“The tall, blonde man turned, leaned against the railing and stared up at Harold. He jabbed his companion with his elbow and laughed. Then he raised his right hand, pointed two fingers like he would a pistol, and pretended to shoot.”
Delicious foreshadowing, isn’t it? That’s a quote from W.D. Valgardson’s A Matter of Balance. The entire short story is bloated with suspense – it’s tense, constantly in a jumbled motion, and gives readers that jittery “monster in the closet is coming to get you” feeling...and that’s why it’s so darn good.
Suspense can come in trillions of unique or traditional forms that can each leave lasting affects, and usually are what the reader will remember afterwards.
Some of the best examples of suspense are those that are done subtly, with a few hints or clues given but nothing more. Everything else comes naturally. Paranoia can be extraordinarily helpful because it immediately sets the mood.
In The Veldt by Ray Bradbury, another short story with a different take of suspense, the protagonists have a designated fear that is unrealistic to us because it does not exist in our world – not yet, that is. An incredible amount of foreshadowing is used so that every reader gets that eerie sixth sense that something bad is going to happen. That foreshadowing then comes true.
Everything is set up to twist and become one with the sharp intakes (because gasps are so unmanly!). The foreshadowing leads us to think...it’s going to happen, it’s going to happen, it’s going to happen, or is it? — and then it happens.
The second form of suspense in The Veldt prays on our own fear. It focuses on how the protagonists are uneasy about one thing — but it’s the mentioning of something much scarier to any reader that leaves an impact because it’s always a secret worry – that our children will love something else more than us – and adds to the already augmenting suspense because it’s praying on our own fears and worries on the side. Then the question arises: if that’s a side plot, then what could possibly be the main one?
The best way to set up suspense is to feel the suspense as you’re writing it. Whether a short story, which usually involve more in-depth emotions, or a chapter or two in a novel, the suspense has to be heartfelt to the point where you can taste it even as your hand dashes across the keyboard or the paper. You know exactly what’s going to happen, but it’s each moment leading up to the climax — the anticipation of it all — that sweetens the finale that much more.
Tuesday, November 4, 2008
Fiction: When The Beginning Comes Last
Do you find yourself questioning if the first chapters of your novel are good? Should you go back and revise them? My advice is simple - DON'T - at least not until you've reached the end of your novel. Even if you've outlined extensively and think you know the ending of your novel, most likely you don't. As you write, your characters will come alive, taking on nuances and goals you never imagined. Your understanding of them will deepen, beyond any character sketches you made during your planning phase. At some point, your characters may take over, twisting your plot in new, wondrous ways. Let your characters run with their story. Become an observer, and then, when you do reach the end of the novel, you will finally understand what your characters and your novel are truly about. And only then will you be able to write the beginning that is perfect for your novel.
Screenwriting: 6 Points to Ponder When Writing Your Screenplay
Writing a screenplay from scratch, or converting a previously published novel into a screenplay, may seem like particularly daunting undertakings. Of course, the task ahead is not easy, but concentrating on the most important factors while writing your screenplay may increase your focus, and eventually, the likelihood of a sale.
According to Albert Lopez, a filmmaker based in San Francisco, there are six main things every aspiring screenwriter must keep in mind while working on a screenplay. They are the most important points because they are the most basic elements of any script. In no particular order, these are:
1) Know where you’re going.
2) Don’t use dialogue as a crutch.
3) Give characters playable actions.
4) Maintain structure/format.
5) Create obstacles for your main characters.
6) Second acts are hard to write.
Know Where You’re Going.
You need to know where you plan to go with your story. Knowing your denouement before you begin writing your screenplay will give you direction to complete the arduous task that lies before you. Having this focus helps propel your screenplay toward your goal – getting your characters to the place you always intended them to reach in your glorious final scene(s).
Don’t Use Dialogue as a Crutch.
Do not use dialogue to tell your story. Dialogue is used to build characterization – to establish your characters. “On-the-nose” dialogue should be avoided. Take, for example, a married couple arguing in their kitchen. The wife should not say, “I hate you. I am so mad at you. You never help me out around here. You make me feel invisible.” Instead, she enters the kitchen, tight-lipped, approaches the sink, starts rinsing dishes, and says, “Did you take out the trash today?” She full well knows the answer to that question!
Give Characters Playable Actions.
Provide your characters with something to do while they are talking. Let’s look at the husband and wife in our dialogue example. Through the subtext of the wife’s actions, we understand she is mad. It is also possible, with playable actions, to see that her husband truly does behave in a way that makes her feel invisible. How? Is he sipping juice at the breakfast bar while reading The Wall Street Journal, flipping pages as she enters the room, not even bothering to look up as she enters? Or is he unshaven, lounging on a futon in front of the television, surrounded by half-empty chip bags, failing to acknowledge his wife as she returns, haggard, from her job? The characters actions help drive the plot and establish the back story.
Maintain Structure/Format.
One cannot stress enough the importance of structure and format when writing a screenplay. These factors can be the life or death of your script. Structure is important because a screenwriter must know a basic outline of the script in order to get characters where they need to go by the end of the script. What is the destination? At what physical place or emotional state is your main character to arrive? Your screenplay must have structure to get her there.
Formatting your screenplay properly is vitally important. Many studios and producers will not even read a script that is not formatted correctly. If you need help getting started, Mr. Lopez recommends the book Screenplay: The Foundations of Screenwriting, by Sid Field. This book details the “how” of the technical aspects of writing your screenplay: structure, format, plot points, scene headings, and much more. For example, did you know your screenplay needs to be in Courier font, or that preparing it in Word is one flag of an amateur? If you have a budget of a few hundred dollars or more, there is an excellent selection of screenwriting software on the market, including Final Draft, Movie Magic Screenwriter, and Sophocles.
Create Obstacles for Your Main Characters.
Give your main characters goals, and place obstacles in their way. Your main character(s) must be opposed by a strong force in order to gather the empathy of readers and, if all goes as planned, moviegoers. A period of testing is imperative for your protagonist. Most of this testing that stands between him and his ultimate goal will occur during the second act. This is part of why it is vital that a screenwriter knows her ending upfront. You can put obstacles in front of a goal only if you know the location of the goal.
Second Acts are Hard to Write.
Death, taxes, and the second act slump…trite but true. Act Two is the most difficult one for any screenwriter. This is the act where the most events are happening, and hitting a “slump” is natural and quite normal at this stage. Work through it, and try not to torture small animals or loved ones at this stage. (No husbands were harmed in the making of this film…I digress.) Your heroes are still dealing with the same problems set up in Act One. In Act Two, however, the journey is more difficult. Adversaries and obstacles arise in full force during Act Two. The tension is mounting throughout the second act, and it is up to you to sustain it. No pressure.
You know the basics. You have the talent. Now go write that screenplay!
According to Albert Lopez, a filmmaker based in San Francisco, there are six main things every aspiring screenwriter must keep in mind while working on a screenplay. They are the most important points because they are the most basic elements of any script. In no particular order, these are:
1) Know where you’re going.
2) Don’t use dialogue as a crutch.
3) Give characters playable actions.
4) Maintain structure/format.
5) Create obstacles for your main characters.
6) Second acts are hard to write.
Know Where You’re Going.
You need to know where you plan to go with your story. Knowing your denouement before you begin writing your screenplay will give you direction to complete the arduous task that lies before you. Having this focus helps propel your screenplay toward your goal – getting your characters to the place you always intended them to reach in your glorious final scene(s).
Don’t Use Dialogue as a Crutch.
Do not use dialogue to tell your story. Dialogue is used to build characterization – to establish your characters. “On-the-nose” dialogue should be avoided. Take, for example, a married couple arguing in their kitchen. The wife should not say, “I hate you. I am so mad at you. You never help me out around here. You make me feel invisible.” Instead, she enters the kitchen, tight-lipped, approaches the sink, starts rinsing dishes, and says, “Did you take out the trash today?” She full well knows the answer to that question!
Give Characters Playable Actions.
Provide your characters with something to do while they are talking. Let’s look at the husband and wife in our dialogue example. Through the subtext of the wife’s actions, we understand she is mad. It is also possible, with playable actions, to see that her husband truly does behave in a way that makes her feel invisible. How? Is he sipping juice at the breakfast bar while reading The Wall Street Journal, flipping pages as she enters the room, not even bothering to look up as she enters? Or is he unshaven, lounging on a futon in front of the television, surrounded by half-empty chip bags, failing to acknowledge his wife as she returns, haggard, from her job? The characters actions help drive the plot and establish the back story.
Maintain Structure/Format.
One cannot stress enough the importance of structure and format when writing a screenplay. These factors can be the life or death of your script. Structure is important because a screenwriter must know a basic outline of the script in order to get characters where they need to go by the end of the script. What is the destination? At what physical place or emotional state is your main character to arrive? Your screenplay must have structure to get her there.
Formatting your screenplay properly is vitally important. Many studios and producers will not even read a script that is not formatted correctly. If you need help getting started, Mr. Lopez recommends the book Screenplay: The Foundations of Screenwriting, by Sid Field. This book details the “how” of the technical aspects of writing your screenplay: structure, format, plot points, scene headings, and much more. For example, did you know your screenplay needs to be in Courier font, or that preparing it in Word is one flag of an amateur? If you have a budget of a few hundred dollars or more, there is an excellent selection of screenwriting software on the market, including Final Draft, Movie Magic Screenwriter, and Sophocles.
Create Obstacles for Your Main Characters.
Give your main characters goals, and place obstacles in their way. Your main character(s) must be opposed by a strong force in order to gather the empathy of readers and, if all goes as planned, moviegoers. A period of testing is imperative for your protagonist. Most of this testing that stands between him and his ultimate goal will occur during the second act. This is part of why it is vital that a screenwriter knows her ending upfront. You can put obstacles in front of a goal only if you know the location of the goal.
Second Acts are Hard to Write.
Death, taxes, and the second act slump…trite but true. Act Two is the most difficult one for any screenwriter. This is the act where the most events are happening, and hitting a “slump” is natural and quite normal at this stage. Work through it, and try not to torture small animals or loved ones at this stage. (No husbands were harmed in the making of this film…I digress.) Your heroes are still dealing with the same problems set up in Act One. In Act Two, however, the journey is more difficult. Adversaries and obstacles arise in full force during Act Two. The tension is mounting throughout the second act, and it is up to you to sustain it. No pressure.
You know the basics. You have the talent. Now go write that screenplay!
Screenwriting: 10 Top Tips for Writing your Screenplay
If you want to learn how to write a script, there are a variety of books and programs to teach you. Reading top books will give you a ton of useful information to help you take your story from simple idea to full-fledged screenplay.
Perhaps, you want something a little simpler than that. Rather than a whole book packed with ideas, you want a concise list, a limited number of things that you can keep in mind whenever you are writing. I present: 10 Top Tips for Writing your Screenplay.”
Any top ten list is likely to be fairly arbitrary, and this one is no different. However, I will bet that if you were to ask a hundred good screenwriters for their top ten, most of these on the list would be their first priority.
So whether you are a first timer looking at a blank screen and wondering how to get started, or have already written several screenplays, taking heed to these fundamentals tips can help you produce better work.
Film is a visual medium
Writing a screenplay is fundamentally different to any other form of writing. Why, you ask? Answer: Film is a visual medium.
For the past year or so I’ve been part of an online writing community. This has given me the opportunity to read a lot of other people’s work. One item that stands out in many otherwise decent screenplays is that they are not written in a primarily visual way.
Keep it short and sweet
There are clear parameters for what constitutes a screenplay. If your manuscript runs over 120 pages, most editors won’t hassle reading your masterpiece. So be succinct and cut the unnecessary words. Eliminate the fat! Point made?
Come in late, leave early:
One way to keep your screenplay to a good length is to come into a scene late and leave early. What that means is that the audience joins the action when it’s already running, and leaves the moment the relevant action is over.
For example – if your hero is attending a job interview, you can join the scene with the interview already underway, and leave while your hero is still in the interview – you don’t need to show her coming in, saying hello, being introduced, etc, etc.
Write what you believe in
This is something so obvious it’s amazing how many people fall foul of it. Try to write a story that you are passionate about – do not predict what the market wants.
The film that is playing at your multiplex today was probably shot 12 months ago and written four years ago. Trying to catch the wave based on what you think Hollywood wants is a waste of your time and effort.
Format like a professional
There are two ways to format – right and wrong. Either use screenwriting software (e.g. Final Draft) or buy a good book on formatting, and learn it inside and out.
Strong opening and big finish
Many editors or producers read just the first ten pages of a screenplay. If you haven’t hooked them by page ten, your chance of being accepted is slim.
This means, your opening has to be so good, that they will want to read the rest of the screenplay to see what happens next.
After a strong opening, the next important part to cap is the ending. If a reader is still interested after the first ten pages, they will often skip straight to the end to see how the story finishes.
The best description I’ve heard of what constitutes a “good ending” is to give the audience what they expect, in a way they don’t expect. People want a happy ending, where the hero triumphs, but they want to be surprised by the way the hero achieves it.
Conflict, conflict, conflict
One thing every good script needs is conflict. Conflict is the engine that drives a story forwards. The more the various characters are in conflict with one another, the more a chance that something interesting will happen.
Send your hero to hell
We want the hero to triumph, but we also want their triumph to be against the odds. You do that by throwing everything at them. How do you achieve that? Simple! In any given situation, think of the worst thing that could happen to your hero, and then do it to them.
Give an audience a reason to care
Strong characters are essential if you are to take the audience along. Nowhere is this more crucial than in your main character. Your main character needs to be:
Too many stories fall flat because the main character is either unsympathetic (so we don’t care what happens to them), or less interesting than a subsidiary character.
Outline or die
There are several of ways in figuring out where your story is going. Some people write each scene on an index card, others use sheets of paper; some just type the different scenes out. Then there are those who write the screenplay based on a half page of notes.
My own recommendation is to outline as much as possible. Why? Just ask yourself – which would you rather re-write when you discover your story isn’t working? A 10-page scene outline, or a 120-page screenplay?
While paying attention to the above will not guarantee that you become a great writer, ignore them at your peril. The more you write, the more you’ll find what works for you – but paying attention to the basics will shorten your learning curve.
Perhaps, you want something a little simpler than that. Rather than a whole book packed with ideas, you want a concise list, a limited number of things that you can keep in mind whenever you are writing. I present: 10 Top Tips for Writing your Screenplay.”
Any top ten list is likely to be fairly arbitrary, and this one is no different. However, I will bet that if you were to ask a hundred good screenwriters for their top ten, most of these on the list would be their first priority.
So whether you are a first timer looking at a blank screen and wondering how to get started, or have already written several screenplays, taking heed to these fundamentals tips can help you produce better work.
Film is a visual medium
Writing a screenplay is fundamentally different to any other form of writing. Why, you ask? Answer: Film is a visual medium.
For the past year or so I’ve been part of an online writing community. This has given me the opportunity to read a lot of other people’s work. One item that stands out in many otherwise decent screenplays is that they are not written in a primarily visual way.
- Too much dialogue – many screenplays are plagued by a surfeit of talking head scenes, where there is nothing visual happening, nothing for the audience to watch.
- The description is too detailed, too dense – a screenplay is not a novel. Keep descriptions short and sharp, giving just the essence of person or place.
- Show your story, don’t tell it – if we can’t see it, then don’t bother writing it. Thoughts and feelings can only be conveyed by what a character says or does.
Keep it short and sweet
There are clear parameters for what constitutes a screenplay. If your manuscript runs over 120 pages, most editors won’t hassle reading your masterpiece. So be succinct and cut the unnecessary words. Eliminate the fat! Point made?
Come in late, leave early:
One way to keep your screenplay to a good length is to come into a scene late and leave early. What that means is that the audience joins the action when it’s already running, and leaves the moment the relevant action is over.
For example – if your hero is attending a job interview, you can join the scene with the interview already underway, and leave while your hero is still in the interview – you don’t need to show her coming in, saying hello, being introduced, etc, etc.
Write what you believe in
This is something so obvious it’s amazing how many people fall foul of it. Try to write a story that you are passionate about – do not predict what the market wants.
The film that is playing at your multiplex today was probably shot 12 months ago and written four years ago. Trying to catch the wave based on what you think Hollywood wants is a waste of your time and effort.
Format like a professional
There are two ways to format – right and wrong. Either use screenwriting software (e.g. Final Draft) or buy a good book on formatting, and learn it inside and out.
Strong opening and big finish
Many editors or producers read just the first ten pages of a screenplay. If you haven’t hooked them by page ten, your chance of being accepted is slim.
This means, your opening has to be so good, that they will want to read the rest of the screenplay to see what happens next.
After a strong opening, the next important part to cap is the ending. If a reader is still interested after the first ten pages, they will often skip straight to the end to see how the story finishes.
The best description I’ve heard of what constitutes a “good ending” is to give the audience what they expect, in a way they don’t expect. People want a happy ending, where the hero triumphs, but they want to be surprised by the way the hero achieves it.
Conflict, conflict, conflict
One thing every good script needs is conflict. Conflict is the engine that drives a story forwards. The more the various characters are in conflict with one another, the more a chance that something interesting will happen.
Send your hero to hell
We want the hero to triumph, but we also want their triumph to be against the odds. You do that by throwing everything at them. How do you achieve that? Simple! In any given situation, think of the worst thing that could happen to your hero, and then do it to them.
Give an audience a reason to care
Strong characters are essential if you are to take the audience along. Nowhere is this more crucial than in your main character. Your main character needs to be:
- Sympathetic
- Vulnerable
- Believable
- Interesting
- Multi-dimensional
Too many stories fall flat because the main character is either unsympathetic (so we don’t care what happens to them), or less interesting than a subsidiary character.
Outline or die
There are several of ways in figuring out where your story is going. Some people write each scene on an index card, others use sheets of paper; some just type the different scenes out. Then there are those who write the screenplay based on a half page of notes.
My own recommendation is to outline as much as possible. Why? Just ask yourself – which would you rather re-write when you discover your story isn’t working? A 10-page scene outline, or a 120-page screenplay?
While paying attention to the above will not guarantee that you become a great writer, ignore them at your peril. The more you write, the more you’ll find what works for you – but paying attention to the basics will shorten your learning curve.
Monday, November 3, 2008
Inject Some Passion Into Your Writing
Ask any number of writers and most will tell you they struggle with writer?s block regularly. Some can afford the luxury of waiting for the muse, but if you?re a freelance writer who lives or dies by how many words you produce daily, you need a sure-fire weapon to blow writer?s block out of the water.
I have heard of many techniques - and used quite a few myself - but I keep coming back to a common-sense technique that is often overlooked: Passion.
That?s right. The key to writing about anything is finding the passion. Getting excited about the topic and letting your imagination and creativity take it from there.
Now, if you write for various companies, as I do, you may think it?s hard to get excited about mundane products or dry business services.
Not so.
I have been writing commercially for more than 20 years. And in that time, I have written copy for everything from shampoo (I?m bald), alcohol (I don?t drink) and baby?s clothes (I haven?t got any kids) to Windows PC solutions (I use Macs), plumbing products (OK, I hired one once) and trucks (have you seen my car?).
Can you see what I am getting at?
I don?t use any of those products, but that doesn?t stop me from getting truly excited about them.
So, how do you get excited?
Think about the benefits - that?s ultimately what you?ll be selling in your copy anyhow - think about how, what you are writing about, can enhance and change people?s lives. Put yourself in your reader?s position. Let your mind explore how your life would be better if you had a certain product or service (even if it doesn't apply directly to you).
It may sound simple, but that?s what works for me. I get passionate about my writing, when I know the benefits, when I FEEL the benefits.
You can apply this same principle to virtually any kind of writing, not just commercial copy.
This is a great way to not only kick-start your creativity but beat writer?s block.
I have heard of many techniques - and used quite a few myself - but I keep coming back to a common-sense technique that is often overlooked: Passion.
That?s right. The key to writing about anything is finding the passion. Getting excited about the topic and letting your imagination and creativity take it from there.
Now, if you write for various companies, as I do, you may think it?s hard to get excited about mundane products or dry business services.
Not so.
I have been writing commercially for more than 20 years. And in that time, I have written copy for everything from shampoo (I?m bald), alcohol (I don?t drink) and baby?s clothes (I haven?t got any kids) to Windows PC solutions (I use Macs), plumbing products (OK, I hired one once) and trucks (have you seen my car?).
Can you see what I am getting at?
I don?t use any of those products, but that doesn?t stop me from getting truly excited about them.
So, how do you get excited?
Think about the benefits - that?s ultimately what you?ll be selling in your copy anyhow - think about how, what you are writing about, can enhance and change people?s lives. Put yourself in your reader?s position. Let your mind explore how your life would be better if you had a certain product or service (even if it doesn't apply directly to you).
It may sound simple, but that?s what works for me. I get passionate about my writing, when I know the benefits, when I FEEL the benefits.
You can apply this same principle to virtually any kind of writing, not just commercial copy.
This is a great way to not only kick-start your creativity but beat writer?s block.
Freelance Writing: How to transform a Prospect into a Client
For many freelance writers, the hardest step is getting your foot in the door of a new corporate client's office. But, in reality, keeping your foot in the door - that is, transforming a prospect into a client - is a far bigger challenge, especially when you're starting out.
Generally, your first instinct is to tell your prospect anything and everything about yourself and what you can offer. I think it's smarter to balance this with a number of questions that are aimed at not only gathering information but also demonstrating your expertise as well as your interest in the client's affairs.
Here's a handful of questions you can ask potential clients:
That's the key - developing solutions that meet their needs.
Let's face it, there is no shortage of writers out there. But there is a shortage of writers who are prepared to tailor their services to suit specific requirements and market themselves accordingly.
Generally, your first instinct is to tell your prospect anything and everything about yourself and what you can offer. I think it's smarter to balance this with a number of questions that are aimed at not only gathering information but also demonstrating your expertise as well as your interest in the client's affairs.
Here's a handful of questions you can ask potential clients:
- What are your products and services?
- What are your target markets (ie industries which require your services)?
- Who are your target audiences (ie Managing Director/CEO level or technical staff etc)?
- Who are your major competitors?
- What is your USP (Unique Selling proposition or competitive advantage - why should someone buy from your client rather than the competition)?
- Do you have a sales force or resellers (this can determine what kinds of marketing communications you can offer your client - ie internal/external newsletter, direct mail letters, sales presentations, videos etc)?
- How do you market your products (what kinds of communications do you currently use - eg advertising, PR, DM etc)?
- Are they conducted internally or through an agency (you can offer a solution to fit ? eg you can provide overload or consulting services for internal staff and co-ordinate projects with their agency)?
That's the key - developing solutions that meet their needs.
Let's face it, there is no shortage of writers out there. But there is a shortage of writers who are prepared to tailor their services to suit specific requirements and market themselves accordingly.
You are a Great Writer ~ But do you believe it?.. Here's how you can!
When was the last time you told yourself "I am a great writer" and believed it?
If you're like most, probably never. But, sadly, the same writers are all too quick to utter or think something negative at the first sign of writer's block or even before they begin a new project.
It's no wonder many writers are stopped dead in their creative tracks when trying something new.
That's why it's vital for you to not only think positive but to act positive in every area of your life. Since much of our job as a writer is thinking, it's important to have positive input to ensure positive output.
That's why I produced 'Writers on Writing', a compilation of literary quotations from the masters of our craft as well as150 positive affirmations I have written specifically for today's writers.
As I said, it's not enough to think positive, you have to act positive. And the ideal way to start this is by "programming" your mind.
Here's how you can get started:
1. Create your own positive affirmations.
It's best to begin with short, positive statements in the present tense, such as "I love writing".
2. Recite daily.
Recite one or more affirmations each and every day. I find the best results come from saying affirmations around a dozen times. And don't just say the words, MEAN what you say. Recite them aloud ~ with conviction in your voice.
3. Visualize your affirmations.
As the saying goes, seeing is believing. You can add a great deal of impact to your words, if you combine them with a strong positive image.
Imagine in your mind's eye, writing better than ever before. Feel the words flow easily. Picture how wonderful it is to produce a great work. See yourself accepting a writer's award or being interviewed on TV about your new book. Revel in the feeling of achievement.
4. Practice, practice, practice.
For best results, I suggest saying the affirmation and performing the visualization each morning when you awake, so that you set yourself up for a good day of writing. And also perform this ritual every night as you are about to go to sleep, so that you program your subconscious mind for action the next day.
This is not a magic wand approach to writing, but it will help you if you stick with it. I have been using meditation and visualization techniques, like this, in my work for the best part of 20 years.
By reciting one or more each day, by believing what you are saying, by visualizing the results ~ you are building a belief within you. And by building a belief, you are moving one step closer to manifesting the desire.
Affirmations work best when you use your imagination.
Do this and you will be one step closer to realizing that you are a great writer.
If you're like most, probably never. But, sadly, the same writers are all too quick to utter or think something negative at the first sign of writer's block or even before they begin a new project.
It's no wonder many writers are stopped dead in their creative tracks when trying something new.
That's why it's vital for you to not only think positive but to act positive in every area of your life. Since much of our job as a writer is thinking, it's important to have positive input to ensure positive output.
That's why I produced 'Writers on Writing', a compilation of literary quotations from the masters of our craft as well as150 positive affirmations I have written specifically for today's writers.
As I said, it's not enough to think positive, you have to act positive. And the ideal way to start this is by "programming" your mind.
Here's how you can get started:
1. Create your own positive affirmations.
It's best to begin with short, positive statements in the present tense, such as "I love writing".
2. Recite daily.
Recite one or more affirmations each and every day. I find the best results come from saying affirmations around a dozen times. And don't just say the words, MEAN what you say. Recite them aloud ~ with conviction in your voice.
3. Visualize your affirmations.
As the saying goes, seeing is believing. You can add a great deal of impact to your words, if you combine them with a strong positive image.
Imagine in your mind's eye, writing better than ever before. Feel the words flow easily. Picture how wonderful it is to produce a great work. See yourself accepting a writer's award or being interviewed on TV about your new book. Revel in the feeling of achievement.
4. Practice, practice, practice.
For best results, I suggest saying the affirmation and performing the visualization each morning when you awake, so that you set yourself up for a good day of writing. And also perform this ritual every night as you are about to go to sleep, so that you program your subconscious mind for action the next day.
This is not a magic wand approach to writing, but it will help you if you stick with it. I have been using meditation and visualization techniques, like this, in my work for the best part of 20 years.
By reciting one or more each day, by believing what you are saying, by visualizing the results ~ you are building a belief within you. And by building a belief, you are moving one step closer to manifesting the desire.
Affirmations work best when you use your imagination.
- See yourself writing easier and better than ever before . . .
- Feel the sense of accomplishment at completing an important work or gaining acceptance from a publisher . . .
- Enjoy the acclaim that comes with success . . .
- Know that you have already achieved the desired outcome . . .
Do this and you will be one step closer to realizing that you are a great writer.
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