Repost: How To Find Your Writing Muse

If you’re lying awake in bed, and you look over at your sleeping partner with their tongue hanging out, snoring, making odd farty noises, and your heart starts beating faster and you think, “Of course! What a brilliant idea for a horror story,” then congratulations, you have a genuine muse on your hands.

Sadly, that’s not the case for everyone. Having someone who can inspire great ideas and put thoughts in your head that lead to marvellous stories is something we would all love, but the muse as an independent being who feeds out creativity is a rare and unreliable creation.

So where can you go for a refill when your well runs dry?

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All Character, No Plot

Occasionally I will get questions from new writers and by far the most common concern plot. The aspiring novelist will have a very strong grasp of who they want to write about and where proceedings will be set, but actually coming up with a plot seems daunting.

For some people the events that take place are the first things they come up with, but if that isn’t how it works for you then having an intimate knowledge of your main character is still an excellent route to working out what the story will be about.

Bear in mind that even the most inexperienced of writers is still a hugely experienced reader. We have all been reading, hearing and watching stories for many years. But while everyone feels confident in their ability to judge whether those stories are good, bad or indifferent, when it comes to our own writing it becomes much more tricky to gauge.

If you have a strong sense of how a story will go that’s all well and good, but if you don’t then here are three steps that will help demystify the process.

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A Nice, Ripe Story Idea

Sometimes a story idea comes fully formed, or at least with enough detail of where it needs to go that you can’t wait to get writing.

Other times a character or a setting makes a strong enough impression on your imagination that you feel like you have the starting point of a story, but beyond that you have no clear indication of where to take it.

If you start writing with not much more than the germ of an idea it might work out, inspiration might strike when you need it—some writers indeed are only able to work in this fashion—but most people will struggle to fill three hundred pages off the back of a vague notion, even when that notion is full of potential. And there’s nothing worse than getting a hundred pages in and realising you’ve run out of steam.

So, how can you fatten up your idea, getting it into the kind of condition that means the ideas will lead you one to the next, rather than you having to force yourself to strain your brain to come up with stuff?

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The Little Reasons A Story Works

 

It’s not enough to have something dramatic happen in a story. The reason why it happens is also important.

In terms of impact on a reader, there’s a big difference between a character getting upset about losing their house to the bank and getting upset because their favourite tv show got cancelled.

What happens keeps the reader interested in the short term. Why it happens is what keeps them interested over the course of an entire novel.

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What Makes An Idea Worthwhile?

Let’s say you have a character who is hungry. You decide to show the reader that he’s hungry by having him stare into a baker’s window looking at all the lovely cakes.

So he’s drooling, stomach rumbling and all these delicious cakes, which you describe in great detail, are just out of his reach.

You ask yourself, does what I’ve written convey my intention? And if you think it does, then that’s that.

But when other people read what you’ve written, they may not like it. They may say, yes, he’s hungry, but so what? It’s a lot of lovely cake description, but I know what a cake looks like. Yes his need for food is apparent, I get it. But why are you telling me?

And at that point you look back at the story and you ask yourself, why did I want the reader to know my character is hungry?

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Stealing Good Ideas Is Okay

While there’s nothing new under the sun, somethings are blatant rip-offs. And although it's perfectly possible to successfully repeat an established character or familiar story concept, those successes are fairly rare (not that it stops people trying).

The problem is most people steal the wrong bit of a story. The superficial, obvious stuff isn’t what makes a story work, it’s just the easiest to copy.

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The Subconscious Storyteller

This is the ideal: blank page, close eyes, start writing.

Sometimes that actually works. Stuff just comes out of somewhere and you know what needs to happen next. Sometimes.

Most times it’s a struggle.

But if we have a part of us that can create the stories we want to tell and can come up with brilliant ideas out of nowhere, why doesn’t the subconscious just produce the goods when we need it to?

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How To Find Your Writing Muse

If you’re lying awake in bed, and you look over at your sleeping partner with their tongue hanging out, snoring, making odd farty noises, and your heart starts beating faster and you think, “Of course! What a brilliant idea for a horror story,” then congratulations, you have a genuine muse on your hands.

Sadly, that’s not the case for everyone. Having someone who can inspire great ideas and put thoughts in your head that lead to marvellous stories is something we would all love, but the muse as an independent being who feeds out creativity is a rare and unreliable creation.

So where can you go for a refill when your well runs dry?

Read more »

Writing The Other Scene

In every story there are scenes, maybe whole chapters, where it’s all happening. Action, drama, twists and surprise revelations. Hearts are broken, villains behave in dastardly fashion and a hero triumphs. You love writing it, and you know the reader will love reading it.

And then there are the other scenes.

The scenes that serve a purpose. Necessary. Connecting. Functional. Making those scenes come alive is not so easy. In fact it often feels like the best thing to do is make them as plain and straightforward as possible, so you’re in and out nice and quick. Which is an excellent way to bore the reader. 

So how do you make sure you don't do that?

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Writing and the Ugly Duck Syndrome

When somebody tells you what you’ve written doesn’t work (for whatever reason), that doesn’t mean you should rip it up and throw it away. It can be easier to think of writing as an all or nothing process, since the horrendous idea of having to rewrite everything is often a really good way to convince yourself to do nothing.

But something that doesn’t work doesn’t have to be removed or recreated from scratch, it just has to be improved. That goes for any kind of writing, whether it’s central to the plot, or a minor subplot, or backstory, or exposition. 

Things that may seem vital to the integrity of your idea, key to the development of the narrative, or the very reason you wrote the story in the first place, never are. Nothing in your story can’t be reworked in a way that does whatever you want it to do, and does it better.

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What Do You Love About Your Story?

When you first come up with an idea for a story, you don’t have to think too hard about what it is you like about the story. Something catches your interest. One idea follows another and you’re off and running.

Later, when you’re deep in the belly of the beast, maybe stuck in the middle of the first draft, or struggling with the umpteenth rewrite, the very point of writing as a use of your time comes into question. You liked the idea as an idea, but this sprawling mess in front of you doesn’t seem to be that thing at all.

Why are you even bothering? Who is going to read this? Aren’t there already a thousand stories like this? What’s on TV?

You have to be able to hold onto the thing that made you want to write this particular story. When the going gets tough (and it will) you need that thing to get you through. But first you need to work out what thing is.

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A staggering work of no importance whatsoever

 

So I’m walking into the house with my shopping, and the neighbour says, Hi, and I say Hey, how’s it going, and the neighbour says, Well, Nick is swimming now, he loves it, he was terrified of the water at first but he’s taken to it like a fish... The question is, do I care? No? Why not? And, what would it take to make me care?

A story is like your kid. You brought it into the world, you helped it grow, everything about it is fascinating to you. But why should anyone else care? Obviously they care about their own kids, if they have any. But they also care about some kids they’re not related to, so why not yours?

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Done To Death

Stuff  I don’t need to be told again in books and movies:

WAR IS BAD

Agreed. It’s ugly, it’s brutal, people die. We know. The men in charge are only interested in their own gain, soldiers do stupid things in the heat of battle and actually a lot of war is waiting around getting bored. We know. Occasionally people go insane. Yes, we know. It doesn’t matter what fresh angle you write about it from, we’ve seen it. Unless you have a suggestion about what to do to stop war (preferably not involving hippies) then you’re just re-stating the bloody obvious.

MEN AND WOMEN FIND IT HARD JUST BEING FRIENDS

Yes, it’s called sex. People are shallow, men are pigs, women are hormonal, children are cute, everyone loves puppies. If the people in these stories drank less and masturbated more, I think they’d find their need to sleep with inappropriate people that leads to ‘hilarious’ hijinks would be much easier to manage.

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