Stop, Look, and Listen

“Stop, Look, and Listen.” Everyone is familiar with these signs at railroad crossings, but those same words can also help you improve your writing.

STOP
Know when to stop. That’s probably the primary thing that separates beginning from seasoned writers. In the beginning, you sometimes feel that when you’re on a roll, you should just keep on going. But learning to know when to stop writing will help you write tighter and avoid rambling.

While it’s important to come to a logical conclusion, it’s just as important to say what you have to say in a compact way. Back in the mid-1990s, writing for the Internet caught many professional writers off guard. Many had been used to writing longer pieces for magazines, but the writing for Web sites required them to write short articles. For many, writing shorter meant working harder because they didn’t have to write as compactly before.

LOOK
When you’re involved in writing an article, story, or book, do you take the time to look at the piece overall? If you try to do that while you’re writing, it can be distracting. Instead, put the piece aside for while. Doing so will give you some distance from it, thus giving your brain time to forget it for a while. Reading over your work at another time gives you some perspective—a chance to see the bigger picture. It’s then and only then that you’ll be able to tell if what you’ve been writing makes sense.

LISTEN
Join a writers’ group and listen to what the other members have to say about your work. It’s important that any group you join has a leader whose skills are more advanced than those of the members of the group. Only in this way will personalities not enter into discussions as much, thus resulting in more honest critiques. Learn to listen to what others have to say about your writing while at the same time learn how to constructively critique others’ work.

Of course, some members of the group may dwell on grammar and such. That’s good, but you also want to encourage feedback about your content, length, and style. The real purpose of joining a writers’ group is to improve each others' writing, not to massage egos.

Also, listen to authors by reading their work. Learn to read like a writer, being on the lookout for techniques that you can use in your own work. Really listen to the way another writer tells his or her story or the way they delve into a subject in their article. Most people read an article, for instance, without looking at who wrote it. You need to be aware of the writer and be on the lookout for other works written by the same person.

Pay attention to how other writing sounds. If you like the way a piece reads, read a section out loud to yourself or into a digital recorder. Then listen to it several times to pick up its rhythm and style. Really listen then try it in your own writing.

You might also consider taking a writing class to help improve your skills. If you’re just starting out, take a good foundation course in creative writing, for example.  But if you’ve been writing a while, take classes focused on the type of writing you do. An alternative is to attend writers’ workshops and conferences.

When you finally get your big break, and an editor wants to work with you, be sure you’re ready to listen. Don’t be defensive. Don’t be argumentative. Listen. Listen to his or her feedback. Most editors have enough experience under their belt to know a good writer when they come across one. Even if your work is a bit rough around the edges, a good editor will work with you to improve it. They want what’s best for you and your story, and good editors always have a vision for what your article, story, or book can really be. Listen to them and let them guide you.

Putting Off What You Can Do Today Until Tomorrow—or Never

How many times have you stared at your computer screen or perhaps looked out over it through the window to the outside? There you are, staring into space instead of writing. Why can’t you focus? Oh well, you decide to go for a walk instead—or perhaps clean out your clothes closet or rake the yard or check your news feed on Facebook for the third time today. I think you get the idea. Procrastination, that ugly habit of putting off what should be done today until tomorrow. All writers experience it. So why should you be any different?

Why does procrastination take such a stranglehold on writers? It happens to other people, too, but with writers it seems especially prevalent. Maybe it’s because writing is a mental thing. It takes more effort to get your mind going than your body. Thinking is hard work. And some days you just don’t want to think.

You have ideas—lots of ideas. Which one should you choose to write? That can be a challenge and that in itself can lead to you to procrastinate. This problem is particularly severe when writing a book. If you write non-fiction, you have the facts of a story to fall back on, but if you write fiction, all you have is your imagination, and perhaps some research. That’s not much to go on.

If you’re planning on spending the next year or two writing a book, it better be a good idea. What if you spent all that time, and it turned out to be a bomb? So you decide to take your time. But this can lead to a draw. As your ideas compete with each other for your attention, it draws you away from the one that is most likely the best.

Let’s face it, ideas are always better in your mind than on paper. It never fails. Once you start developing an idea, it seems to lose its punch. Again, if you write non-fiction, you can always dig up more facts. But adding extraneous material to your fiction can often water down a good idea. This can lead you to hesitate getting started for fear that once you start writing, your great idea will fizzle. That just may be because you didn’t thoroughly think out that great idea in the first place.

For a few writers, telling others about what they’re planning to write helps them think out the idea. But for the majority of others, telling friends and family about an idea can often take the motivation out of writing about it.

Feedback is important, but if you get feedback on your idea too soon, it can stymie your need to write it. Plus, the feedback you get from friends and family may not be the type you need. To make sure your great idea gets rolling, only you know what should go into it. Any of this premature feedback is only opinion. And those opinions may be wrong.

One way to avoid procrastination is to plan out a project. While you don’t need to jot down every detail, you do need to block it out so that you have a good overall idea of how it will take shape. Without some sort of a plan—even a loose one written on a scrap of paper— you’ll most likely stall before you make any headway.

Knowing where you’re going in an article, story, or book enables you to begin, stop or switch to something else, and then come back to pick up where you left off. If you think writing is all about sitting in front of a computer screen and waiting for the words to pour out, you’ll be sitting there waiting until tomorrow—or maybe never.

Asking for Feedback

Writing is a solitary and usually isolated venture. But if you keep your writing to yourself, you’ll never know how readers will react to it. Soliciting feedback can be a slippery slope, even for a professional.

It’s one thing to solicit feedback for your writing, and quite another interpreting it. Who gives you feedback is as important as the opinions they offer—and that’s the key word, opinions. If you take everything everyone says about your writing at face value, then you’re sure to fail.

Many writers got into writing because friends of theirs told them they had a knack for it. Have you heard statements like this: “You communicate so well.” “I can’t put down anything you write until I finish it.” “You’ve got a real gift.” All are words of encouragement, but they’re not constructive criticisms, and that’s what you want and need to improve your writing.

The first step to receiving usable feedback is to determine just who you want to give it. Ordinary readers just won’t do. What you need are expert readers—people who will read your work critically and offer suggestions for improvement. They can be other writers or editors or people who are knowledgeable in your subject area. The worst ones are probably academics—English teachers, researchers, etc. Academic has it own set of rules, and, for the most part, they’re very different than those of general writers—those who write articles, non-fiction books, short stories, and novels. You’re not looking to just have someone catch mechanical mistakes like spelling and punctuation, but instead you need to have these readers give you feedback on the content, plot, and general organization of your work.

To make the most of feedback, you need to follow the Writing Cycle. This is a eight-step method that each piece you write must follow. First, you need to think about what you’re going to write. Second, you need to focus your idea. Third, you need to organize it in a logical manner. Fourth, you need to write a first draft—get everything out on the paper. Fifth, you need to seek feedback. Sixth, you need to adjust your work and add details if necessary. Seventh, you need to revise and polish your work based on that feedback. Eighth, you need to proofread your work.

Getting feedback for most writers means letting someone else read what you’ve written. But in the feedback stage above, it’s not about reading your rough draft. Instead, it’s about telling the other person about your idea, then having them ask questions based on what you’ve told them about what you’ve written. If you do want someone else to read your work, you’re going to have to proofread your rough draft before they see it.

At this stage, you need to go back and make the adjustments that the person or persons has suggested. Then put your work away for a awhile. Let it sit for a couple of days, a week, even a month. Then take it out and read it as if you are the reader. Mistakes and misplaced content will stand out. Make it right based on your own opinion of your work.

Now it’s time to expose it to a select audience—to test market your work. If you were writing a children’s book, the logical test group would be children of the age to understand your book. You’ll know immediately after they’ve read it if you’re on the right track. For mysteries, other mystery writers and mystery readers are your target group, and so on.

Many people are on Facebook and other social networking sites these days. But these are not the people you want to read your work and offer feedback. First, people on Facebook, for example, usually skim through posts and don’t read anything at length. Second, these are not people with astute opinions.

You might consider joining a writing group. However, members of these groups have a tendency to stroke each others egos and probably won’t offer any useful feedback.

So selecting the right readers for your work is crucial. These should be people you trust will give you their honest opinion and offer constructive criticism—criticism that will help improve your work. Never ask if they like your work. Instead, ask specific questions about characters, plots, and general content and organization.

In receiving criticism, it’s essential that you remain clear about retaining ownership over your material and letting go of what may not ultimately work. Only then can you successfully sort through responses and weigh the validity of comments that might improve your work versus those that may be clouded by a particular reader’s personal taste, bias or overall reaction to content. Everyone, even experts like editors have opinions. After writing regularly for a publication for seven years, a new editor told a writer he couldn’t write. Now how can that be? That’s the power of personal opinions.

You can’t listen to everything everyone says about your work. The more general the reader, the less useful feedback they’ll offer. The most helpful feedback comes from readers who want you to succeed. Rather then change your work, they want to help make it better.

Avoiding Creative Burnout

Creative burnout can bring your productivity to a halt. You’re most prone to it when you isolate yourself from others, get poor or no feedback, and work long hours with little to show for it.

Creative burnout isn’t writer’s block. In the former, you can’t get ideas. Your brain is stymied. In the latter, you simply can’t write. The words just won’t come. When you’re burned out, you lose your energy and spontaneity and become depressed and detached. Let’s face it, when you run out of ideas, you’ve run out of what drives you as a writer.

You’re not a machine that can be fixed by replacing some worn-out parts—although with transplants these days, that’s even possible. In order to restore your brain, you have to restore your body and your psyche. In this case it pays to adhere to that old proverb, “Know thyself.” Try to remember when this problem hit you last and how you solved it. If it’s any consolation, just about every writer experiences a dry spell every once in a while.

Creative burnout can have multiple causes. The Number One cause is not letting yourself go—forcing yourself to work to fit a preconceived notion of a writer’s life. No two writers work the same way, even though all end up at the same place. Some seem like they’re not working at all while others seem to be always working.

Second only to that is tuning out everyone around you. Listening to others will inspire you to come up with your own ideas—bounce them off of family and friends.

Yes, writing is a skill, but that doesn’t mean to you have be a slave to technique. That has its place in writing, but not at the idea stage. Focusing on technique too early often leads to burnout.

Do you set your expectations too high? Lofty goals are fine but are usually hard to accomplish. Setting unattainable goals leads to failure, and constant failure leads to depression which leads to creative burnout.

Don’t evaluate your work until you’re finished. Too many writers start out with a negative attitude and never give their work a chance. Don’t judge yourself too harshly.

The old saying “All work and no play makes Jack a dull boy” certainly applies here. Taking too little time for other diversions will create blocks to creativity, as will a prolonged illness or that of a loved one.

Lastly, you may have a hard time coming up with ideas if the ones you’ve already developed are constantly rejected by editors. That can wear any writer down.

Remember, creativity means taking a fresh look and seeing things that aren't obvious. Go back and take a look at some of your old ideas. Reread pieces you did that were successful. Try to remember how you came up with those ideas. As you grow as a writer, your ideas grow. Old ideas which didn’t seem worth developing may just turn out to be your next bestseller.

One of the first things that may get you out of the doldrums is to change your routine. Do things you don’t normally do—take walks, read new books—especially types you’re not used to reading—go to the movies. Expose yourself to other creative endeavors. Plan a new garden. Create some new recipes. Above all, relax your mind. Have fun and don’t worry about deadlines. Put life and work on hold for a short while.

Another way out of the creative abyss is to write. Yes, that’s right—write. But not what you normally do. Some recommend writing about yourself, but you’re already depressed and who needs to get further depressed? Try another type of writing. If you write non-fiction, try writing fiction. Short stories are a good place to start. Take a stab at science fiction or mystery or romance writing. Write a play—start out with a one-act. If you write fiction, why no write an article about writing, for example, how you started out.

By preparing for creative burnout, you've won half the battle. Like everyone else, you’re sure to go through some periods of drought when ideas just aren’t coming. Don’t despair. It happens to the best of us.