Tag: writing (Page 3 of 5)

I Am Your Father: Making Similarities Work in Fiction

January 7, 2019 /
Darth Vader

From Wikipedia

When Darth Vader revealed he was Luke Skywalker’s father in Star Wars Episode V: The Empire Strikes Back, people lost it. It’s widely considered one of the best plot twists in film history, and for good reason. Who would’ve guessed that the protagonist was the antagonist’s son all along?

Of course, George Lucas isn’t the only person ever to use this twist. In fact, Neil Gaiman (my favorite author) uses it in his 2001 novel American Gods (my favorite book). If you haven’t read it or don’t want to be spoiled for the show, turn back now.

Still here? Okay, cool. The book’s bad guy, Mr. Wednesday, is the father of Shadow, the book’s good guy. Boom!

Now here’s my question. How does Neil Gaiman repeat such a classic plot element without having readers roll their eyes? How does he take the “I am your father” moment and make it his own? Let’s investigate.

The Buildup

In Star Wars and American Gods, the identities of Luke and Shadow’s fathers carry differing importance. In Star Wars, for instance, when Obi Wan Kenobi tells Luke that his father was a jedi, it’s a huge contributing factor toward him leaving home. He takes his father’s lightsaber, he joins his father’s order, and it’s implied that he wants to avenge his father’s death. That’s because at this point in the story, he believes Darth Vader killed his father.

In American Gods, Shadow couldn’t care less about the identity of his father. We just know that he never met his dad. That’s it. No hints at who dad was, what he did, or where he went. The man’s identity is so vague that I found myself forgetting his existence entirely. Only near the end does it become relevant.

Here we see how this differing importance sets these plot elements apart from one another. If Shadow revered his dad and accepted his quest to follow in his footsteps, these elements might feel too similar. Since he doesn’t, the respective “I am your father” moments feel distinct.

The Reveal

In Star Wars, the reveal of Darth Vader’s true identity is intensely dramatic. It’s enough to make Luke sob and then hurl himself down a space shaft. And for audiences everywhere, it’s a shock that’s still remembered today. Just check out the memes that are still being created:

In American Gods, the revelation of the antagonist being the protagonist’s father is far more understated. When he has a vision of his mother dancing with his father, his reaction to dad’s true identity isn’t nearly so dramatic as Luke’s. Here’s the passage:

“Shadow found that he was completely unsurprised when he recognized the man who dances with [his mother]. He had not changed that much in thirty-three years.”

To a certain extent, this is just Shadow. Due to his time in prison, he’s learned to suppress his emotion. Yet this muted response also differentiates the revelation from that of Star Wars. Shadow doesn’t deny the truth. Instead, he accepts it. In fact, he already suspected it.

The Payoff

Once we know who these characters’ fathers really are, the ramifications on the subsequent story are much different. At the end of Empire Strikes Back, for instance, Luke is in disbelief over what he’s learned. Then, in the following film, his goal is no longer to defeat Vader. Instead, he seeks to redeem him.

In American Gods, Shadow’s father’s identity is more thematic than anything else. Shadow finds out who Mr. Wednesday is roughly around the same time he discovers Wednesday’s plot to sacrifice a bunch of gods to himself, thereby resurrecting himself.  (Simple plan, right?) There’s no moment of, “Gee, I’d better redeem my dad.” In fact, Wednesday’s true identity doesn’t change Shadow’s plan in any way. He still stops the other gods from going to war, which thwarts dear dad’s plan. So unlike Luke Skywalker, Shadow wants to defeat his father even after discovering his true identity.

In Conclusion

Writers tend to avoid using twists they’ve seen in other works. Sometimes we fear that unless our plots are unique, we won’t be taken seriously as artists. That’s not the case! Rather, it’s perfectly fine to reuse a plot element, so long as we make it our own. I think the above example illustrates that point perfectly.

Now get out there and write!

Kyle A. Massa is a speculative fiction author living somewhere in upstate New York with his wife and their two cats. His stories have appeared in numerous online magazines, including Allegory, Chantwood, and Dark Fire Fiction. His debut novel, Gerald Barkley Rocks, is available now on Amazon Kindle.

What Makes a Story Cliche?

December 17, 2018 /

As always happens at my writer’s group, we had an interesting conversation. One of our members worried that her submission was cliche.

She’d seen particular elements of her story in others: an alien returning to his own world, a teenage love triangle, an oppressive, autocratic government. She wondered if that made the story as a whole cliche.

The funny thing was, the group couldn’t come to a consensus. And it made me wonder: does quality affect perceptions of cliche? Does recency factor into the discussion? And is cliche as bad as some people seem to think? Let’s talk.

Quality Excuses All

One thing I’ve noticed: Audiences forgive cliche if they deem the art “really good.”

Take Netflix’s Stranger Things, for example. It’s one of the most popular shows on TV, yet seems to retread familiar tropes. A short list: shadowy government organizations, psychic children, monsters invading small towns from alternate dimensions, heavy synth soundtracks.

When separated from the whole, we get some cliches. Yet the show’s production quality, attention to detail, and nice guy Bob Newby mask these flaws. If the successful elements weren’t so successful, we might not forgive the cliches.

Popularity and Recency Magnify Perceptions of Cliche

People are more likely to label stories as derivative if similar stories are already popular.

Take vampire stories. I can’t tell you how many online fiction markets strictly forbid vampire stories. Any of them. This is, of course, thanks to the Twilight series, which has single-handedly ruined vampires for the next decade or so. Just say the word “vampire” and wait for the groans.

This works both ways. When we haven’t seen a particular idea explored in a while, it might feel fresh, even if it really is cliche. Take La La Land, for example. A fun movie. Singing, dancing, mean J.K. Simmons. All good fun. But remove the musical elements and you’ll find cliche. Struggling artists in Los Angeles get together, break up, reconnect again after one of them gets married. Doesn’t that sound familiar?

Imagine if this came out in the thirties, when Ginger Rodgers and Fred Astaire made dancing cheek to cheek famous. People loved it because they hadn’t seen it in a long time.

A Little Cliche is Good

Imagine a story that you’ve never seen before. Its structure, characters, settings, and themes are all unique.

First of all, such a story does not exist. No work of art is completely original; everyone’s working off a predecessor’s template, whether they know it or not. Second, this probably wouldn’t be a very good story. Fact is, conventions and tropes exist for a reason. They give us familiar handholds to grasp. If they weren’t there, we wouldn’t get far off the ground.

So what makes a story cliche? Lots or little, depending on whom you ask. But if you ask me, I think cliche gets a bum rap. Treat it like salt: use a little, but not too much.

Kyle A. Massa is a speculative fiction author living somewhere in upstate New York with his wife and their two cats. His stories have appeared in numerous online magazines, including Allegory, Chantwood, and Dark Fire Fiction. His debut novel, Gerald Barkley Rocks, is available now on Amazon Kindle.

3 Signs You’re Starting Your Story in the Wrong Place

September 10, 2018 /

Story Beginning

Beginnings. They’re a pain.

Starting your story might be the most challenging part of any short story, book, script, or whatever. It’s difficult to pinpoint that exact moment when the festivities should commence, and when it’s most appropriate for readers to enter your world.

In fact, your story might start in the wrong place without you even knowing it. Here are three signs that’s the case (and some suggestions on fixing it):

1. Readers Think Your Intro Needs Work

Last time I submitted a book to my writer’s group, many members were iffy on my first chapter. To put it simply, they found it boring. When I cut the chapter, I found the piece worked much better. You might find a similar solution in your work.

Why does this happen? It’s often because we’re still getting to know our characters. We might not even have a firm grasp on what our book is about, let alone our characters’ personalities. We have to explore through writing, and most of the time that exploration is done in beginning chapters. These chapters prove useful for writers, though not especially interesting for readers. Write them, learn from them, then cut them.

2. You’re Not Excited By Your Beginning Chapters

This is a telltale sign of a story starting in the wrong place. If you can’t get excited about your writing, why should anyone else?

Copywriting guru Joseph Sugarman said the purpose of the first sentence of copy is to get the reader to read the second sentence. Similarly, the purpose of a story’s beginning is to get readers to read the rest. So trust your intuition. If you feel your writing isn’t grabbing readers, it probably isn’t.

In this case, try starting elsewhere. Try a different scene, or focus on another character, or cut your previous intro entirely. When you find the right fit, you’ll feel it.

3. You Constantly Reference Events Preceding the First Chapter

Flashbacks are one thing. Constantly referencing events from before is quite another. If your first chapter is entirely backward-facing, it might be because you’ve started your story not too early, but too late. It’s uncommon, but it happens.

This is tricky.  Some stories might have many flashbacks, even with a proper beginning. Margaret Atwood’s Oryx and Crake, for instance, is about both the present and the past. There are two parallel timelines, so numerous flashbacks are essential to the plot itself.

If you’re unsure, consider leaning on the first two signs for reference. They could point you in the right direction.

In Conclusion

Beginnings are a pain, but they don’t have to be. Regroup. Restart. Trim where necessary. Begin your story with a flourish.

Kyle A. Massa is a speculative fiction author living somewhere in upstate New York with his fiancee and their two cats. His stories have appeared in numerous online magazines, including Allegory, Chantwood, and Dark Fire Fiction.

Story Ideas: Where Do They Come From and Where Can We Find More?

April 9, 2018 /

Lightbulb

It’s never this easy.

I’ve heard it said that great ideas are easy to come by—it’s the writing that’s the hard part. I don’t buy it!

On the contrary, I think when you start with a great idea, the writing blossoms from there. So the question is, how do we come by those great ideas?

Man, I wish I knew. I’m no more of an idea factory than anyone else. What I can say is, I’m always trying new methods. Some work, some don’t, but here are a few of my favorite idea generators.

Keep a Notebook

My mom encouraged me to do this, and I’m glad she did. Writer or not, everyone has a hundred ideas every day—it’s just that we remember few of them. That’s where the notebook comes in.

This thing should be the Robin to your Batman, so make sure it’s small enough to fit in your pocket. Whenever you have an idea, any idea, jot it down. It’s perfect for those thoughts that just need to gestate a bit, or perhaps an overheard conversation that would make a great scene of dialogue, or maybe a solution to that complex conflict between your central characters.

If you’re interested, Joan Didion’s essay “On Keeping a Notebook“ explores this topic with much more eloquence than I can. Check it out!

Focus on the Fun Ideas

This one seems like a no-brainer, but a lot of writers (including myself) seem to forget it.

I remember working on a manuscript for far longer than I should have, forcing my way through and groaning whenever it was time to write. Truth was, the initial idea turned out to be far more interesting than the piece itself.

Two months in, I realized I wasn’t having fun anymore. So I put the manuscript away, all 40,000 words of it.

I didn’t throw it away (more on that later), but I didn’t force it, either. Not every piece will be like eating ice cream, but fun should be an essential part of your writing process. After all, if you don’t have fun writing a piece, no one’s going to have fun reading it.

Don’t Abandon Anything

Even if you think you’ve just written the literary equivalent of Plan 9 from Outer Space, keep it! Every idea is like a seed. Some never grow. Some grow into shrubs and die in their first winter. But some flourish and grow tall. Pretty soon, you’ll have yourself one mighty fine-looking tree.

George R.R. Martin encourages young writers to never throw away anything, and here’s a good example why. In his introduction for Dreamsongs, Volume I, Martin describes one of his first forays into the epic fantasy genre. (Remember—this was a long time before A Song of Ice and Fire.)

“Dark Gods of Kor-Yuban” I called it, and yes, my version of Mordor sounds like a brand of coffee. My heroes were the usual pair of mismatched adventurers, the melancholy exile prince R’hllor of Raugg and his boisterous, swaggering companion, Argilac the Arrogant.

And later…

In the sequel, my exile prince finds himself in the Dothrak Empire, where he joins Barron of the Bloody Blade to fight the winged demons who slew his grandsire, King Barristan the Bold.

If you’ve read A Song of Ice and Fire, then you probably recognize the names R’hllor, Argilac the Arrogant, Barristan the Bold, and the Dothrak Empire. All those names reappear in his series!

So what does it take to make a great story idea? It takes hard work, deep thought, and perseverance. Truth is, ideas don’t always come to us—sometimes, we need to go find them.

Kyle A. Massa is a speculative fiction author living somewhere in upstate New York with his fiancee and their two cats. His stories have appeared in numerous online magazines, including Allegory, Chantwood, and Dark Fire Fiction. To stay current with Kyle’s work, subscribe to his email newsletter. He promises not to spam you.

Originality is Overrated

March 26, 2018 /

There, I said it. This is a thought I’ve had for a while now, though it’s been difficult to find the right words to express it. I hope I’ve found them here.

As writers, the works of other writers are equal parts inspiration and limitation. Stephen King might inspire you to become a horror writer, yet you might avoid writing a novel set in a haunted hotel. That would be too much like The Shining, right? It wouldn’t be original.

You know what? Screw originality. Write what you want!

So many writers decide not to pursue ideas simply because they believe it’s already been done. But so what? If your idea’s been done before, do it differently. Do it better. Do it with that personal touch only you can provide.

I’ll give you an example. One of my best friends told me he always had this idea for a story. You know the theory that humans only use a small percentage of their brain power? In my friend’s story, he imagined a character who takes experimental drugs which grant him access to the rest of his brain. This character develops hyper intelligence and extrasensory perception.

However, my friend told me he’d never write this story. Why? Because of the film Limitless. If you haven’t seen it, it’s almost exactly the same idea my friend had.

Hearing this really bummed me out. My friend was so excited about this story, yet the film killed his dream of writing it. I’m sure you’ve observed (or even personally experienced) a similar phenomenon.

Want my opinion (even though it’s not entirely original)? A similar existing work should never, ever stop you from working on a great idea.

The film Limitless, by the way, is based on a novel called The Dark Fields by Alan Glynn. But did you know that Ted Chiang published a similar story a decade earlier entitled Understand? His was also about a normal guy who took a drug that granted supernatural intelligence. And if we go back even further to 1959, we’ll find Daniel Keyes’s Flowers for Algernon, yet another story about a scientifically sharpened intellect.

Though the methods and general mechanics might vary from story to story, each bears a core similarity to the others. I don’t necessarily agree with those who claim there are no original ideas. I just think writers can always find ways to take existing ideas and make them their own.

We see this all the time in fiction. People say dragons are overdone in fantasy, yet George R.R. Martin writes A Song of Ice and Fire and suddenly they’re resurrected. People say you can’t do anything original with zombies anymore, and then The Girl with All the Gifts becomes a hit.

Don’t let an existing story preclude you from writing something amazing. If your idea is similar to another, make it your own. Put your personal spin on it. Most important of all, write it.

Originality is overrated. But individual creativity—now that’s something to strive for.

Kyle A. Massa is a speculative fiction author living somewhere in upstate New York with his fiancee and their two cats. His stories have appeared in numerous online magazines, including Allegory, Chantwood, and Dark Fire Fiction. To stay current with Kyle’s work, subscribe to his email newsletter. He promises not to spam you.

The Gunslinger

The Gunslinger and Character Backstory

February 19, 2018 /

The Gunslinger

When writing characters, where do you start? Maybe a name, or a physical description, or some basic personality traits. Before long you’ll probably wonder how your character got the way he or she is now. Which is why it’s important for the story to start before it actually starts, if you get my meaning. That means character backstory.

Take, for example, Roland Deschain from Stephen King’s The Gunslinger. He’s a sombre, soft-spoken, mysterious type, and you probably would be too if you had a childhood like his—Roland’s mom was sleeping with his dad’s top advisor, for god’s sake. In fact, Roland’s past is so important to his present that we need to see it up close and personal. That means backstory.

But offering details on a character’s background is tricky. Constant flashbacks interrupt the flow of a progressing story, and dropping little details into the narrative can sometimes come across as expository. For example, Character A says, “Remember when you had more fingers?” Character B frowns and says, “Sure. I’ll never look at blenders the same way again.”

Of course these characters remember that moment. In fact, the only thing a writer does by including this exchange is tell reader exactly what’s going on. Which is about as subtle as a slap to the face.

King, however, handles the backstory of The Gunslinger perfectly. It’s a novel that’s very much about the past, a novel where each character is shaped and motivated by events which happened long before. These events are so important, in fact, that it won’t suffice to reference them through dialogue or brief description. So here’s what King does, and does very well: He references characters we’ve never met before, then explains who those characters are in subsequent flashbacks.

For example, a boy from New York City named Jake Chambers suddenly appears in the Roland’s world without explanation. Jake tells Roland that he can’t remember anything about how he got there, so we’re left to wonder. That, however, would be quite the fraying loose end. So King gives us a brief flashback.

Fortunately, it’s not just a flashback for the sake of a flashback. We learn two very important details from it: One, that Jake died before coming to the gunslinger’s world, and that is perhaps why he’s there. And two, that Jake was somehow sent there by the man in black, who is the gunslinger’s arch nemesis (excuse the lack of actual names—it’s all about the mystery, baby).

I’m drawn to this aspect of King’s novel because I struggle a lot with character backstory in my writing. It’s hard to know what to give and when to give it, but it’s a skill that can be developed through practice and careful study of the pros.

Kyle A. Massa is a speculative fiction author living somewhere in upstate New York with his fiancee and their two cats. His stories have appeared in numerous online magazines, including Allegory, Chantwood, and Dark Fire Fiction. To stay current with Kyle’s work, subscribe to his email newsletter. He promises not to spam you.

Working With Beta Readers

January 22, 2018 /

You’ve finished your manuscript. You’ve read it over countless times. You’re ready to share it. Time to sound the Horn of Gondor and call to the world, “Beta readers, assemble!”

…Or not. This isn’t Lord of the Rings or anything. Getting beta readers is a challenge, yes, but it’s one you can achieve (and you don’t have to be a Gondorian ruler to do it). Here are some steps you might want to try.

1. Find Your Readers

This step is simpler than some might think. Just gather a mix of viewpoints: writers and non-writers, readers and non-readers, genre fans and non-genre fans. Gathering a variety of opinions helps you cast a wide net over any potential issues. And that, of course, is the whole point of the exercise.

For my recently completed novella manuscript (which I hope to have published soon, so stay tuned), I asked pretty much everyone I know. That included my fiancee, my parents, and most of my writer’s group. Don’t stress out over who you ask and don’t ask. Just get as many people as you can.

2. Ask Specific Questions

Offering actionable feedback is already tricky. Offering actionable feedback on an entire manuscript? Now that’s a tall order. So do your beta readers a solid and include guiding questions.

Some examples: Does the protagonist have a satisfying character arc? Does the setting feel authentic? What do you think of the dialogue between characters A and B in chapter four? I find it works best to include these at the end of the manuscript rather than upfront, just so I don’t shape readers’ opinions too much. However, where you place your questions is completely up to you.

Likewise, it’s helpful to mention what you’re not looking for as well. For example, one member of my writer’s group sometimes mentions when he’s not going to make huge structural changes. Feel free to do the same. If you love your story the way it is and aren’t going to change that shocking plot twist, let folks know ahead of time. It’ll save them (and you) the added effort.

3. Collect Your Comments

This one takes a while. I’ve done it on a smaller scale for short stories, though not yet for my novella, since I’m still waiting to hear back from everyone. That said, you don’t necessarily need complete feedback before starting this step. For example, one of my beta readers mentioned that Cadillacs don’t have hubcaps. In my novella, I make specific mention to a Cadillac with a hubcap. I don’t need further input on that one.

Important: You don’t need to make every change your beta readers suggest. Ponder their comments. If you agree with them, then make the changes. If you like things the way they are, kindly ignore those suggestions. Be careful, though. If you love your character’s elongated opening monologue yet every single beta reader hates it, you might have a legitimate problem.

Ultimately, this is your story and you’re putting in the work. Do what you think is best.

4. Make the Changes!

Once you know what changes you’re going to make, make them! This part can take a long time, but it’s certainly worth it. Also, remember that this is one of the last steps before sending your story to editors, agents, or what have you. How cool is that?

5. Pat Yourself (and Your Beta Readers) on the Back

Make sure to thank everyone who offered feedback. Enjoy your sweet new draft!

Kyle A. Massa is a speculative fiction author living somewhere in upstate New York. His stories have appeared in numerous online magazines, including Allegory, Chantwood, and Dark Fire Fiction. To stay current with Kyle’s work, subscribe to his email newsletter. He promises not to spam you.

Raising the Stakes

January 15, 2018 /

There’s a reason preseason football games are dull, and it’s not just because we’re compelled to watch backups play for three quarters (sorry backups). It’s because they have no stakes.

Now consider the Super Bowl, a game which has the highest stakes in American professional sports. Winning that game means everything. Losing it could be the biggest disappointment in an otherwise outstanding career. (The Super Bowl is also made greater by the weird Doritos commercials, but that’s neither here nor there.)

As writers, we should write stories about the Super Bowl, not the preseason. That’s because stories are often at their best when everything’s on the line. The question is, how do we do it?

Let’s start with The Fellowship of the Ring. The story begins without any stakes (unless you’re particularly concerned about the success of Bilbo’s birthday party). However, we soon discover that Bilbo’s magic ring is actually the One Ring, the most evil artifact in Middle-Earth. Now we understand the stakes: If Sauron gets his Ring back, Middle-Earth is screwed. And when Frodo volunteers to take the Ring, he raises the stakes even further. That’s because at this point, we like Frodo. If he fails, he dies, and then we’re very sad.

Takeaway: Raise the stakes incrementally. Each successive event should provide more to lose and more to gain.

The trick is learning to raise the stakes by showing rather than telling. For example, imagine a character in a book says, “Dude. The stakes have never been greater.” No no no. Too heavy handed.

What’s a good way to suggest stakes rather than outright say them? Kill some characters. The great J.K. Rowling did so zealously in Harry Potter, starting with The Goblet of Fire. When Cedric Diggory died in this book, the stakes were clear: If you mess with Voldemort, you die. Such stakes had never before existed in the series.

It’s difficult, but raising the stakes can breathe new life into our stories. I’m still working on it. I think it helps to ask yourself some questions before sitting down to write. For example: What does my character’s quest mean to him or her? What happens if my character fails? What’s motivating my character to succeed?

We want to show the answers to these questions without telling. If readers have a clear picture of the stakes in their minds, they’ll better understand the gravity of every situation.

So let’s skip the preseason and play for the Super Bowl. Raise those stakes!

Kyle A. Massa is a speculative fiction author living in New York (upstate, not the city). His stories have appeared in numerous online magazines, including Allegory, Chantwood, and Dark Fire Fiction. To stay current with Kyle’s work, subscribe to his monthly email newsletter. He promises not to spam you.

NaNoWriMo 2017 in Review

December 4, 2017 /

Image courtesy of National Novel Writing Month.

It’s December, which means NaNoWriMo 2017 is officially in the books. This is the second time I participated and the first time I hit the 50,000 word mark. I’m glad I did it.

Did you participate in National Novel Writing Month too? If so, you probably learned a lot about yourself as a writer. I know I did. Allow me to share my best takeaways.

You Really Can Do It

Writing an entire novel seems impossible—until you do it. Participating in National Novel Writing Month is proof of that fact.

This year, I enjoyed using the NaNoWriMo website to track my progress. I entered my word count every day to see how many words I wrote each day, and how many more I needed to stay on track for my goal. Super handy and a great way to stay motivated.

You Just Did the Hardest Part

Buy yourself a coke, champ. Filling a few hundred blank pages is a monumental accomplishment.

Of course, we’ve just got manuscripts right now. They’re not novels until we edit them!

Though this is another daunting task, we now have the confidence to do it. Plus, it’s actually pretty fun to paint a shinier coat over the initial strokes. Since we’ve been racing against the clock all month, it’s unlikely that our first draft is ready for readers.

So let’s reorganize and refine those raw concepts. The result is sure to be magnificent.

People Now Think You’re Awesome

I mentioned this in my pre-NaNoWriMo blog post, but I think it bears repeating: people are always impressed when you finish a novel manuscript. I once interviewed for an internship and was asked what accomplishment I was most proud of. My answer: “I finished a manuscript for a novel.” I don’t have conclusive evidence, but I think it went a long way toward getting the internship.

Just because NaNoWriMo’s over for this year doesn’t mean we should stop writing. Keep at it!

Why You Should Try National Novel Writing Month

October 23, 2017 /

Image courtesy of National Novel Writing Month.

National Novel Writing Month (or NaNoWriMo, as the cool kids say) is a fun time of the year. It’s a time when people come together to create their own versions of one of the greatest forms of art there is: the novel!

Have you tried it before? Are you thinking of trying it? Here are some reasons you’ll want to join National Novel Writing Month yourself.

NaNoWriMo Gives You a Hard Deadline

I explored this idea in an earlier blog post from this month, but it’s still relevant, no matter what. In my opinion, most writers need deadlines.

This might sound harsh. Still, I know a ton of talented people who could generate a ton of great work, if only they hadn’t been working on the same project for three years. I’m not trying to put anyone down for doing so; writing is your time, and you should work on whatever projects you’d like. But hey. Sometimes you’ve got to move on to the next project.

I know I need deadlines. I often review my stories numerous times, making cosmetic (and ultimately low-impact) edits. For example: shuffling commas around. This is probably not a great use of my time, and it’s why I like deadlines. At some point, I can say, “This is as good as it’s going to be.” And then move on.

NaNoWriMo Gives You a Sense of Community

Unless you dig the working in a coffee shop thing, writing might feel a little lonely. And even if you do work at Starbuck’s, baristas are unlikely to chat about your first chapter.

But during National Novel Writing Month, you’ll have an entire community to people to discuss your writing with. NaNoWriMo is one of the rare times when everyone writes crazily hard for an entire month. Yes, that’s write—ahem, sorry. That’s right.

If you’re feeling lonely, head over to the National Novel Writing Month homepage. You can register your novel there, update your progress, and chat with others who are doing the same. Writing novels is hard, so feel free to encourage your friends as they slog through theirs. They’ll do the same for you.

NaNoWriMo Helps You Improve

Being a writer is all about gradual improvement. The first novel you ever write is probably going to be hideous. That’s just how it is. The key is to improve, and continue improving.

NaNoWriMo helps you do that. It gives you an excuse to go ham on your long-form writing skills for a while. Plus, it gives you a short window to do it in. As stated above, it’s kind of like forced practice. And, it’s a better time than any to get those much-needed reps.

I’ve found that the more time I put into my writing, the better it gets. So if you try NaNoWriMo, that’s a whole month of excellent practice. Which will help you improve. Which will help you write something even better next year. Woo hoo!

Bonus: People Will Give You Mad Props

If you tell another human being that you’ve written a book, they’ll be super impressed, especially if they’re not a writer.

Give yourself a deadline. Join a community. Improve your writing. Earn street cred. National Novel Writing Month starts in a little over a week on Wednesday, November 1st. Try it out!

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