How essential is your writing life?

I'm taking a class this month, WRITE BETTER FASTER, taught by Becca Syme on www.margielawson.com. So far, it focuses on the psychology of what keeps you from meeting your writing goals and helps to identify your distractions and the key ways to keep them from derailing you. It's a month-long class and this is only week 2, but yesterday's exercise really resonated with me and I have a feeling it's going to be an a-ha moment for you, too.

Becca has asked us this week to keep a notebook, detailing how we spend our time. She's broken it up into:
1) Essentials; 2) Priorities; 3) Desires; 4) Nonessentials. Basically, Essentials are things we have to do -- like day job, feed the dog, wash the dishes. Priorities are things we don't have to do, but probably should -- vacuuming up the dog hair, talking to our spouse/kid/mother, etc. Desires are things we love and want to do, like social obligations, coffee with friends. And Nonessentials are things we may or may not want to do, and the world won't end if we don't do them. Like Facebook and watching Netflix.

So, revelation. On day 1 of doing this. Aside from getting The Boy out the door to school (which is Essential), my entire morning today was taken up with Priority items -- running, dog walking, showering, vacuuming up dog hair. By the time I sat down to write, which I consider Essential, as it's my JOB, it was 11:45. I *could* argue that dog walking is essential -- and running, too, for that matter because it makes a massive difference to my mental and physical health -- but is it really? If I were reporting to work in an office, would 11:45 be an acceptable time to show up? Um, probably not.

So why is it acceptable when I'm working for myself, making my own hours? Add to that an inadvertent software update (Essential, but I didn't mean to click to start it when I did) and going to see The Boy play football/soccer for his school team (Priority. They won in a sudden death penalty shoot out. It was crazy intense.), my hours spent on my actual job today are about...3. And that's generous.

Again, would this be acceptable if I were working for someone else in an office? Definitely not. Would it be acceptable if I were the boss and my employee was only giving me 3 good hours/day? I'm lenient, but not that lenient. Part of my motivation for writing full-time is flexibility, but managing my time well within that flexibility needs some serious work.

I'm going to continue to track my time for the next week, at least, to see if I can identify a pattern. I suspect it won't be that different from what I've noted today, which means I need to work on making those writing hours count or making more writing hours in the day. Or maybe even both?

How would your day look if you were to break it down the same way? And where does your writing fall on the scale from Essential to Nonessential in your daily life? Writing it all down is an interesting exercise, especially if you struggle with productivity, because the reason becomes glaringly clear. And proves that the struggle, although real, is sometimes mostly with ourselves.

Time & Place: The Basics

Caerlaverock Castle, Scotland. Photo by Amy Jarecki

Obviously, every part of a novel unfolds within a concrete/physical environment of some kind—whether it’s under the sea, the supply room in an office building, or a World War II battlefield.

The way you bring your time period and setting to life—even if the time period and setting are more domestic and contemporary—informs so much of the novel. It helps the reader truly FEEL as though they’ve landed somewhere and are experiencing a world around the characters, one whose details have significance and are placed meaningfully on the page.

Often, though, writers take either a too bare bones or too lavish approach to setting. They either give us a quick inventory of what’s in a room (“A table sat in the center, on top of which was a crystal vase holding daffodils.”) or a too lavish travelogue of every detail from the clouds overhead, to the paint flaking on the columns, to the ants scurrying beneath the feet of the main character.

Often, too, they don’t challenge themselves to set their scenes in the most evocative environments, settling on those domestic arenas that are comfortable to them—the bedroom, the kitchen, the car, and so on.

That said, here are some questions to take you deeper:

·     Is this the most compelling time and/or location in which the scene can unfold?

·     What is unusual/special about this time and place?

·     What about time/place weighs on or buoys the scene’s viewpoint  character? (How does it either empower her or rob her of psychic strength?)

·      How does the viewpoint character’s interactions with the environment speak to her emotional state?

·     What concrete, singular/idiosyncratic details emerge via the viewpoint character’s perspective? In other words, what would only s/he notice?

·     If this setting is revisited several times throughout the novel, how is it viewed differently each time by the viewpoint character? How does her progression through the novel CHANGE her relationship with this place?

I know writers who think of setting as another character in their book. It's that important!

Write on Friends!

~Amy Jarecki

Author of Scottish Historical Romance

Most Recent Release: Knight in Highland Armor