seriously proud of in second grade. It was about pygmies. I still had it a few years ago, but I have no idea where it is now (sad face). It contained four quatrains, each about a different aspect of being a pygmy. One was about weaponry, another about wearing very little (with mud between their toes and leaves brushing their skin). I forget the rest...

I wrote research papers. I liked some of them, though I probably bogged down more on these than anything else.

I wrote page length and longer notes to friends at school. In fourth grade I wrote up the rules for U.N.C.L.E., the spy group for boys. It was then I wrote the first love notes I can remember. In fifth grade I had stacks of 3x5 index cards covered in notes about the people all around me, a result of reading Harriet the Spy (still a favorite). I wrote my own comics.

In sixth or seventh grade, Claude Thompson and I decided to write a book together. He wrote a clone of parts of his favorite James Bond book. I wrote a collection of pithy sayings and one liners, very little of which was original. That one thankfully died a quick death.

In ninth or tenth grade, Dan Croft and I started "legal proceedings" against each other, having decided to be lawyers. For a couple of months, every school day we presented each other with a lawsuit, response to allegations, cease and desist, or whatever other other legal document we had cooked up. We worked hard on legalese and studied all the law we could find. Some of these documents ran eight to ten pages. Our parents were a bit worried.

In either eleventh or twelfth grade a teaching assistant- Miss Ball- really encouraged my writing even though some of it perturbed her (and well it should have). In twelfth grade, Mrs. Marion Unger, English teacher extraordinaire, creative writing teacher flying under the school radar, a Jewish saint, a brilliant, fun, open minded teacher, pretty much blew the doors off whatever was holding me back. She encouraged me not only to write, but to dream, to think the way I wanted and needed to, to find my voice and style rather than parrot what others said. She knocked some serious barriers down for me and gave me permission to destroy the rest.

For at least two quarters in college I spent an hour or two every night writing on the 3rd Street tunnel walls under I-75/85. I found some awesome friends doing the same thing. One turned out to be my roommate (we were all quite secretive at first.) Professor Frisbee at Georgia Tech was also a huge encouragement. We lost a great English teacher when he left to attend seminary.

For years I wrote off and on. I snuck stories into comments and even code as a software developer. I wrote text-based games. I was writing at least an hour a day for years on the net long before most people heard of it, when it was pretty much all text based. I was working long hours and writing was my sanity. For a few months I wrote something every day focused on exploring everything I could do within a random rule of writing. I spent the next few months writing something every day that explored breaking a random rule of writing. This was one of the best things I could have done.

I touched on the rest in the previous blog. But suffice it to say, not writing feels like it sucks the life out of me. I still like to write long emails and messages. I still like to write letters. I wrote dozens of kids' stories for my kids, for Tiffany Hall when she was battling cancer, for my grandkids. I blog. I facebook. I take notes. I write postcards. I come up with stories about anything and everything at the drop of a hat, a pin, or a bomb.

Why do I write?

Why do you breathe?

Can't stop. Won't stop.

Pausing is OK. I'll pause here. But not for long.

"Writing About Writing" Blog Tour

Thank you, Lisa Mikitarian, for including me in the "Writing About Writing" Blog Tour. I had to answer four "simple" questions. For some reason I wanted to answer four completely different questions, but I'll have a go at the ones I was given.

In the next week or two I'll introduce two or three other writers who will tackle these questions from their own perspectives. If you're new here, please subscribe. I promise not to sell, lease, rent, give away, or otherwise propagate your information, and the NSA already has it. I will never ask for your credit card information. (I prefer PayPal for online transactions. 8^)

(And... I'm off! But you probably knew that.)

  1. What are you currently working on?
    Right now a fair amount of what I'm doing is related to the process of self-publishing, or at least trying to get my head around doing it well. But when I am writing, I'm working on the second in a series of three or four YA novels. (Think historical fiction but include the dragons that most historians ignore.) I've also been working on some short stories to put on a web site to promote the novels but it's starting to look like the short stories may be parts of another novel set in the present day of the same timeline as the others.
  2. How does your work differ from others in the same genre?
    My characters tend to be based on people I have known so they tend to be unique and real. I also remember quite well what it was like to be the ages I write about. I totally lose myself in the characters and story; it's the writing equivalent of method acting. The result is realism even in surreal settings. Since I have lived with my characters and these mythical beings as friends, companions, and enemies my entire life, I think I can show them to you better than many writers who think they are making things up.

    Also, I write from the same frame of reference in which I live: "there is no box". Everything is fair game. I might overlay something everyone goes through onto a roller coaster no one else thought of.

  3. Why do you write what you write?
    I write what I love, whether that's in the technical landscape, new worlds, or about my faith. I also try to write what I know. I commit acts of research but they have to tie in somehow with things, places, times, actions, or people that I know or have known in some sense.

    As for the series mentioned above... I love teenagers. I love history. I love Scotland. I love dragons. I love plot twists. I love life. I love the mystical. I love myth. I love love. I love learning and growing.

    I love words. I love reading and writing. (I also love 'rithmetic, but that doesn't really factor into this discussion.)

  4. Describe your writing process.
    My friend Sally Hanan- the Inksnatcher- calls me a "pantser". While this sounds like someone you might hold onto your belt around, she means someone who "writes by the seat of their pants". It's not 100% true, but it's very close. I have always thought of it as stream of consciousness writing. Ideas, of course, come from anywhere and everywhere, inspired by anything, everything, and nothing. Once I start writing, it just flows. I often have no idea where I am going. Even when I do I probably have no idea how I will get there. That's half the fun for me; it's like reading a new story or book; you don't know what's coming. Then I finish, and... Hey! This is mine! I did this! And I like it! Here, you should read this!

    Unless it's something very short I usually put it away for anywhere from a few hours to a month (occasionally years). I'll then revisit it; is it worth editing or was it just a writing exercise? If it's good I'll clean it up and ask someone else (usually my wife Sharon) to read it. If they like it, I keep going. Sharon is also a very good editor, providing everything from plot suggestions to dialogue revisions to grammar and spelling correction (I inevitably miss some things). I have rewritten everything from clauses to multiple chapters.

    For years I thought I was incapable of writing novels; my process on the first novel expanded from that of my many short stories and various technical and other articles. For a month I wrote at least a chapter every night, and multiple chapters each weekend. When something was demanding to get out of my mind onto paper I just dove in; otherwise I would do a first edit on the previous days' work first. Sharon saw this chapter by chapter and several times as a finished work. After I finished the first draft I sat down and read straight through just as a reader to see how I liked it. I was pretty amazed with the result, even raw.

    I keep several files on each book and the series as a whole to keep track of people, places, and other things with names, the timeline, ideas for things coming later, quotes, problems, related writings, things I cut out but want to keep, background data, and so forth. I save a revision every so often.

    In addition to Sharon's editing passes, I made numerous trips through the entire book for purposes such as:

    • plot flow;
    • character development and consistency;
    • chapter self-containment
    • historical and geographical correctness as needed, temporal continuity;
    • dialogue;
    • spelling, grammar, punctuation;
    • overall feel, cliche removal, etc.
    It's not an exact process (pantser, remember?) but you get the idea.

    I've also found that thinking about troublesome scenes, characters, or other developments before I fall asleep brings some great insights- sometimes in completely different parts of the book (or series).

    Some writing begs to be done with pen and paper, some on my desktop computer. The novel refused to even start until I tried writing in LibreOffice on my MacBook Air. Why? Great question. Why does one piece of art want to be done in pastels, another with oil? Why does one song demand a Strat and another a Flying V? I quit arguing with my tools long ago.

I had a tight deadline for this blog; I may revisit it and edit it later, but I don't forsee any major plot twists such as killing off the Inksnatcher. Not right away at any rate.

Thanks again to Lisa for including me. If you haven't visited her blog you should; she's brilliant, witty, and sweeter than deep south iced tea.

Blessings and hugs to all.

THE END