In a previous post which I will not look up and tag, I believe I cited some advice from writer Laurel Winter, who (and I’m going to go for a paraphrase here) said she made a point to work on her project every day, no matter what else was going on, no matter if all she could do was two sentences. Two sentences, she said, was her minimum. Two sentences was enough to keep that project in her mind, to keep the flow going. And, when she had more time, she could thereby avoid the “…awkward getting-reacquainted time…” required to pick up a project after a long break.
Good advice. Keep the flow going, and–in a mixture of metaphors–you’ll keep the pot simmering on that back burner. Metaphor #3: I think of a shark who never rests but is always swimming. A quick Google check indicates that thing about sharks perpetually on the move isn’t entirely true, but it’s a great image. Keep moving, keep the flow going, and keep the pot gently burbling.
Keeping it moving (or gently burbling) is necessary to keeping one’s attention, and I’m speaking of writer, not the reader. Nothing will ever appear before the reader unless it first makes it past the writer. If the writer becomes disengaged from her own work, the work will wander and fizzle.
I set aside two hours a day to work on my novel. If I am prevented from doing two hours, I do an hour and a half. Can’t do an hour and a half? Do an hour…and so forth. No day exists when I cannot do two sentences.
Let’s make that two paragraphs. No day exists when I cannot do two paragraphs. I can do something else as well: I can give myself my next assignment. Before I set down the work, I can look at the next two paragraphs and think about what might be next. I don’t actually have to compose them, I need only toss them in the burbling pot. When I return after a day, they will be at least partially cooked.
The alternative to keeping it moving is to get stuck. Getting stuck puts one at risk for writer’s block. When I am stuck (in the middle of my second paragraph?) I need to find a way to get moving again.
There’s no magic answer, but there are tricks. There are things I can do that are not unlike shaking out my arm when it’s numb from being slept on wrong. There’s nothing perfect or precise.
If I have a problem moving forward, what is the problem? Why am I stuck? Let’s say I need to get my character to the moon, but I want him to have a different reason for going there than the plot turn that actually happens. The reason I currently have for his going there seems stupid, leading me to feel like a Bad Plotter. In another situation, I suddenly realize I am not a biologist and my alien biology is therefore really stupid. I do not believe in my own science. My alien needs to be in more scenes, but I keep avoiding talking about it. I keep writing scenes where the characters seem to be in denial about the alien in the center of the room. Or…I’m tired and impatient. I want to get to action and dialog, but need to set up the scene first. I don’t want to set up the scene. It’s boring. It’s hard. I don’t seem to be able to imagine anything, and can’t seem to describe anything. The sun was shining. Her eyes were blue. I am a Lazy Writer and there is No Hope For Me.
In the third situation, being stuck on description, I simply close my eyes. I relax. I let the movie in my brain roll. I open my eyes and quickly write down anything I see, hear, feel, or smell. I do not judge the quality or appropriateness of what I write. I think as little as possible, except to prompt myself to remember to include all the senses, not just what I see. (Just out of scene, a spigot opens, a shark swims, and a pot simmers.)
In the case of the I-don’t-know-my-science-from-squat problem, I have resources. I can do research, and I can ask a biologist. I know some, as it happens. Find out what I need to know. Or sometimes, the very lack of knowledge can give me a whole new idea. My alien in the middle of the room? Hey, that sounds like a great SF absurdist play! Maybe I can work that into my story. (Just out of scene, a fish comes out of the spigot, the shark eats it, and an octopus jumps into the stew.)
Plot problems are usually easier than they look. There are always choices, different paths one can take, especially if–as in my example–I know where I’m going, i.e., the moon. If my character has no good reason for going to the moon, well, maybe he’s kidnapped. Why not? (The water scalds, the shark is arrested, and the pot boils over. The paths keep diverging.) Once it’s down on paper, I can trust the boiling-over pot to know what should go in it, and what should not.