writercises | Entries tagged with process

Original Posting 2022/2/25

Over here, https://writingexcuses.com/2022/02/20/17-8-the-alchemy-of-creativity/ they spent considerable time chewing over the question of how one goes from idea to expression, or perhaps how does one shift from one form to another. Interestingly enough, it seemed clear that some people on the podcast basically have a movie running in their head, and need to figure out how to convert that to prose, while others seem to have words running wild, and are more likely to start with drafting, and then work their way into revisions. Anyway, different approaches for different folks.

I have to admit, I'm a word person. Movies? Nah, not in my head. But I can sort of see how some people might start with that kind of visual playground, and need to convert it into words. And, of course, there are folks who are doing what one of the people mentioned, basically starting with a script, seeing what kind of movie that prompts in their head, and then annotating the script with various notes about the cameras, the settings, the scenes, all of that, and then taking that and converting it into a storyboard...

There was also a bit of amusement when one person pointed out that they are a dessert first writer. I.e., they write the parts that excite them first, then have to step back and put it all together. This might be opposed to the "in order" writer, who starts at the beginning and goes on until the end.

Whew! So we have outliners and pantsers or discovery writers, those who prefer to lay it all out in some kind of outline (or perhaps a mindmap or othe visual format?) and those who dive right into the writing, working out the structure as they get the words down... And we have movie in the head people and words and feelings folks? Plus we have dessert first writers and in order writers...

Fun and games! What kind of process do you find yourself using? Do you recognize these differences? Is there something else that shapes your writing, and makes it different from the way other people seem to tackle things?

Something to ponder this weekend, maybe?

Write?

mbarker.livejournal.com

Original Posting June 4, 2016

Writer's Digest, May 1996 (yes, 20 years ago! That's why it's moldy!) on pages 27-29 had an article by Monica Wood with the title Your Short Story Shape-Up Plan. It's marked as the Technique of the Month, too! So, here's the three steps to tightening up your first draft into a great story. I'll just mention that you really should read the original, with the example of Teresa, the ornithologist on a wild woodpecker chase.

Step 1. 3 questions! These are aimed at making sure we know the general shape of the story and whether there's enough material in the draft to shape into a story.

1. What does the main character want? Start with the simple answer, but then push it a bit. Why do they want this?
2. Does the story have a beginning, middle, and end? What are they?
3. Does the story have the makings of a central (or unifying) metaphor? This is optional, but... nice to have.

When you finish answering these three, you will probably have new material to work in. So...

Step 2. The Classic Story Shape! Setup, complication, rising action, climax, denouement. Walk through these, and see how your story fits.

Setup: the beginning, that sets the stage.
Complication: an event or person that disrupts the setup and propels the story into motion (aka the inciting event!)
Rising action: all the events in the middle that expose the character or add more complications.
Climax: Kaboom! The end of the story, where there is a reversal, transformation, or realization.
Denouement: let the readers absorb the climax and relax.

The trick, of course, is to consider how your story fills these steps. Go ahead, consider the information from your 3 questions, and then make sure your story has a good solid shape, full of interesting and exciting events and characters.

Step 3. Weight and balance. Think of your story as one of those wonderful hill-shaped curves that English teachers love to show us. Does it have a setup and complication that fit nicely into the left-hand side of the curve? How about rising action filling in the middle? And do the climax and denouement take us smoothly down the right side of the curve? Don't make it too even! You want us to feel the rise and fall of dramatic tension. Don't unbalance it, though, with too much time on the setup or a long, meandering denouement.

Simple, right? Just three questions, a bit of shaping, and a final check for the right balance.

That's the way to make your story sit up and get some attention!
tink

Current Mood: bouncy

mbarker.livejournal.com

Writer's Digest, December 2006, pages 46 to 49, has an article with the title, "All Mapped Out" by Daniel Steven. Basically, this is another look at outlining, especially for those who really don't want to do those old English class outlines.

Let's take a look. Daniel points out that "outlining allows you to think creatively about plot and plot lines, while freeing you from wasted effort, backtracking, and rewriting." He also points out that mystery, thriller, and suspense stories depend on twists and turns that are easier to keep straight with an outline. Finally, the point isn't to make a Roman numeral monstrosity of a hierarchy. Instead, use a simple template focusing on your concepts, characters, and plot points, and let it evolve as you work on your story. So here's the steps that Daniel suggests:

1. Develop and refine your concept. You need to be able to summarize the plot in a sentence or two. It should be original, imaginative, and have an interesting character in trouble. Start by sketching that out.

2. Develop your characters. How many characters do you need, what are their roles, and who are they? A lot of people use character sheets. The key is what's important background for this character -- education, family, experiences, appearance, problems, strengths, weaknesses. While you're at it, pick the viewpoint character or characters. Decide on first or third person, and present or past tense.

3. Develop plot points. What are the major events and conflicts in your story? What are the pivots -- the scenes where the direction of the novel changes. Short novels probably have about six plot points, longer novels might have up to 15. Plot points, pivots, and the grand climax. Make a simple chart of these.

4. Make your outline. Daniel suggests a four column table. Each row is one scene -- a setting and a time. Column 1 is the scene number. Daniel puts checkboxes in here, so that you can check things off as you go along. Column 2 is chapter number, filled in later when you're assigning scenes to chapters. Column 3 is the point of view and plot line for each scene. Who is the viewpoint character, and is this part of the main plot or a subplot? Column 4 is going to be the scene description. Leave it empty for now.

5. Develop and expand the outline. Now fill in the outline, putting scene after scene into the fourth column. Just a brief summary, phrase, sentence, but no more than a paragraph. If you're not sure -- skip it, or put a placeholder. Fill in as much as you can. Don't worry if you can't fill in the whole thing.

Your choice -- you can start writing with a partial outline, or you can try to fill in more of the outline before you start writing scenes. And then as you write, feel free to modify.

When the outline is starting to feel pretty final, that's when you group the scenes into chapters and fill in the second column.

Incidentally, by adding transitions between scenes and chapters in the outline, you've got a pretty good synopsis.

If you want to practice this, take your current work in progress, a favorite story, or maybe something coming up -- are you planning to do Nanowrimo? Whatever, go ahead and try it out. What's the concept, who are the characters, what's the high-level plot? Then sit down and work out the scene-by-scene details. After that, of course, you've still got writing to do :-)

Current Mood: splotch

mbarker.livejournal.com

Original Posting 15 June 2010

"Where do you get your ideas?"

That question seems to be one that gets tossed at writing panels and such on a regular basis, to the point where many of them have stock answers that they return. "In the mail from New Jersey." And so forth, and so on.

I think there are various meanings to this question. One is the obvious one -- this story (book, whatever) came from somewhere. What was the seed, the initial thought that led to this? (With a hope that perhaps if I get a similar seed, I can do something like this?) But I think people may also be asking for a description of the process -- how do you get started, and what do you do to take that seed and turn it into this?

And that's kind of an interesting question. I can toss out a bunch of creative thinking tools and tips that might help you find a seed, but taking that seed and growing it into a story -- that takes some knowledge of the forms, some practice, and a bit of cut-and-fit.

Anyway, how do you start? If I said, "Hey, let's write a story!" Where would you go, or what would you do, to get started? What do you do to lure the muse?

Current Mood: receding

mbarker.livejournal.com

Original posting 9 September 2008

I was looking at my lists of things to work on, and got to wondering. I keep lots of lists, but the key ones are my "To Do's" and "Scheduled Tasks." But maybe I should add a "Round Tuit" list . . .

At one time, I was involved in discussions about whether people were developers, operators, or help desk. The difference was that help desk people, for example, really liked very short-term problems, dropped on them with little or no warning. They also didn't seem to mind repetitiveness -- having people ask the same questions repeatedly wasn't really irritating. Operators, on the other hand, preferred midterm problems. Things that took a day or a week to take care of. They also really seem to like procedures.

That leaves the crazy people -- the developers. No interruptions please -- and I'm going to wrestle with this issue for a week, a month, a year. And you know, I am really one of these.

I've also seen discussions of deadline or process -- milestone or river? Some people really seem to enjoy having deadlines set, and do their best work as the clock ticks down. Others set themselves quotas and work steadily at it, grinding away and covering everything in time.

I know I tend to be obsessive -- I'm going to do a little bit Monday morning or Friday evening, again and again. Deadlines -- I usually turn them into weekly or daily assignments and get things done early. I really dislike the last minute rush. And as for emergencies? I really subscribe to that notion that your lack of planning does not constitute an emergency for me. Even though I know too many people who believe that Mike is a great handler of crises, just because I often can come in and take care of their messes at the last minute. I think they don't understand that the quiet manner covers some real anger when they pull that, but . . . I get the job done first, then walk off in disgust.

Today's puzzlement, though, is the list of really low priority stuff that I would dearly love to get to sometime. I've noticed that they tend to sink to that list, and then just sit there until I get tired of seeing them and wipe them out, unfinished.

But I'm thinking that a round tuit might do the job better. Beside my "today's work" and "regular jobs," add another list that gets picked at once in a while (probably Friday afternoons -- pick a regular time, anyway). And whenever I pick it up, do a dab at the first job on the list, then slide it to the end of the list? So they rotate around, getting at least a little time every now and then?

I suppose the other part of this is the scrap sheets that I do my thinking on. Scribble down an idea, expand it into a plan, add outlines, worksheets, little bits and pieces -- and then turn it into PowerPoint, article, or whatever.

There's lots of different ways to slice work into manageable chunks and start chewing on them. But sometimes you need to stop and think about what's falling off the edges. A round tuit, now, maybe that's the way to keep those longterm jobs inching along. I think I'll put that on my todos list for tomorrow :-)

(taking a break from the stuff on the list for today -- don't tell anyone, okay?)

Current Mood: lazy

mbarker.livejournal.com

Latest posting 30 May 2008

Here we go! I know, I know, the start of summer is kind of a lazy time, and in pasting up oldies and goodies, I saw this one. So - a goal? A process? Or just a game? Anyway you look at it, write -- soon and often, and don't forget to share whatever here, okay?

original posting: Fri, 08 Aug 2003 11:24:22 +0900

August always seems like a lazy time of year, with vacations and summer heat setting the tone. But month eight also means two-thirds of the year have galloped past. So it's a good time to trim the sails and lay out a goal, a process, and some games for the trip.

A goal. This is, as always, a personal choice, but setting a quota seems to work for many. Set one that's challenging but reachable, okay? E.g., one piece (story, chapter, essay, poem) a month? A week? Or what tickles your fingers to write?

(Or, of course, you could try the challenge! Just write one piece a week - write, revise, and mail out one piece every week - for a year. According to legend, everyone who has tried this has been published. It's a little like those shot glasses of beer every minute - it seems simple, but the cumulative effect is somewhat larger than the shot glasses appear.)

A process. Here, too, your preferences may vary. Some like to brainstorm, then outline. Others free write, write, write. Hack and slash - er, revise in one grand frenzy, or perhaps a little every day?

Then finish. And send it out, even if you still don't think the golden sunset sings quite right.

Then start another.

Or play a game?

Pick a phrase - quotation, overheard fragment, first or last line, whatever you may find - and write from it. How many ways can you stretch that phrase, twist that metaphor, and make your words dance?
Ah! Metaphor and simile. What is and what is like our topic? Your love is a green tomato, drowsing in the garden? Or merely like a snail, slipsliding down the dewy rosebush? Take a metaphor or simile (or two or three) and expand, twist, and play with it. Turn those tired cliches on their side and see if there's still a new wrinkle or two left in them for you to show us.
Last, but never least, unravel a pop story and redo it as your very own. That movie, old children's story, or whatever you might have around can be the basis for practice. What's the plot? Now repopulate it with characters you prefer, change the scenery, and tell us your tale. Or, if the poetic effect catches your eye, try to imitate it? What is it about the rhythm, the wording, the imagery, and the moan that makes that line or stanza work? (p.s. I'm not sure what moan is doing in there, but it seems to fit, so I'll leave it there. :-)

So, an antidote for the August doldrums. Set your goal, refine that process, and play some games. And see if the winds don't fill your sails, sending you skimming over wordy depths under the blue skies of the Muse.

"Ink runs from the corners of my mouth.
There is no happiness like mine.
I have been eating poetry." Mark Strand

The writer's job is to get out of the way of the reader.

Current Mood: doldrums

mbarker.livejournal.com

aka Write Notes to Yourself

This is especially appropriate for projects that you have to pick up and put down over time, but I think it also might be useful for nanowrimo writers. The notion is very simple -- especially when you're sitting down or stopping your work, even if you think you'll be back soon and you're sure that you'll remember, write yourself some notes. What are you thinking about? What do you want to come back to later? What questions are percolating around in the little grey cells? What do you think you're going to do next right now? Just a line or two to remind you when you come back.

Even those of us who don't have the excuse of growing gray hairs often find that sometimes when coming back to pick up work in progress, you can't quite remember where you were and what you were going to do next. A couple of lines of notes can help resurrect that memory and make the pickup smoother. And when I'll get back to it soon turns into a somewhat more protracted delay than had been expected, those hints and reminders can be lifesavers.

I've been reading the online weekly serial novel Saltation at http://www.korval.com/saltation/ -- the authors are writing this in first draft on the web. And along the way, we've seen a few notes from the authors to themselves, reminders about things that need to be reworked, and such. So here we have an example of working writers who keep these kind of in-progress notes to help themselves stay on track.

I suppose if you want to you can use the Microsoft Word commenting features. I used to simply write these into the document, often with a standard such as Note: and then I could use find to locate them when I was doing revision or editing. As I took care of them, I would remove them, so that the final document wouldn't have any left in it. But while in progress, such embedded reminders to myself were gold. And of course, programs have comments so that you can include them -- and I used to enforce commenting standards on my programming groups.

When you're thinking about organizing and writing a novel -- 50,000 words, hundreds of pages? -- you need to plan on stepping away from the work and coming back. One way to help yourself do that is to make notes about where you're going as you stop. Then when you come back, reading the notes can help you get back into the swing quickly. You may also want to make notes as you're going as you realize various things. Maybe your hero just shot the villain with a crossbow, and you want to remind yourself to go back in revision and have the hero practicing with a crossbow ahead of time. Especially in nanowrimo, you shouldn't stop now and do that revision -- so write yourself a note to remind yourself to do it later. Or maybe you've just written a cute little scene with the hero and sidekick getting the sidekick's hair caught in the car window and having to untangle it. You might want to make a note that the sidekick has long hair, just to make it easier to remember what the sidekick looks like later without having to scramble around rereading your writing.

Admittedly, you don't want to spend all your time making notes to yourself. Still, I think at break times and when you have those "I want to remember this later" or "remind me to do this later" thoughts, writing your thoughts down is good practice. I certainly have found that the great idea I had yesterday that I wanted to remember to do today sometimes isn't quite as easy to remember today as I thought it would be. And it can be really frustrating to know that you had that insight yesterday -- what the heck was it?

Write it down. Scratch paper or notepads are really cheap. And they work fine, even without electronics.
tink
(about 675 words)
Scribble while you work - and when you stop, too!

[In regards to the subject line -- do you remember when passing notes in class was considered cheating? And as for writing little notes to yourself while studying and then reading them during the test -- well, most teachers frowned on that? When you're doing nanowrimo, it isn't cheating anymore :-]

Current Mood: noted
Current Music: Let It Go, Tim McGraw

mbarker.livejournal.com

Original posting: Sat, 7 Mar 1998 11:19:10 EST

At 07:57 AM 3/5/98 -0500, Faith wrote:
:)
:) What do you do when it's the day before you were supposed to have written
:) something (*anything*), and you still haven't written a word?
:)

Somewhat too late to solve this time, but perhaps these will help:

"quick" organizers:

1. Try taking the question or problem apart. Then put it back together, along with some information. Often this will be enough to do the job.

2. Take whatever information you may have about the answer or response, and build an answer based on the natural "partitions" or "areas" of the information. I.e., there is some kind of structure to the information--talk about that structure. Put it into a nice, easily remembered metaphor/analogy. Point out the areas that aren't included, or the ones that haven't been as thoroughly explored as others.

3. Tell 'em what you are going to tell them, tell it to 'em, then tell 'em what you told them. I often write the middle (in chunks, without much attention to order, with a computer). Then write an intro: I'm going to talk about 1, 2, 3... Arrange the points to make sense, then rearrange the middle blocks (and remove the extra pieces that usually collect when freewriting--I find it marginally easier to cut those golden phrases that really don't belong in this piece if I put them in a "bits" file for later use. Of course, I have "bits" files everywhere that will never be used, but the mental trick works). Now, write a closing that explains the important point(s) you have just made.

4. Try building a set of relations. E.g., what does this (whatever the topic or problem is) mean for me, my family, my community, my nation, the world? Or what did it mean in the past, mean now, and will it mean in the future? This can be a very nice way to structure your response...

5. Build a set of questions about the topic, problem, etc. What would you like to know about it? What would your friends like to know about it? How about your reader(s)--what should they know about it? What's interesting about it? What's boring?

"been there, done that, don't want to keep doing it":

6. Learn the lesson and start planning ahead next time. If you can easily write 1,000 words a day, a 5,000 word paper will probably take at least 10 days to write (allowing for the inevitable slippage, interruptions, and other problems). Depending on what else is going on, you may want to start working on it even earlier, instead of waiting for the last possible minute to begin.

Setting yourself little "deadlines" within the larger period may seem silly, but it really does work--and builds some good skills/practices for bigger jobs (*like that novel--200,000 words? Say 100 days at 2,000 words per day, plus editing/rewrite time. Work out the "little deadlines" along the way and celebrate reaching them--and the "big deadline" will be easy!*).

Perhaps others will contribute their "instant organizers" and ways to avoid getting stuck in "deadline panics?" Although, looking around MIT, there is a certain fascination among the students with the adrenaline rush of "last minute crises" (even when self-induced).

hope this helps

Current Mood: frantic
Current Music: I Love This Bar, Toby Keith

mbarker.livejournal.com

original posting: Sat, 19 Aug 2000 22:41:04 -0400

Hi, all...

Suppose some of us (yes, you with the lazy fingers and the roving eye) were to go to http://www.steampunk.com/sfch/writing/ckilian/ (provided gratis by some wonderful folks on another writing list) and there peruse, investigate, and otherwise read one of the articles collected there, and then perhaps discuss the contents here?

Seems like it might make an interesting way of keeping the bits flowing, the words atilt, and otherwise instigating the exchange.

Personally, I found that the first article I could read ("Developing Efficient Work Habits" by Crawford Kilian at http://www.steampunk.com/sfch/writing/ckilian/#1 had some interesting thoughts. I mean, the contrast between the routine that feeds the habits and the efficient use of opportunity is an interesting little problem. And here is Crawford Kilian pointing out that having a writing time and place is important, but we can also do some thinking as we walk the dog or vacuum the fishtank. Avoid leaning on significant others for editorial advice -- that's unfair. Be your own editor instead, and use letters to yourself to keep yourself straight. Keep a log of what you're up to. Set up a "project bible." And be careful to avoid tying yourself too hard to all those routines (sometimes known as ruts) because part of being a writer means writing even when you aren't in the writing place or time, and getting the fine detail of the barroom fight down before you've decided who is going to be in the barroom may not work so well...

A bunch of tips and tricks and points, anyway. Let's see, can I pick out three key points from that article? How about:

1. To Thine Own Routine Be True, and Thou Wilt Habitually Writ
2. Synergize, Fit into Cracks, and otherwise take advantage of every opportunity to stretch those writing synapses and responses and wherever the muse may hide
3. Learn your own phases and pacing -- some people like to outline before detailing, others really find the straightjacket of the outline far too confining, and then there are those who prefer the wilds of Surrealism (and if that makes sense to you, please explain in 200 words or less how outlines, details, and surreals do unrelate, okay?:-)

What would you pick out as the three points of Crawford's article? Are there key points about efficient work habits that Crawford missed? For that matter, do you really think that writing requires efficient work habits or should it be less efficient work and more artistic license?

[by the way, in the phrase "artistic license," is the license issued by the state and if so what kind of a test and bureaucracy arises around the provision of these plastic identifiers? Or is the license that other form, referring to freedom from state regulation and control? And why is a driver's license (which shows I know how to obey the rules and have said I will follow them) so different from exercising artistic license, where I gleefully take exception to the rules?]

Current Mood: researchy
Current Music: Something To Be Proud Of, Montgomery Gentry

mbarker.livejournal.com

original posting: Fri, 14 Dec 2001 07:38:14 -0500

I REALLY DON'T DESERVE THIS, BUT…

Here's an exercise that will help you write the best piece of your career. Ready?

Okay, here's the bones of this exercise (you'll put the meat on while doing it).

First, sit back, relax, and imagine that some time has passed. You've just gotten the early release of a future anthology or collection containing your best piece (perhaps it's the anniversary release of your works?:-) In other words, you've become the writer you want to be, and your work has become a part of the public consciousness, and one of your best works has been selected for this.

Now, you flip to your piece, and just before it, there's an introduction written by your favorite author, critic, reviewer of your work, someone who understands your writing and your approach and knows how to tell people what they are about to enjoy, how to lead them into your work so that they get the most possible from it.

Who is that writer? Who put together that introduction?

If your work is a novel, the introduction may be several pages long, a short story or poem may have a somewhat shorter introduction. But what are the key points to that introduction? What does it point out about your writing?

Stop here, and write down the main points of the introduction. If you want to, give us the lead sentence, or perhaps the final ringing summary that leads into your work.

Look it over. Did they miss anything critical about your work? When you write the letter thanking them for the introduction, what are you going to say?

Go ahead and bask in enjoying that introduction for a few minutes. Think about how well-deserved it is, how it leads your readers to your work, where this work fits into the rest of your writing.

Then, if you're ready, do the second part of this exercise. Sit down and write the piece (the poem, short story, essay, novel, or whatever) that they are going to introduce!

Current Mood: visionary
Current Music: That Song in My Head, Julianne Hough

mbarker.livejournal.com

original posting: Wed, 28 Aug 2002 22:13:07 -0400

One of the problems I hav (whoops, who's that on the phone? Okay, back to . . . what was I doing?)

One of the problems I have is a steady stream of (knocking at the door. One more crisis?)

INTERRUPTIONS!

and then there is the ever-growing stock of issues, problems, thoughts, etc. that I've put aside to deal with when there's a pause in the flood...

Along with that goes all the inadvertent elbows, heels, and other digs that happen as we all bumble along in our best ways.

So, I tend to keep a list. What's on tap? So I can quickly turn to it, pick up one of the top items, and stay focused.

Admittedly, I probably miss some things. But I get a lot done.

How do you stay on track?

Current Mood: exhausted
Current Music: As Good As I Once Was, Toby Keith

mbarker.livejournal.com

original posting: Fri, 08 Aug 2003 11:24:22 +0900

August always seems like a lazy time of year, with vacations and summer heat setting the tone. But month eight also means two-thirds of the year have galloped past. So it's a good time to trim the sails and lay out a goal, a process, and some games for the trip.

A goal. This is, as always, a personal choice, but setting a quota seems to work for many. Set one that's challenging but reachable, okay? E.g., one piece (story, chapter, essay, poem) a month? A week? Or what tickles your fingers to write?

(Or, of course, you could try the challenge! Just write one piece a week - write, revise, and mail out one piece every week - for a year. According to legend, everyone who has tried this has been published. It's a little like those shot glasses of beer every minute - it seems simple, but the cumulative effect is somewhat larger than the shot glasses appear.)

A process. Here, too, your preferences may vary. Some like to brainstorm, then outline. Others free write, write, write. Hack and slash - er, revise in one grand frenzy, or perhaps a little every day?

Then finish. And send it out, even if you still don't think the golden sunset sings quite right.

Then start another.

Or play a game?

Pick a phrase - quotation, overheard fragment, first or last line, whatever you may find - and write from it. How many ways can you stretch that phrase, twist that metaphor, and make your words dance?
Ah! Metaphor and simile. What is and what is like our topic? Your love is a green tomato, drowsing in the garden? Or merely like a snail, slipsliding down the dewy rosebush? Take a metaphor or simile (or two or three) and expand, twist, and play with it. Turn those tired cliches on their side and see if there's still a new wrinkle or two left in them for you to show us.
Last, but never least, unravel a pop story and redo it as your very own. That movie, old children's story, or whatever you might have around can be the basis for practice. What's the plot? Now repopulate it with characters you prefer, change the scenery, and tell us your tale. Or, if the poetic effect catches your eye, try to imitate it? What is it about the rhythm, the wording, the imagery, and the moan that makes that line or stanza work? (p.s. I'm not sure what moan is doing in there, but it seems to fit, so I'll leave it there. :-)

"Ink runs from the corners of my mouth.
There is no happiness like mine.
I have been eating poetry." Mark Strand

Current Mood: loved
Current Music: She's in Love with the Boy, Trisha Yearwood

Profile

The Place For My Writers Notes

Navigation

February 2025

S	M	T	W	T	F	S
						1
2	3	4	5	6	7	8
9	10	11	12	13	14	15
16	17	18	19	20	21	22
23	24	25	26	27	28

Syndicate

Page Summary

Style Credit

Base style: Heads Up by momijizuakmori
Theme: A Brighter View by zaluzianskya and skylark_photos

Expand Cut Tags

No cut tags

Page generated Jul. 6th, 2025 03:54 am

The Place For My Writers Notes

Entries tagged with process

TECH: Capturing Lightning In A Bottle?

TECH: Your Short Story Shape-Up Plan (a moldy oldie!)

TECH: All Mapped Out

TECH: Where do you start?

FILL: A Round Tuit?

EXERCISE: A Memorable Day?

TECH: Nanowrimo Notes #8: It's Not Cheating Anymore

TECH: Desperation time!

EXERCISE: A Self-Improvement Program (in concert?)

Exercise: I REALLY DON'T DESERVE THIS, BUT…

EXERCISE: Keeping On Track

Exercise: Directions

Profile

Navigation

February 2025

Syndicate

Most Popular Tags

Page Summary

Style Credit

Expand Cut Tags