Fail Gloriously!

My eight-year-old wanted a skateboard for Christmas.

I wasn't crazy about it. My wife wasn't crazy about it. Yet, Santa apparently chose to fulfill his wish.

Needless to say, he was giddy with excitement. And in his excitement we were happy. My wife even went on YouTube with him and found how-to videos by the man, Tony Hawk. All was good.

For a few days, all he did was practice on that thing. During the day, in the yard. At nights, in the house. I cringed when I saw the scratches on our hard-wood floor, but turned a blind eye.

One night, while I wrote, I heard a thud from downstairs. "You okay?"

"Um, yeah."

I went back to my work. Ten minutes later, another noise. "What happened?"

"Nothing. I'm practicing."

I knew better than to just walk away, but I did. Five minutes later--you guessed it--a louder bang.

I inspected the war area... I would have been justified to get mad, take away the skateboard and tell my wife I told you so. But I didn't.

I can replace plaster and paint. I can't take away words that will forever tell him that failure is bad.

You see, I'd been breaking my own "plaster" upstairs. I'd been struggling with my writing. Trying and failing. Trying and failing.

There is nothing wrong in failing. Implied within failure is that you gave it a shot, you tried. And more importantly, you tried again.

If you're hitting walls, don't give up. Don't talk yourself out of it. There are plenty of people in your life (including the little voice in your head) who will convince you that you're not good enough, smart enough, creative enough.

Fail. Fail gloriously.

Some of us will understand and applaud you for trying. And do me a favor--once in a while, remind me that It's okay for me to get it wrong too.

I've missed more than 9,000 shots in my career. I've lost almost 300 games. 26 times, I've been trusted to take the game winning shot and missed. I've failed over and over and over again in my life. And that is why I succeed.

~ Michael Jordan

Fight the good fight!

Art is Never Finished

"Art is never finished, only abandoned."

Leonardo da Vinci

During my senior year in undergraduate school, I enrolled in an Art History class. This was a fun class. Basic premise was that through art, we could learn about the history of the people, the region, the era.

The professor (I can't recall her name) told us that during the renaissance, the only reason the artist in question stopped the work of art (painting, sculpture, murals, whatever) was because the sponsor of the piece "wanted the damn thing already." They were tired of waiting.

The artists generally had a hard time parting with it, because in their view, the work was not ready.

For an unpublished author, this is an interesting dilemma. We want to be published, yet each time we look at our manuscript, we find maybe "one more thing" to touch up. Speaking for myself, each time I read my manuscript, I want to modify something--again.

If you're doing it right, you're always learning about the craft, you're always reading more novels, and you're always writing. These three things have one significant impact -- they make you a better writer.

So it's only natural that what you know today, makes you slightly better, than what you were say, a month ago.

This isn't a dilemma in and of it self. But it's a problem if you don't hit send. I spoke to a few agents recently and they said something that nearly dropped me on my arse (I was going to say ass, but the way the British say it so much more refined.)

They each said that more than half the people that are asked to send in pages, don't. Don't! In other words, the agent is showing interest. They ask you to send them the manuscript (partial or full) and yet, the writer in question never follows through.

There are a variety of reasons, I'm sure. One is probably fear. What if they hate it? What if they love it? And when you start asking these questions, it is a natural step to think, "It's not ready yet." I need one more review, one more beta reader, one more proof reader, one more scene, one more adverb. That last one was a joke... you never need more adverbs, he said, passionately.

The reality is that you have no deadline. When you have no "sponsor" (agent, editor, etc) the only gate is you and your own inner-voice that doubts you and reminds you that you're not good enough, smart enough, or just enough. Please do not misinterpret this. You should NEVER send out material that is not ready. You need to slave over every word, and clean it up with a toothbrush, and have trusted people read and critique it. You must do these things and these things will take time -- a lot of time.

If you are signed, you don't have a choice. You throw caution into the winds and you let fate take its course.

Here's my recommendation. Set a deadline. Create goals that will challenge you. Declare it to others in your writing world. Then be committed to that timeline. Have integrity in your own words. Amazing things happen when you put yourself out there.

Then test it. Test the quality of your work. Be ready to share it with some people that you trust. Get their feedback, and be brutally honest with yourself. Be ready to internalize and understand the criticisms you get. It's not personal, it's opinions that may make your manuscript better.

I have a small, but badass set of first readers who want to see me succeed. So they will not let me make a mistake. I also have a mentor who is a NYT bestselling author who will call me out on the deck. He doesn't let me get away with anything. I also turned my work in to agents and editors at a conference (20 page critiques) to get their feedback. Was I nervous? Yes. But not knowing was worse. And once I had all the arrows pointing north, that's when I knew I was ready for a final proof read. Once you're there, the only next step is to jump in with both feet.

If you don't, then you take the risk of falling into Leonardo da Vinci's astute observation. Your art will never be finished, and one day you may decide to abandon it.

How do you know if you're ready? What criteria do you use?

Fight the good fight.

Are you a Putter-inner or Taker-outer?

"Some writers are taker-outers; I'm afraid I've always been a natural putter-inner"

On Writing -- Stephen King

I am happy to announce that I am exactly like Mr. Stephen King... well, only when it comes to my 2nd draft habits.

Credit: Free images from acobox.com

Stephen King, in his seminal book on the craft, describes that he had a propensity for writing very puffy stories in his early years (high school years). One editor, who rejected one of his short stories gave him the magic formula.


2nd Draft = 1st Draft - 10%

This formula, he claims, was one of the reasons why he believes his writing began to improve. He focused on cutting.

Now, this works for some types of writers. Stevie (yeah, I call him Stevie... we're very close) writes monster novels, typically in the 180,000+ word range.

I am not thay type of writer. It turns out that this is a good thing, since, unless you are Stephen King, publishers shy away (reject) books larger than 100k words.

My first draft is light, typically ranging in the 60k-70k words (see my previous post on 60,000 in ten days).

Writers who have been studying the craft, and have listened to the advice of the veterans, understand that your 1st draft should sit and simmer. Some say two weeks, others say one month. Mine is a minimum of two weeks, but I try my best to get engraossed in something else so that I am away from the story for one month. I want to forget the details. I want to forget the names of some of the characters. I want to forget and create as much distance as possible.

Because when I come back to it, I want to read it like a first-time reader. I want to have distance and objectivity.

When I do return to it for the 2nd draft, themes emerge, the motivation of secondary character crystalize and scenes that I may have glossed over get clarified.

As you can imagine, as I read through, I bubble up with ideas -- ways to complete it, refine it, and improve it. I may even change the ending. I even take out handful of scenes and replaced them with new ones. So it's natural, that the word count will grow.

My propensity for adding is tied directly to the fact that I write my first draft fast. My story world will disintegrate if I don't write it fast. Some facts:

Aces -- 1st Draft = 8 weeks
Rocky Peak -- 1st Draft = 4 weeks
Ten Years -- 1st Draft = 2 weeks

(side note: by writing this data out, I noticed that I have been increasing the velocity of my writing drastically. I hope I don't expect to improve on that when I start the next one.)

So, what this means is that I am a natural putter-inner. And I put in plenty. More facts:

Aces -- 1st Draft = 74,000 --> 2nd Draft = 93,000
Rocky Peak -- 1st Draft = 65,000 --> 2nd Draft = 98,000
Ten Year -- 1st Draft = 60,000 --> 2nd Draft = ???

It goes without say that 2nd and 3rd drafts are nice and slow. They are leisurely strolls through the story world.

What are you? A putter-inner or a taker-outer? Do you add, or cut? Do you sprint through your first draft and then stroll through your 2nd and 3rd drafts?

Plot & Structure Analysis - Notting Hill

When I come across a book or a movie that I like, I immediately want to analyze what they did right. I want to learn from it, but also appreciate the clever use of tried and true techniques. It takes creativity and ingenuity to write yet another love story, while at the same time keep the story fresh.

A tool I use to study effective structure is from James Scott Bell's best seller "Plot & Structure." Whether you're a plotter or a pantser, it's wise to consider the major scenes of your story and how they sustain the story starting with the first sentence all the way to "The End."

Quick Refresher

The foundation this model is built on is that stories follow the three act structure: Beginning (Act I), the long middle (Act II), and the end (Act III).

Mr. Bell argues that a novel's structure is held together with a well thought out initial disturbance and two doorways of no return leading to grand finale. 

Early in Act I, we come face-to-face with a disturbance. This is where the lead's normal life is altered (it can be a change, trouble, etc.)

Act I ends when we arrive at the first Doorway of No Return. This is the transition into the confrontation of Act II. The key is that it must be a doorway of no return. If the lead can say, "Screw it, I don't care anymore," then there's no real conflict. It needs to matter, greatly. And turning back needs to be impossible (physically or emotionally).

Throughout the second act, the stakes need to rise. It needs to build up to something drastic which makes the resolution or winning even more critical than ever before. Act II is the longest portion of the story.

This leads us to the second Doorway of No Return. Like the first one, it's a kick in the pants, with no choice but to enter the doorway. This propels us into the final battle, the confrontation, the do or die section of the novel. This second doorway drives us directly into Act III, the waging of battle.

Finally, with the end of Act III comes the final battle and resolution. Then there's the aftermath where the story leaves a lasting impression, or a resonance.

The book has plenty of samples and clarifying explanations. But with this high level refresher in mind (because I know that you've read the book and if you haven't you can win it -- see my contest), let's see how it works in the real world.

Applying The Model

I like real examples. I need to see it. More importantly, I need to do it on my own to internalize it. Although on the surface I get it, concepts never really sink in until I apply it to things that I understand. For illustration (and educational) purposes, I will apply it to a romantic comedy, Notting Hill.

Notting Hill -- Starring Julia Roberts and Hugh Grant

SPOILER ALERT -- If you haven't seen the movie, I will be giving away key plot points and the ending. You really should watch it. It's a fun movie.

The Hero - HG
The Heroine - JR

The Disturbance


HG is a not-so-successful book store owner (they only sell travel books--clearly, he has not been following the industry trends). In walks the biggest actress of the time. He immediately recognizes her, but does his best to be low-key about it. Is this the disturbance? Sure, a mini disturbance no doubt. But the real one is coming.





A couple of funny scenes later, she buys a book and leaves. He's a bit taken by the surreal nature of the experience, but moves on. HG leaves the store to buy coffee and juice. On his return he runs into JR spilling the juice all over her. Major disturbance.



First Doorway of No Return

She's a mess, but as luck would have it, he lives across the street. She needs to change so she agrees to go there. She changes, he apologizes, they laugh, she leaves. All's sort of back to normal, right? But you can see that trouble is brewing. They stare a little too long, smile a little too easily. But she's gone. Done... maybe not.

Doorbell rings. It's her. She forgot her bag at his home. She grabs it, they stare at each other and... she kisses him! No friendly kiss on the cheek. This is the real deal.

Is this a kick in the pants? I don't know about the rest of you, but if a world-famous actress, who's the hottest thing on the planet, kisses you in a passionate moment, chances are things will not be the same for you. You have slipped down the rabbit hole. THE FIRST DOORWAY. This is a key point. He's a regular guy, going through the motions of life and the biggest celebrity has suddenly kissed him.

Escalation of Stakes

We're in Act II now. She leaves but the very next day calls him. More funny scenes ensure (otherwise, it wouldn't be a romantic comedy). She joins him as his date to his little sister's birthday. This is a classic scene that you must see. After dinner they take a walk and enter a private park in Notting Hill when she has an emotional moment, realizing that people do sometimes love each other forever. They kiss again and they fall for each other.

But all's not well.

Turns out, she has a boyfriend (another famous actor). And when he shows up in London, HG understands that he was silly and naive to think that an average bloke like him, would ever have a chance.

She leaves, he's broken hearted. Things are not the same for him. He is damaged. This is the escalation of conflict.

Second Doorway

Some months later, out of nowhere, she shows up at his house.

She's distrught. Pictures taken of her when she was younger have hit the rags -- nude shots. He takes her in and comforts her. She's a mess but in a short period of time, he gives her peace, comfort and more importantly friendship.

Later that night, they make love. The next morning, she asks if she can stay with him longer. He says, "Stay forever."

That's the SECOND DOORWAY. He's in love. He wants her to stay with him--forever! There's no turning back now. Impossible.


Lights Out

We're in Act III now. And you know what that means--something's got to go wrong. And that's when the Fit hits the Shan. The fairy tale doesn't last long.

In fact, it lasts, about 25 seconds in movie time. The paparazzi find her at his home and take pictures of them in their underware.

She pops a fuse, blaming him, saying that he will get all the benefit of the exposure, while she will regret it forever. This breaks his heart. She goes diva on him and storms out (typical celebrity).

It's all bad at this point. Months pass. He's in a state of depression. This is appropriate for someone who has entered through the second doorway. He had it all... for a few seconds, but still had it all, and now she's gone.

He then hears that she's been in London filming a new movie. He needs to see her (emotional death is at stake if he's not with her), so he goes to visit.

She's a bit distant but invites him in. As he watches them shoot, he hears her tell a co-star that she doesn't know why he (HG) showed up. HG finally gets it. He leaves without saying a word.

Final Battle

The next day, she shows up at his bookstore. This is another classic scene. He turns her down when she asks if they can try again. She explains that she didn't want her co-star to know what was really going on in her life. But as far as HG is concerned, his heart can't take it anymore. He needs to have a clean break, because he's certain that she will break his heart again. She leaves with a classic gut-wrenching scene. "Remember, that I'm just a girl, standing in front of a boy, asking him to love her." She walks out and he's left there planted.

But a romantic comedy must have a happy ending, right?

He calls his friends and recounts what happened. As he explains the whole thing to them, it dawns on him that he was a "daft prick" and got it all wrong.

The chase is on.

They're trying to find her before she leaves the country. They finally find her at a press conference where she's explaining that she will take a break for some time and leave London immediately. The last question, goes to the gentleman in the pink shirt. Yup, it's HG. He asks her to take him back in front of the press, and of course, she does. A true knockout ending. Done with brilliance.

The aftermath

We see a montage of scenes from red carpet appearances together, to their wedding, to the final scene where they're in the same private Notting Hill park where she learned to believe in everlasting love. They're on a bench. He's reading a book. She's laying her head on his lap while caressing her tummy -- she's pregnant.

Everyone--even the mega-stars and bookstore owners--deserve happiness.

Final Thoughts

I hope this has been helpful. Try it. Pick a movie, TV show, or a novel and see if you can identify these scenes. When they're done well, they make the story world believable. And the more you do it, you'll get a better feel for what makes for convincing scenes that move the plot along.

I have a separate journal for this type of analysis.

Do you also analyze your favorite movies and books? Do you dissect them to see what made them great? How do you do it? What do you look for? Do share.

Fight the good fight!