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@megdegrant
Never underestimate the power of a little positive feedback on another writer’s work. You could be the difference that convinces them to keep going or inspires them to write that next chapter. Spread positivity and support other writers ❤
Drafting: The Theory of Shitty First Drafts
Writing books often exhort you to “write a shitty first draft,” but I always resisted this advice. After all,
I was already writing shitty drafts, even when I tried to write good ones. Why go out of my way to make them shittier?
A shitty first draft just kicks the can down the road, doesn’t it? Sooner or later, I’d have to write a good draft—why put it off?
If I wrote without judging what I wrote, how would I make any creative choices at all?
That first draft inevitably obscured my original vision, so I wanted it to be at least slightly good.
Writing something shitty meant I was shitty.
So for years, I kept writing careful, cramped, painstaking first drafts—when I managed to write at all. At last, writing became so joyless, so draining, so agonizing for me that I got desperate: I either needed to quit writing altogether or give the shitty-first-draft thing a try.
Turns out everything I believed about drafting was wrong.
For the last six months, I’ve written all my first drafts in full-on don’t-give-a-fuck mode. Here’s what I’ve learned so far:
“Shitty first draft” is a misnomer
A rough draft isn’t just a shitty story, any more than a painter’s preparatory sketch is just a shitty painting. Like a sketch, a draft is its own kind of thing: not a lesser version of the finished story, but a guide for making the finished story.
Once I started thinking of my rough drafts as preparatory sketches, I stopped fretting over how “bad” they were. Is a sketch “bad”? And actually, a rough draft can be beautiful the same way a sketch is beautiful: it has its own messy energy.
Don’t try to do everything at once
People who make complex things need to solve one kind of problem before they can solve others. A painter might need to work out where the big shapes go before they can paint the details. A writer might need to decide what two people are saying to each other before they can describe the light in the room or what those people are doing with their hands.
I’d always embraced this principle up to a point. In the early stages, I’d speculate and daydream and make messy notes. But that freedom would end as soon as I started drafting. When you write a scene, I thought, you have to start with the first word and write the rest in order. Then it dawned on me: nobody would ever see this! I could write the dialogue first and the action later; or the action first and the dialogue later; or some dialogue and action first and then interior monologue later; or I could write the whole thing like I was explaining the plot to my friend over the phone. The draft was just one very long, very detailed note to myself. Not a story, but a preparatory sketch for a story. Why not do it in whatever weird order made sense to me?
Get all your thoughts onto the page
Here’s how I used to write: I’d sit there staring at the screen and I’d think of something—then judge it, reject it, and reach for something else, which I’d most likely reject as well—all without ever fully knowing what those things were. And once you start rejecting thoughts, it’s hard to stop. If you don’t write down the first one, or the second, or the third, eventually your thought-generating mechanism jams up. You become convinced you have no thoughts at all.
When I compare my old drafts with my new ones, the old ones look coherent enough. They’re presentable as stories. But they suck as drafts, because I can’t see myself thinking in them. I have no idea what I wanted that story to be. These drafts are opaque and airless, inscrutable even to me, because a good 90% of what I was thinking while I wrote them never made it onto the page.
These days, most of my thoughts go onto the page, in one form or another. I don’t waste time figuring out how to say something, I just ask, “what are you trying to say here?” and write that down. Because this isn’t a story, it’s a plan for a story, so I just need the words to be clear, not beautiful. The drafts I write now are full of placeholders and weird meta notes, but when I read them, I can see where my mind is going. I can see what I’m trying to do. Consequently, I no longer feel like my drafts obscure my original vision. In fact, their whole purpose is to describe that vision.
Drafts are memos to future-you
To draft effectively, you need a personal drafting style or “language” to communicate with your future self (who is, of course, the author of your second draft). This language needs to record your ideas quickly so it can keep up with the pace of your imagination, but it needs to do so in a form that will make sense to you later. That’s why everyone’s drafts look different: your drafting style has to fit the way your mind works.
I’m still working mine out. Honestly, it might take a while. But recently, I started writing in fragments. That’s just how my mind works: I get pieces of sentences before I understand how to fit them together. Wrestling with syntax was slowing me down, so now I just generate the pieces and save their logical relationships for later. Drafting effectively means learning these things about yourself. And to do that, you can’t get all judgmental. You can’t fret over how you should be writing, you just gotta get it done.
Messy drafts are easier to revise
I find that drafting quickly and messily keeps the story from prematurely “hardening” into a mute, opaque object I’m afraid to change. I no longer do that thing, for instance, where I endlessly polish the first few paragraphs of a draft without moving on. Because how do you polish a bunch of fragments taped together with dashes? A draft that looks patently “unfinished” stays malleable, makes me want to dig my hands in and move stuff around.
You already have ideas
Sitting down to write a story, I used to feel this awful responsibility to create something good. Now I treat drafting simply as documenting ideas I already have—not as creation at all, but as observation and description. I don’t wait around for good words or good ideas. I just skim off whatever’s floating on the surface and write it down. It’s that which allows other, potentially better ideas to surface.
As a younger writer, my misery and frustration perpetuated themselves: suppressing so many thoughts made my writing cramped and inhibited, which convinced me I had no ideas, which made me even more afraid to write lest I discover how empty inside I really was. That was my fear, I guess: if I looked squarely at my innocent, unvetted, unvarnished ideas, I’d see how bad they truly were, and then I’d have to—what, pack up and go home? Never write again? I don’t know. But when I stopped rejecting ideas and started dumping them onto the page, the worst didn’t happen. In fact, it was a huge relief.
Next post: the practice of shitty first drafts
Ask me a question or send me feedback!
really loved this– just a shift in the way we think of rough drafts, which is helpful for perfectionist brains like mine that don’t resign themselves to “shitty first drafts” very easily!
Good post. Re: “shitty first drafts”: While it’s true the first draft will probably have many flaws, I feel like resigning that it’ll be “shit” can give writers certain bad habits. For example, my drafts used to be giant, incomprehensible word explosions where I had no idea what I meant about any of it, and I didn’t give any thought to characters or motivations. While the first draft may not be perfect, there are considerations to prevent oneself from, say, writing four-hundred pages that turn out to be hard to salvage and end up 90% rewritten anyway. That can be emotionally draining and discourage, and hard especially if you become a professional writer with deadlines.
Though I’m reluctant to give writing advice because everyone’s process is different, I’d recommend Story Genius: How to Use Brain Science to Go Beyond Outlining and Write a Riveting Novel (Before You Waste Three Years Writing 327 Pages That Go Nowhere) by Lisa Cron for things to consider when writing a first draft. Her books personally helped me reconsider how I think of stories.
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I joined a few years ago but didn’t really use it...happy to say I’m much more active now! Comment your books and give me a follow so I can find you!
https://www.wattpad.com/user/megdegrant
25 Black-owned bookstores you can support right now
while i don’t claim to be a “book blogger” by any account (more of a cranky publishing-person blogger most days), i know a lot of people have followed me through my book posts, so i’m taking advantage of that captive audience to boost these bookstores. shop them through their own websites and if you’re local, look into curbside pickup to minimize shipping costs and overhead. okay that’s all thanks bye stay safe.
the lit bar (a personal favorite and the bronx’s one remaining bookstore)
hariett’s bookshop
semicolon bookstore
mahogany books
uncle bobbie’s
loyalty bookstore
dare books
listening tree books
underground books
multicultural bookstore
pyramid books
black dot bookstore
brain lair books
medu bookstore
wild fig books and coffee
frugal bookstore
olive tree books
detroit book city
cafe con libros
revolution books
sisters uptown bookstore
source booksellers
hakim’s bookstore
sankofa books and cafe
turning page bookshop
Character Mannerisms
Here’s some considerations for the tiny little details that can add a lot to a character. Figuring out these mannerisms can do a lot for conveying character traits through their normal actions rather than just their thoughts, dialogue, etc.
How’s their posture? There are more options than just sitting up straight or slouching a lot. What’s their most comfortable sitting position? Do they have a consistent posture or does it change depending on situation / present company?
How’s their etiquette? Do they hold the door for people behind them? How do they handle handshakes and other kinds of typical contact? Does their language change or become more formal when speaking to strangers? To their elders? To their superiors?
In a crowded space, do they get out of people’s way, or do people get out of THEIR way?
How do they point something out? Pointing their finger? Nodding their head? A flippant wave of the hand?
What are their comfort gestures or self-touch gestures? Common comfort gestures include rubbing the back of the neck or gripping their own arms. Can they suppress these gestures or do they do them often?
Also consider the character’s common reactions to common emotions. Do they whoop when they’re excited? Do they tremble when angry?
What parts of the body are the most expressive? Do they shuffle and stomp their feet a lot when agitated or excited? Are they a hand talker? Do they have an impressive range of motion with their eyebrows?
How do they sound? Do their car keys jingle as they walk? Do they drag their feet? Do their heels clack resoundingly on hard floors? Do they breathe loudly? Do they fidget in ways that make a lot of noise?
How do they handle eye contact?
Any behaviors they reserve for moments when they’re alone? (Or possibly among family/friends that don’t care?) Do they pick their nose? Do they bite their toenails? Do they sniff their armpits? Or do they not care if people see behavior like this?
Apart from comfort gestures, what else do they do to comfort themselves in trying times? What’s their go-to self care? What’s their comfort food? Where’s their safe space?
What are they doing with themselves as they’re suppressing emotion? Lip biting, fist clenching, and avoiding eye contact are common methods of coping with strong emotions.
Write fast, write close to the bone. Don’t waste any more of your life on what does not matter to you.
Bonnie Friedman
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psliterary
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Artemis - lady of wild things, huntress, protectress of animals, guardian of the young.
Irish people; The faeries aren’t real
Irish people; No fucking way will I go in that faerie ring
#look#you don’t go in a fairy ring and you don’t fuck with a stone in the middle of a field#these are just facts#nobody does it#fairies will fuck you up#Ireland#folklore#fairies (Via @false-dawn)
Look, I don’t believe in God, but I will not disrespect the Good Gentlemen of the Hills. That’s just common sense.
Between this and the Icelanders with their elves I do not understand what is going on above the 50th parallel.
My general rule of thumb: you don’t have to believe in everything, but don’t fuck with it, just in case.
^^^ that part
This is truer than true. Especially the Irish part.
Let me tell you what I know about this after living here for nearly thirty years.
This is a modern European country, the home of hot net startups, of Internet giants and (in some places, some very few places) the fastest broadband on Earth. People here live in this century, HARD.
Yet they get nervous about walking up that one hill close to their home after dark, because, you know… stuff happens there.
I know this because Peter and I live next to One Of Those Hills. There are people in our locality who wouldn’t go up our tiny country road on a dark night for love or money. What they make of us being so close to it for so long without harm coming to us, I have no idea. For all I know, it’s ascribed to us being writers (i.e. sort of bards) or mad folk (also in some kind of positive relationship with the Dangerous Side: don’t forget that the root word of “silly”, which used to be English for “crazy”, is the Old English _saelig_, “holy”…) or otherwise somehow weirdly exempt.
And you know what? I’m never going to ask. Because one does not discuss such things. Lest people from outside get the wrong idea about us, about normal modern Irish people living in normal modern Ireland.
You hear about this in whispers, though, in the pub, late at night, when all the tourists have gone to bed or gone away and no one but the locals are around. That hill. That curve in the road. That cold feeling you get in that one place. There is a deep understanding that there is something here older than us, that doesn’t care about us particularly, that (when we obtrude on it) is as willing to kick us in the slats as to let us pass by unmolested.
So you greet the magpies, singly or otherwise. You let stones in the middle of fields be. You apologize to the hawthorn bush when you’re pruning it. If you see something peculiar that cannot be otherwise explained, you are polite to it and pass onward about your business without further comment. And you don’t go on about it afterwards. Because it’s… unwise. Not that you personally know any examples of people who’ve screwed it up, of course. But you don’t meddle, and you learn when to look the other way, not to see, not to hear. Some things have just been here (for various values of “here” and various values of “been”) a lot longer than you have, and will be here still after you’re gone. That’s the way of it. When you hear the story about the idiots who for a prank chainsawed the centuries-old fairy tree a couple of counties over, you say – if asked by a neighbor – exactly what they’re probably thinking: “Poor fuckers. They’re doomed.” And if asked by anybody else you shake your head and say something anodyne about Kids These Days. (While thinking DOOMED all over again, because there are some particularly self-destructive ways to increase entropy.)
Meanwhile, in Iceland: the county council that carelessly knocked a known elf rock off a hillside when repairing a road has had to go dig the rock up from where it got buried during construction, because that road has had the most impossible damn stuff happen to it since that you ever heard of. Doubtless some nice person (maybe they’ll send out for the Priest of Thor or some such) will come along and do a little propitiatory sacrifice of some kind to the alfar, belatedly begging their pardon for the inconvenience.
They’re building the alfar a new temple, too.
Atlantic islands. Faerie: we haz it.
The Southwest is like this in some ways. You don’t go traveling along the highways at night with an empty car seat. Because an empty car seat is an invitation. You stick your luggage, your laptop bag, whatever you got in that seat. Else something best left undiscussed and unnamed (because to discuss it by name is to go ‘AY WE’RE TALKING BOUT YA WE’RE HERE AND ALSO IGNORANT OF WHAT YOU’RE CAPABLE OF’ at the top of your damn lungs at them) will jump in to the car, after which you’re gonna have a bad time.
If you’re out in the woods, you keep constant, consistent count of your party and make sure you know everyone well enough that you can ID them by face alone, lest something imitating a person get at you. They like to insert themselves in the party and just observe before they strike. It’s a game to them. In general you don’t fuck with the weird, you ignore the lights in the sky (no, this isn’t a god damn night vale reference, yes I’m serious) and the woods, you lock up at night and you don’t answer the door for love or money. Whatever or whoever’s knocking ain’t your buddy.
^ So much good advice in this post right here
I live in the south and… you just… don’t go into the woods or fields at night.
Don’t go near big trees in the night
If you live on a farm, don’t look outside the windows at night
I have broken all these rules.
I’ve seen some shit.
If it sounds like your mom, but you didn’t realize your mom is home…. it’s not your mom. Promise.
One walked onto the porch once. Wasn’t fun. But they’re not super keen on guns. Typically bolt when they see one.
You think it’s the neighbor kids.
It’s not the neighbor kids.
Might sound like coyotes but you never really /see/ the coyotes but then wow that one cow was reaaaaaally fucked up this morning. The next night when you hear another one screaming you just turn the tv up a little more. Maybe fire a gun in the air but you don’t go after it. If it is coyotes then it’s probably a pack and you seriously don’t want to fuck with that and if it’s the other thing you seriously REALLY don’t want to fuck with that.
So in the south, especially near the mountains, you just go straight from your car to inside your house, draw your curtains and watch tv.
If you see lights in the fields just fucking leave it alone.
Eyes forward. Don’t be fucking stupid. Mind your own business. Call your neighbors and tell them to bring the cats in. There’s coyotes out. Some of them know. Most of them don’t.
Other than that everything’s a ghost and they died in the civil war. Literally all of everything else is just the civil war. We used to smell old perfume and pipe tobacco in the weeks leading up to the battle anniversaries.
Shit’s wild and I sound fucking crazy but I swear to god it’s true.
Every time this post comes around, it’s my favorite to open up the notes and read the stories. Probably shouldn’t have since I’m sleeping alone tonight, but you know, it’s fine. 😂
Austrian girl here who has lived in Ireland for 5+ years. This shit is LEGIT. I’ve seen it with my own two Catholic eyes.
Sure, visit during the day. That’s alright as long as you’re respectful. But you couldn’t PAY ME ENOUGH to go there at night. These are also the last places where you wanna start littering.
I grew up in southwest Pennsylvania which is a weird mixture of American cultures and environments. I was in the heavily forested mountains (northern Appalachia) but had lots and lots of corn fields and cow pastures. Like the Smoky Mountains and fields of Kansas combined. And being so cut off from a lot of the world, we had our fair share of ghost stories.
We had ‘witches’ in the mountains (more like ghost-women who will snatch you up by making you wander in a daze around the forest like the Blair Witch before killing you or letting you back out into society but you’re… different). Or devils in springs or abandoned wells (don’t look too long into one or something will follow you).
But we also had the cornfield demons. I’ve witnessed this many times. You’ll be in the passenger seat looking out the window and see red glowing eyes in the cornfield. No light shining in that direction. Just two red dots a few inches apart faintly glowing in a pitch black cornfield. They’re not the glow of deer eyes in the headlights. More like the embers of a dying fire. Sometimes, as you drive away, you’ll look out the back window or side mirror and you can see the eyes have moved to the edge of the corn field, still watching you. If you bring it up with the driver, they’ll call you paranoid, but grip the wheel a bit tighter and driver a little faster.
I was walking to a friend’s house one night. It was about 20 minutes down a dirt road with forest on one side and a cornfield on the other. I’ve walked past it many times and wasn’t really concerned. My main worry was coming across a skunk or porcupine. I didn’t have a flashlight because the moonlight was bright enough and I knew the walk really well. Then I saw the eyes. I immediately averted mine (because for some reason that’s how to not annoy it) but they kept wandering back. They were still there, watching. I heard rustling and saw the eyes come closer and I took off running. I got to my friends without a scratch, but I was terrified. I mentioned it to my friend and that’s when I found out it was A Thing. Her parents agreed and shared their stories. I brought it up more and almost everyone knew what I was talking about. It was a phenomenon a lot of folks around town experienced but never mentioned. To this day, I don’t linger around poorly light cornfields at night.
@thedevilinthealchemy and I are very old friends. I used to live in the same town as her, in Southern California. One night, a few years ago, we were celebrating the end of finals and the start of winter break, and we just hanging out in her car, killing ourselves with late night Taco Bell. Well, we decide we don’t want to go home just yet, so we start driving. We drive up a canyon, near her place. Now, we both had made this trip many, many times, in daylight and dark. A local tourist trap is in that canyon, and there’s a shortcut to a college campus that goes through that canyon. It was a normal winter night in SoCal.
Well, about halfway through I start to get scared. For no reason. Within the span of two heartbeats I grew so terrified that my palms were shaking and my mouth was dry and for some reason I couldn’t take my eyes off the wood to the driver’s side.
“Turn around.” I say, quickly.
“Dude, already on it.” Kama said, doing a quick three point turn. I look in the mirror as she’s pealing away and see the creature. It was vaguely humanoid, and hairless, with elongated limbs and pitch black eyes, on all four limbs, loping after us. Now, if you’re in the know, you might be thinking “hey that’s like the creatures from Until Dawn, I call bullshit on this.” Well, Until Dawn was four years away, and it wasn’t even in development yet, so shush.
I rip my eyes away from it and hold on tight as she drives. Then, at the same time, both of us get this instinct and we speak.
“Don’t look in the backseat.” Needless to say, neither of us did. She drove damn near 90 on a dark canyon until we saw the lights of her complex at the mouth of it.
I haven’t gone back in there since, and that canyon got shut down about a year ago due to a landslide and it hasn’t opened back up. I’m a history major, and research always has been my first love, so I go digging. I visit the local history society, talk about my tale. Turns out the whole valley used to belong to a people called the Tativam. One day, after the Spanish arrived, they vanished. Without a trace. We have a graveyard of theirs that we know of. One of my professors was trying to stop the houses that were being built on it. Spoiler alert: he didn’t, and the houses are hella haunted, and nobody wants to live there.
Personally I do think the creature is a wendigo. That chain of mountains is park of unbroken chain that leads right up the Serra Nevadas and Donner Pass.
THE Donner Pass.
You do the math.
@carolinemb88
I’m from Northern California myself, state capitol, and while we don’t have much by way of critters (sure, we’ve got Bigfoot up in the redwoods, but those guys are mostly harmless).
Most of what we’ve got is due to the Gold Rush, and not just the hauntings (though there are plenty of those, a great many of them are theatre ghosts, most of whom are harmless, though some are very particular). What we’ve got by way of Things were brought along on the trail from the Old Country to the East Coast and then along thousands of miles of wagon trail.
We’ve got our fair share of phantom hitchhikers and women in white, but mostly what we’ve got are the Things That Survived The Flood. There was a flood in the early 1860s, one that caused the state capitol to actually be relocated for a while, and when it was over and the floodwaters receded, there was enough sediment left behind that what had been the second floor of buildings was now the ground floor.
There are a handful of places in Old Town that you Do Not Go after dark (despite being safe during the day). When I worked in Old Town, giving comedic history tours, we started from and returned to a restaurant that had a club downstairs (in what had been the ground floor before The Flood) and there was a storeroom down there that got locked at sunset and no one questioned it, but the door to that storeroom was pretty much right next to the portable shed we changed clothes in, and I know, more than once, I heard knocking and scratching and one of my very last tours I got a facefull of wet-plant rot smell (not quite mildew, but not stinky like rotting meat gets) so bad I couldn’t breathe. It’s one of the reasons I stopped doing the tours, really, because I was starting to get the feeling I was being singled out, and I didn’t want to find out what by.
When I was like 17, I lived in the woods on the northwest coast of canada. One day, I decided to go for a walk in a part of the woods I had never been to before. Because sometimes I see weird things out there, I made sure to bring my grandma’s dog with me, just running free and off-leash. These are wild woods, too, not parkland, so the only clear areas are deer trails. I stuck along to those because, you know, I don’t want to get lost, and about an hour in I hear this strange whistling. Just a short call- One long, sharp whistle followed quickly by a short, piping one. Now, I’m in a good mood and I figure it must be some new kind of bird, so I whistle back: long call, short call. It whistles again. I’m amused, so I whistle again. Long call, short call, and then just to be fun, I throw in a little trill at the end. It whistles back. It whistles back the exact same pattern. Now, normally that would freak me out, but I was in a REALLY good mood. A really weirdly good mood. So, I whistled again. And when it whistled back to me, I giggled. I… Don’t giggle. Not alone in the woods over basically nothing. The whistle came again, and there was a rustle in the distance. Seeing a shady outcrop, I ran to hide, feeling like I was playing hide-and-seek with someone. It whistled, I whistled back. Another rustle. Closer. I suddenly realized I hadn’t seen the dog in a while. I looked around, and saw him a few feet away, staring point-blank and totally still into the forest. The whistle came again, closer this time, and suddenly my weirdly bubbly feeling was gone. Instant fear. I got the dog’s attention and we absolutely booked it out of there, all the way back to the eight-foot-high gate that marked the start of the wild land. I locked it behind me, and we never went back. I never really had any idea what was whistling with me in the forest. Maybe some kind of mimic bird that had escaped home, or a squatter hiding out there sewhere messing with this kid and their dog. I only just remembered that when I was a kid, we learned about the Tsonoqua woman. The Tsonoqua woman is supposed to be an old woman who lives in the woods. She carries a basket on her back and has long, tangled hair. When children wander away from camp, it is said that she snatches them up in her basket and steals them away forever. But because she has bad sight, she uses her keen ears to hunt, and calls out with a birdlike whistle.
@sergle
The best advice really is to just write. Write badly - purple prose, stilted conversations, rambling descriptions. Don't delete it, pass go, take your $200, save all your garbage in a big folder. Look at how much you've made - it doesn't matter if it isn't perfect, isn't polished, it was practice. Every time you write you learn a little more, and find another piece of your voice.
Pour words out of you without caring about the quality. You may think they suck, but with every word you write, you’ll be learning. And then when you look back on the writing a year later, the stuff you thought sucked might not be as bad as you thought, or there might be little gems of brilliant writing hidden in the mess. Even if it was as bad as you thought, you’ll read it and think, “I can write so much better than this now.” Or you might look at a piece and see the problems with it and think, “I can fix those problems and make this good.”
If you want to be a good writer and you think you’re not right now, just keep writing. You’ll get there.
The University of Toronto Campus photographed by Isabelle de Leon (me)
Me: *gets story idea*
Me: This is so obvious and clever it practically writes itself!
*later*
Narrator: It did not write itself.
our cinemagraphs on instagram: @kitchenghosts
Famous authors, their writings and their rejection letters.
Sylvia Plath: There certainly isn’t enough genuine talent for us to take notice.
Rudyard Kipling: I’m sorry Mr. Kipling, but you just don’t know how to use the English language.
Emily Dickinson: [Your poems] are quite as remarkable for defects as for beauties and are generally devoid of true poetical qualities.
Ernest Hemingway (on The Torrents of Spring): It would be extremely rotten taste, to say nothing of being horribly cruel, should we want to publish it.
Dr. Seuss: Too different from other juveniles on the market to warrant its selling.
The Diary of Anne Frank: The girl doesn’t, it seems to me, have a special perception or feeling which would lift that book above the ‘curiosity’ level.
Richard Bach (on Jonathan Livingston Seagull): will never make it as a paperback. (Over 7.25 million copies sold)
H.G. Wells (on The War of the Worlds): An endless nightmare. I do not believe it would “take”…I think the verdict would be ‘Oh don’t read that horrid book’. And (on The Time Machine): It is not interesting enough for the general reader and not thorough enough for the scientific reader.
Edgar Allan Poe: Readers in this country have a decided and strong preference for works in which a single and connected story occupies the entire volume.
Herman Melville (on Moby Dick): We regret to say that our united opinion is entirely against the book as we do not think it would be at all suitable for the Juvenile Market in [England]. It is very long, rather old-fashioned…
Jack London: [Your book is] forbidding and depressing.
William Faulkner: If the book had a plot and structure, we might suggest shortening and revisions, but it is so diffuse that I don’t think this would be of any use. My chief objection is that you don’t have any story to tell. And two years later: Good God, I can’t publish this!
Stephen King (on Carrie): We are not interested in science fiction which deals with negative utopias. They do not sell.
Joseph Heller (on Catch–22): I haven’t really the foggiest idea about what the man is trying to say… Apparently the author intends it to be funny – possibly even satire – but it is really not funny on any intellectual level … From your long publishing experience you will know that it is less disastrous to turn down a work of genius than to turn down talented mediocrities.
George Orwell (on Animal Farm): It is impossible to sell animal stories in the USA.
Oscar Wilde (on Lady Windermere’s Fan): My dear sir, I have read your manuscript. Oh, my dear sir.
Vladimir Nabokov (on Lolita): … overwhelmingly nauseating, even to an enlightened Freudian … the whole thing is an unsure cross between hideous reality and improbable fantasy. It often becomes a wild neurotic daydream … I recommend that it be buried under a stone for a thousand years.
The Tale of Peter Rabbit was turned down so many times, Beatrix Potter initially self-published it.
Lust for Life by Irving Stone was rejected 16 times, but found a publisher and went on to sell about 25 million copies.
John Grisham’s first novel was rejected 25 times.
Jack Canfield and Mark Victor Hansen (Chicken Soup for the Soul) received 134 rejections.
Robert Pirsig (Zen and the Art of Motorcycle Maintenance) received 121 rejections.
Gertrude Stein spent 22 years submitting before getting a single poem accepted.
Judy Blume, beloved by children everywhere, received rejections for two straight years.
A Wrinkle in Time by Madeline L’Engle received 26 rejections.
Frank Herbert’s Dune was rejected 20 times.
Carrie by Stephen King received 30 rejections.
The Diary of Anne Frank received 16 rejections.
Harry Potter and The Philosopher’s Stone by J.K. Rolling was rejected 12 times.
Dr. Seuss received 27 rejection letters
Ways to un-stick a stuck story
Do an outline, whatever way works best. Get yourself out of the word soup and know where the story is headed.
Conflicts and obstacles. Hurt the protagonist, put things in their way, this keeps the story interesting. An easy journey makes the story boring and boring is hard to write.
Change the POV. Sometimes all it takes to untangle a knotted story is to look at it through different eyes, be it through the sidekick, the antagonist, a minor character, whatever.
Know the characters. You can’t write a story if the characters are strangers to you. Know their likes, dislikes, fears, and most importantly, their motivation. This makes the path clearer.
Fill in holes. Writing doesn’t have to be linear; you can always go back and fill in plotholes, and add content and context.
Have flashbacks, hallucinations, dream sequences or foreshadowing events. These stir the story up, deviations from the expected course add a feeling of urgency and uncertainty to the narrative.
Introduce a new mystery. If there’s something that just doesn’t add up, a big question mark, the story becomes more compelling. Beware: this can also cause you to sink further into the mire.
Take something from your protagonist. A weapon, asset, ally or loved one. Force him to operate without it, it can reinvigorate a stale story.
Twists and betrayal. Maybe someone isn’t who they say they are or the protagonist is betrayed by someone he thought he could trust. This can shake the story up and get it rolling again.
Secrets. If someone has a deep, dark secret that they’re forced to lie about, it’s a good way to stir up some fresh conflict. New lies to cover up the old ones, the secret being revealed, and all the resulting chaos.
Kill someone. Make a character death that is productive to the plot, but not “just because”. If done well, it affects all the characters, stirs up the story and gets it moving.
Ill-advised character actions. Tension is created when a character we love does something we hate. Identify the thing the readers don’t want to happen, then engineer it so it happens worse than they imagined.
Create cliff-hangers. Keep the readers’ attention by putting the characters into new problems and make them wait for you to write your way out of it. This challenge can really bring out your creativity.
Raise the stakes. Make the consequences of failure worse, make the journey harder. Suddenly the protagonist’s goal is more than he expected, or he has to make an important choice.
Make the hero active. You can’t always wait for external influences on the characters, sometimes you have to make the hero take actions himself. Not necessarily to be successful, but active and complicit in the narrative.
Different threat levels. Make the conflicts on a physical level (“I’m about to be killed by a demon”), an emotional level (“But that demon was my true love”) and a philosophical level (“If I’m forced to kill my true love before they kill me, how can love ever succeed in the face of evil?”).
Figure out an ending. If you know where the story is going to end, it helps get the ball rolling towards that end, even if it’s not the same ending that you actually end up writing.
What if? What if the hero kills the antagonist now, gets captured, or goes insane? When you write down different questions like these, the answer to how to continue the story will present itself.
Start fresh or skip ahead. Delete the last five thousand words and try again. It’s terrifying at first, but frees you up for a fresh start to find a proper path. Or you can skip the part that’s putting you on edge – forget about that fidgety crap, you can do it later – and write the next scene. Whatever was in-between will come with time.
My friend, reading my WIP: holy shit I didn't see that coming!
Me, the writer: me neither man
