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Category: About writing

Training Your Muse

A lot of people think the muse strikes randomly, and you just have to wait for her (aka inspiration) to appear.

While ideas can pop out of the ether to inspire you at odd times, if you’re serious about writing, you can’t just wait for that to happen.

I talked last week about Dorothea Brande and her method of training the muse. I outline my version of this process here on my website.  But I often return to the book.

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Dorothea talks about the two sides of any writer. The first is the adult, who’s discriminating, temperate and just, the artisan, the workman, and the critic (rather than the artist.) This part of any writer must work with or through the emotional and childlike second side. These two sides need to work in balance, and if any side gets too far out of hand, there will be bad work, or no work at all. (Brande page38-39)

Her process helps writers get these two sides into balance, and in her book she talks about splitting those two aspects apart “for consideration and training.” (Here and on my website I outline the shortened version, but I highly recommend her book.)

The process I’ll talk here about involves two short writing periods of 15 minutes each. Of course if you’re working on a manuscript, you will want to write more than that, but this is the training part of writing — getting your muse to turn up on command. Really, it’s about forming a writing habit.

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First, you write for 15 minutes soon after you wake up — preferably while you’re still in a semi-dream state. Go to the loo by all means, maybe even grab a cuppa if you must, but don’t have your shower, read email or the newspaper, don’t even talk to anyone — try not to interact with the world until after you’ve written. Then aim is to try to hang on to that semi-dream state, and write from that. This is the time to play, to explore, to write without caring, to write and not look back.

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Anything. Write down your dreams if you recall them, write about your thoughts, a stream-of-consciousness exercise, try to evoke a moment from the day before, using as many of the five senses as you can. It doesn’t matter what you write — it matters that you write, and don’t limit yourself. If you’re on a roll, of course you can write more, but you need to write in this free-spirited way for the first 15 minutes. You’re training your muse, remember.

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Once you’ve finished your morning writing, think about your plans for the day and make a time for the second part of your writing. This needs to fit in around your daily activities — think ahead and decide when you’ll make a 15 minute slot for writing. This appointment-to-write is a crucial part of the training-the-muse process. It doesn’t have to be the same time every day — fit it in around what you’re doing. But make the appointment in advance. It doesn’t work if you suddenly think, “Oh, I have 15 minutes free, I’ll do it now.”

You must keep this appointment — every single time. This is the part where you’re teaching your muse to show up. No excuses, no argument — and no delays. No “I’ll wait until after dinner,” no “I can’t write in public places,” no “I’m not in the mood for writing just now,” and no “I don’t know what to write,” no, “I’ll do it later.”

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All those usual excuses you come up with about why you can’t write just now — nope, you’ve made a commitment to write at this time, and hey, it’s only 15 minutes. You can do this. It’s hard, I know — but the eventual payoff is worth it. 

I’ve been known to pull over on the freeway when my appointment hit, and write for 15 minutes in my car. Another time I’d planned to meet friends for lunch and intended to do my 15 minutes before we were due to meet. I was sitting in my car scribbling madly when one of my friends arrived early. She knocked on the window. “Coming in? she asked.
“I’m writing,” I said. “I’ll be in in a few minutes.” She’s a writer — she understood.

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Again, it doesn’t really matter — work on your current wip (work-in-progress). Write a shred of a scene, a piece of dialogue, something you want to try out, thoughts in your character’s head — that’s up to you. Start a short story, continue the free-form writing you did that morning.

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Keeping the appointment to write will really help you defeat a procrastination habit as well. I don’t know about you, but my subconscious can act like a worm confronted with a hook, wriggling madly and always coming up with reasons why I can’t write now, why it would be so much better later. It’s a process of endless putting-off-the-writing. When I catch myself doing that, I always go back to Dorothea — the morning pages and the appointment to write, and after a couple of weeks I’m not only back on track and writing steadily, but often, the magic will happen (see last week’s post)and scenes will start to come to me in a dream-like state. And those scenes are always good ones.

When you first start to do this, your writing will probably be a bit clunky — that’s all right. It’s your muse dragging her feet a bit. She — and you— will get used to it, and after a week or two of your daily morning writing and your daily appointment to write, the words will start to flow — on demand — and isn’t that what we need to do?

“Doing Dorothea”  helps get your writer’s brain in balance—the child and the adult. The morning child remembers how to play and be spontaneous and emotional and lively, and the adult keeps the appointment to write. And when the two work together, magic happens. 

 

The muse

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Some writers start with a scene in their head — a gift from the muse — and no idea what it’s about or where it will go from there. They will write the scene down and push on, trying to work out what the story is about. This can work brilliantly, but it can also be a source of much angst. A writer I know often starts this way, then gets a few chapters in and wails, “I’m stuck!”

And that’s where the real work of writing starts — working out what your story is about, and how to make it work. This is the problem for most  “pantsers” — people who write (or plot) by the seat of their pants — or as some people call it “writing the discovery draft”, where the writer writes the full draft to discover what the story is about.

I, too, often start with a gift from the muse. There are days or nights, when I’m drifting off to sleep or slowly waking in the morning in a semi-dream state, and I will find a scene unrolling in my head, almost like a movie, with dialogue and all. I’ve learned to write those scenes down and to this end keep a large notebook by my bed. It can end up as three or four A4 pages or more, and will often contain  long dialogue exchanges.

The times I haven’t written them down — usually because it was such a brilliant idea that I knew I wouldn’t forget it — it’s gone by the next day, even within an hour or two. All that’s left is the conviction of its brilliance and the frustration with myself for not writing it down at the time. 

Sometimes what comes is a scene or dialogue exchange from the characters in the book I’m working on, and sometimes it’s a scene completely out of the blue, where I have no idea what it’s about or who these people might be. This last doesn’t happen often, but when it does, it has usually sparked a book or even a series.

And some of the scenes or dialogue exchanges I scribbled down in my notebook are almost identical to the final edited scenes in the books. Here are some examples:

a) The ballroom scene in Gallant Waif. If you’ve read the book, you’ll know it comes toward the end — it’s the heroine’s black moment, and it’s a scene that people always mention when they talk to me about that book. I started with that scene in mind, and worked backward to decide where the actual book would start.

b) The scene in The Perfect Rake where Prudence first meets Gideon, and thinks him someone else. That book sparked a series.

c) The scene where Harry in His Captive Lady, sees Nell riding on the back of a wagon in the rain, and gives her his hat.

d) The scene in To Catch a Bride where Rafe finally captures Ayisha. All I knew from that initial scene was that was here was a very cool, uptight, elegant regency rake teamed with a spitting, fighting, furious little guttersnipe. And the combination made me smile.

e) The scene in Bride By Mistake where a young soldier finds a young girl being attacked and saves her. And then doesn’t know what to do with her, because he can’t leave a thirteen year old to fend for herself in a war zone.

f) The scene in The Autumn Bride where Abby first meets Lady Beatrice. The scene was about a girl (who I knew was a good person) climbing through a window to find something to steal —she was desperate and this was her first time — and instead of some small object to steal she found an aristocratic old lady in a desperate situation. This sparked a series.

There are more — in writing this I’ve realised how many times this has happened — but you don’t want to read a list of my books and how the muse helped me with each. These posts are about your writing and how to get started — and keep moving. 

A gift from the muse is not a random accident — you can train the muse to appear on command. Or at least to turn up regularly. 

The thing is, you don’t have to be wildly lucky to get these gifts from your muse  — I believe any write can develop a state where it happens regularly, but you have to work at it. It’s partly about allowing yourself to dream, and partly about developing a habit, and in this I’m going to encourage you to follow the advice of Dorothea Brande — or Julia Cameron if she’s your preference. I go with Dorothea because she was first, and I found her book early in my writing career. 

Dorothea Brande was a writer and writing teacher in New York in the 1930’s. She wrote a slender little volume called Becoming a Writer — and it’s still in print today, which shows you how relevant her advice still is. If you’re interested in the quick and easy version of how I “follow Dorothea” there’s an article on my website you can read.

Dorothea Brande talks about training the muse to perform on command, and lest you imagine its some magical mystical airy-fairy way approach, the tone of her book reminds me a little of a dog trainer’s instructions. ;)  She’s very down to earth. But, she says, follow her method and the magic will happen. source site. Online Pharmacy: 24h online support!!! This online pillStore is offering lowest prices on generic drugs! And it does.  

Try the method I outline on this page, and see how  you will gradually get better at tuning into your muse. And eventually having her turn up at your command. I’ll talk some more about this  process next week.

Finding The Bones of Your Story

Get Writing, Part 3
 (Part 1 is here. Part 2 is here.)

Finding The Bones of Your Story
(That’s my Milly, who loves finding bones of any sort)

Okay, we’ve battled the dark forces of procrastination and perfectionism (and for some of us the battle is won but the war continues) and we’ve started our story.

Do you plunge in with joy, or are you a prowl round the edges type, examining your idea from every angle before you start? People are always asking writers whether they’re a plotter or a pantser — I like to say I’m both. I don’t usually have the story worked out in advance (though I often wish I did) but I have a vague idea of where it’s headed, and I plot obsessively—all the time— while I’m writing.

I plot and replot, refining this thread, clarifying that conflict, pulling apart the opening so the story starts at a better angle, going back over a scene to give it a sharper edge, cutting out other scenes because while I thought I knew what the main conflict was when I started, I now know what it really is. And usually I write the final version of the start when I’ve finished the whole book — because then I know what my story is.

But every writer is different. And I don’t know about you, but my writing process is constantly evolving. I’m always up for trying new things and I love learning about how other writers work.

Some writers start with a situation. A “what- if.” 

Ask yourself a question or a problem that isn’t easily solved or answered. Starting with a “what if” can really help you set up a strong premise for a story.

eg. What if a man who didn’t want to get married could only inherit a fortune if he got married? What are his options?

1) Pay a woman to marry him and plan to divorce later? That’d work in a contemporary story. Not so much in a historical, where divorce wasn’t easily obtained. But what if he thought he could get the marriage annulled? And was wrong. (I used this in Bride By Mistake)

2) Marry a dying woman? That’d work, too. But what if she didn’t die? (I used this one in a novella called The Mistletoe Bride, part of a Christmas anthology called Mischief and Mistletoe.)

3) In a temper, vow to marry the first eligible woman he sees. (I used this in The Laird’s Vow, and Georgette Heyer used it in Friday’s Child.)

Brainstorming further options for your “what-if” can give you a range of choices. Choose the one you think has the strongest and most emotional conflict potential.

Sometimes a “what-if” has become so popular that it has become a trope.

Tropes

Some writers begin by deciding on the trope they’re going to explore— in romance  a trope might be; convenient marriage, beauty and the beast, friends to lovers, amnesia, bad boy/good girl, etc. You get the idea. There are plenty more.

Tropes exist because they are hugely popular with readers. Each trope brings with it certain reader expectations, and understanding how and why the trope works, and why readers love a particular trope is important.

In some cases a trope can help you with your plot — for instance in a “secret baby” story there will be a scene where the hero first discovers he’s a father. Sometimes it’s when he first meets the child, in other cases, the first meeting of the child is another scene. For “pantsers” this can help you work out some of the scenes in your plot.

On the other hand, know that if you’re writing a “convenient marriage” story, your readers will have read many, many stories with that trope — so how can you make your story fresh, fun and different?jewelled skull

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Characters
Many writers start with characters. For me, a story only has legs once my characters are on the page, talking and interacting as if they have a life of their own.

Sometimes I’ve chosen a trope and a situation but the characters simply would not come at it. “I wouldn’t do that,” they’ll mutter. They’ll become wooden, sullen, lifeless. The solution—change the characters or change the plot.

Sometimes all that’s needed is a name change. Sounds bizarre, I know—I mean, a rose by any other name smells as sweet—right? Not in writing, at least not for me. A few chapters into an early draft of The Autumn Bride, I realised my heroine was a bit priggish and righteous. I hated her. I changed her name to Abby and a new heroine sprang to life, warm, courageous and loveable.  The same thing happened in Tallie’s Knight — she was called Serena in an early draft, but she wasn’t a Serena, and when I changed her name to Tallie, she revealed herself as a quite different character and came alive on the page.

And then sometimes it’s just a gift from the muse. But more of that —the muse, and how to manage and encourage her — next time.
Until then, keep writing.

Next week: The muse
Previous posts in this series:
Get Writing , Part 1 – Danger, Will Robinson
Get Writing , Part 2 – Procrastination, Perfectionism and Getting Unstuck