Inspirations & Motivations

A writer friend of mine recently asked two questions: 

1. Where do you get your inspiration and your motivation from?

2. What do you do with bits of inspired writing not long enough for a story? 

Inspiration and motivation can be found all around us. Movies for instance. 

Dr. Zhivago

Dr. Zhivago, a story of Russia in the days of the Revolution, wrapped around a love story. But it starts off so dark. In the opening scene of Dr. Zhivago, one of the characters says, "There were children in those days who lived off human flesh, did you know that?" 

Who would write a love story that starts off like that? A guy named Boris Pasternak, who was awarded the Nobel Prize but couldn't go get it. His life was something else, worthy of its own read. For example, the Russian government threw his girlfriend in the gulag for three years because they didn't like what he was doing.

Writer Stuff:

Inspiration and motivation can even come from simple knowledge. Like the following: 

MacGuffin: (n) An object or device in a movie or a book that serves merely as a trigger for the plot. I recently watched another classic: The Maltese Falcon. The statue at the heart of the plot is a perfect example of a MacGuffin. The whole movie revolves around this statue. Definitely inspirational. The Lord of the Rings anyone? Another series set around a MacGuffin. You can do it too!

Obvious State: A website with some excellent literary quotes and fantastic accompanying pictures. One of my favorite, which I was unaware of, was this gem: [Exit, pursued by a bear]. That's a stage direction from William Shakespeare's A Winter's Tale. I won't get any money if you follow the link, I just think it's a good site for motivation. Writers should want their writing to be good enough to be turned into a work of 'art art' to mirror the work of 'word art' it truly is.

French Opera

I absolutely enjoy having friends from all corners of the globe. It exposes me to so many things I would never come across. Like this: a small snippet of song, from one of my writer friends overseas (Howdy AJ Jon!). I reviewed a piece of work by him and some others and they inserted the following lyrics at the beginning of their story, which was about a girl who loved the opera. 

passons nos jours dans ces vergers, 

loin des amours et des bergers,

passons nos jours, 

passons nos jours, 

loin des amours et des bergers

[translated from the French]

Let's spend our days in these orchards, 

far from loves and shepherds, 

let's spend our days, 

let's spend our days, 

far from loves and shepherds

So simple, so powerful. Though I am a little confused on why the shepherds need to be distanced from, lol. The lyrics are from Pomone, considered to be the first truly French opera. Composed by Robert Cambert, Pomone premiered in 1671 during the reign of Louis XIV. You can get some more information and hear the song here. I guess the lesson here is to cultivate friends from far afield, and with different interests than yours, besides writing of course.

That'll do Pig. That'll do.

And lastly, one of the most powerful motivators comes a job well done. The following is a missive from one of my recent editing jobs (slightly edited for anonymity): 

"I started reading the first six chapters. I cannot believe how you have transformed my book. It is so much better! It just tells me how much I have to learn. I will finish reading it this week.

I would just like to say thank you so much. If the rest [of the book edits] are as good as the first six chapters, I am going to be a very happy man. 

I really can’t thank you enough. Let me know when you want the final payment and I shall send it to you. I look forward to working with you on my future books.

A very grateful [Author]

I am grateful to be able to work with such wonderful authors. He is a huge motivation for me to do my best! 

Now go forth and write!

Dave Owens: How to Tickle the Muse

Howdy All,

Here, today, we have for your perusal another fine bit o' advice for you to chew on. Dave's the man. Learn his lessons well and you too shall prosper with the words. My only regret is it's not an epistle. Heaven knows I yearn for a good one of those. Ah well, maybe next time. Until then, feast your eyes on...

How To Tickle The Muse
By David Alan Owens

Unless you do the work, the world will never see your vision. -Jocko Willink

Today I wrote and revised for 3 hours. My usual activity for early morning. Not much actual writing today, but I scoured one of my stories in progress. I reset the anticipated plot, rearranged the sequence, researched clothing worn by the characters, pasted the images into my story for future reference, and deleted much of the material already written. I am never satisfied, nor should you be satisfied. When a writer becomes satisfied, he's made his first mistake.

Traits a good writer must pursue with vigor:

Writers must be great observers. We watch people, their actions, the little things about them, how they dress. We wonder whether their clothing fits properly. We store the data in our memories, because somewhere in the future, we know we will need the persons we watch to create memorable characters in our stories.

Does the person limp, walk with the aid of a crutch? Does the person strut the walk of self importance – keep him, you'll need him. Does the woman wriggle her hips when she walks, or is it the tall walk of confidence. The boy on the street. Is one of his front teeth missing? What is the appearance of the child's clothing. Readers will remember the child because of his missing tooth. Anything less than focused observation will cause the writer to write stick figures or cardboard characters.

Appearance and physical traits reinforce the character for the reader's pleasure. The same elements drive “Show Don’t Tell.” Ask yourself this question: “Do I love the character, or did I write them flat?” Love your antagonists as much as your heroes. Know all of your characters – write depth of character, and not poor images copied from movies we've seen. Create original characters. Originality is what sells.

We must become great listeners: To listen, instead of speaking, teaches us many things. We learn dialect nuances, speech patterns, rhythm patterns, oddities – a "lisp" for example, might well be usable in a story. Then we must write the "lisp,” because unlike movies and films, we must convert a characters' vocal traits into written words. Not an easy task, and one of the weaknesses I always find when I edit. No matter what your pursuit, when you listen carefully you learn. Turn your mind into a recording device. Store the information you hear in your memory. When one injects himself into learning, the power of the lesson vanishes. Ask this question when you write dialogue: “Does my dialogue read like real people speak? Do they all speak in the name manner? What variations do I employ to differentiate them from each other?”

Writing is art: The story is the core of our art, but it isn't art. Dynamic characters aren't art. Beautiful scenery isn't art. Plot isn't art, but a road map. The smart writer knows the map is not always the correct map. Why? Because a plot rarely survives the scrutiny of an editor. Create a solid Map and revise it often. Discard if the map doesn't take the reader where it should. Find the treasure, and don't randomly search for alternate routes. Find the true map during revision.

A simple change in a character can disrupt the plot. The process requires delicacy not force. When you force the story, you will always fail. I'm living proof.

 Writing is craft: Writing is also something more. We strive to master the craft, but we are practitioners in a craft for which there are no masters. Great stories require a balance between art and craft, but unless the two merge, the story may flounder. This is the point where edit and revision reside.

I’ve talked with writers who think an edit is revision. Well, sort of, but revision is far more difficult than an edit. Proper revision is a destructive process. Destroy and rebuild.

What is an edit? Edits involve a broad scope of knowledge. Grammar, word choice, and punctuation rule the edit. Some forms of edit involve story only. Line edits probe deep into the words and structure, and revision hovers alongside the editor, but the line edit is not a revision. Complete the laborious spelling and grammar check. Solid inspection is a must. Technical elements. Examine the technical aspects of your writing. Edit without mercy. Edit with vengeance. If you don’t, an agent or publisher will know. Most editors and agent can recognize the quality of a manuscript in just eight lines. Eight lines. Those first few lines tell the agent/editor everything they need to know about your style. Is your style strong, does it help create a great hook, or is it dependent upon common weak techniques copied from other writers?

Revision. Now comes the time to “kill darlings.” In revision everything is “fair game.” In addition to the ever-present editing factors, revision digs deeper. The process is intense. Question everything to make sure the writing, characters, setting, plot, plot structure, grammar and punctuation is the very best you can do. It’s a tough process and consumes much time if you revise properly. Avoid shortcuts. Get it right and you’ll find that elusive “satisfaction” —maybe. Does what you’ve written reveal the true story you intended?

Originality: Vibrant writing holds the reader. Hemingway said, “Motion is not action.” What’s the difference? Sometimes the line that separates the two is narrow.

Examine this sentence:

“I’ll get some,” he said going to the refrigerator, opening the door, taking out a bottle of milk, and opening it.

Everything after “he said” is motion and an awful dialogue tag. Stick with said or asked.

Action version. Notice how word count and interest increases.

“Hey. Get me some milk,” Carol said. “I put a fresh bottle in the fridge yesterday.”
Jack wanted to say, “Get it yourself,” but he changed his mind. Like an obedient servant he went to the refrigerator and opened the door. The pungent odor of rotted vegetables assailed him. “Yuck. When’s the last time you cleaned this thing?”

“Just get the milk and quit your whimpering.”

(Did you notice the second sentence Shows instead of Tells?)

Don’t revise for yourself. Revise for the reader. Always for the reader.
Your first reader may be an agent, editor, or publisher. Your story reflects who you are as a writer.

Don’t skimp—give ‘em a five course meal with dessert. Cheesecake anyone?

-Dave Owens