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Writers Unite! Workshop: The Western (Part One)

Writers Unite! Workshop

The Western

Part One

Mention the word “western,” and images of cowboys and sheriffs, shootouts and posses, and a saloon, cattle drive, or stagecoach come to mind—nothing like the wild, wild west.

The western genre appeared during the late 19th Century when the exploits of citizens moving west into the American frontier became the subject of the ‘penny dreadfuls’ and dime novels that fictionalize tales of real people such as Billy the Kidd, Wyatt Earp, and Jessie James. Interest in western tales inspired by James Fenimore Cooper’s Leatherstocking novels and his best-known novel in the series, The Last of the Mohicans, grew to enormous popularity.

The success of the novel, The Virginian by Owen Wister, published in 1902, led to the rise of well-known authors Zane Grey, Louis L’Amour, and Larry McMurtry. Present-day western authors such as Ace Atkins, Craig Johnson, and the late Tony Hillerman, whose daughter Anne continues the sagas of Navajo Tribal Police Lieutenant Joe Leaphorn, and Sergeant Jim Cree are best-selling authors.

Definition of Western Genre: 

Westerns are stories usually set in western North America, most often west of the Mississippi River and during the latter half of the 19th century. Common themes include honor, justice, survival, revenge, and redemption. The main characters are cowboys, scouts, Indians, traders, pioneers, and lawmen, among others.

Classic Characteristics of a Western:

  • Wide-open spaces of the western United States
  • Cowboys
  • Lawmen: sheriffs, US. Marshals
  • Bad guys such as evil land barons, robbers, gunslingers
  • Native Americans
  • Settlers
  • Wagon trains, stagecoaches, trains
  • Mining
  • Cattle ranches and cattle drives
  • Saloons, barkeeps, saloon girls
  • Gambling
  • Shootouts, train and bank robberies
  • Period set between the American Civil War and early 1900s

Western Themes:

  • Morality — Good vs. Evil
  • Revenge
  • Coming of age
  • Love
  • Survival
  • Prejudice
  • Courage

Traditional Western Subgenres:

  • Australian – This sub-genre is a rare exception to the ‘time and place’ bounds of the genre and instead settles in Australia’s vast outback.
  • Black Cowboy (buffalo soldier) – These westerns feature a protagonist of color. Historians say the actual frontier was relatively colorblind.
  • Bounty Hunter – This sub-genre centers upon these morally ambiguous characters.
  • Civil War – Some battles during the war were fought as far west as New Mexico. After the war, the Blue/Gray bitterness throughout the frontier.
  • Cowpunk – A subgenre that derives its name (and irreverent tone) from science fiction’s ‘cyberpunk.’ (Wild, Wild West, anyone???)
  • Doctor and Preacher – Two types of protagonists in this subgenre. These lead characters are committed to peace and healing in an often violent environment.
  • Gunfighter – The iconic western subgenre. Often a ‘white hat’ protagonist reluctantly agrees to go up against a cruel ‘black hat’ villain (whether an outright criminal or a corrupt VIP) on behalf of oppressed settlers. 
  • Indian wars – This is a dominant subgenre. They are usually accurate, in a historical sense, and will also reflect the worldview of the author. 
  • Land Rush – Usually focused on Oklahoma or a few similar events in which vast tracts of land opened to homesteading – whether the resident Indians liked it or not.
  • Lawmen (Texas Rangers) – This subgenre centers around the honest lawmen who brought order and justice to the wild frontier. Often the protagonist is or is based upon an actual person.
  • Outlaw – Westerns that focus on the black hats, the colorful villains of that era.
  • Railroad – Stories center upon a titanic project: the bridging of the east and west coasts by the Central Pacific and Union Pacific lines.
  • Revenge – These westerns are a relatively dark subgenre. A determined protagonist, often a young survivor of some cruel massacre, goes after the perpetrators.
  • Romance – An overlapping subgenre, which features such a relationship, but in the format of a ‘western’ novel. 
  • Sheep – Range wars between cattle and sheep ranchers.
  • Town Tamer – A lone gunman, or sometimes a group of friends, take on the corrupt leadership of an isolated town, and risk their lives to bring freedom.
  • Wagon Train – These westerns are an archetypal subgenre. The Oregon Trail was the interstate highway of its era, with lumbering Conestoga wagons and hardships that were often extreme.
  • Women – Female protagonists lead this subgenre. Some tales idealize their courage and triumphs, as with the real-life Annie Oakley. Opposite this, Dorothy Scarborough’s 1925 novel The Wind is a harsh depiction of a young woman’s life in frontier west Texas. (So harsh that Texan leaders protested.)

Non-traditional Western Subgenres:

  • Fantasy – Combining magic and magical creatures in a western is not as prevalent in westerns but do exist. The level of magic may range from everyday use by citizens to strangers with magical powers.
  • Science-Fiction – While an unlikely combination, science fiction can combine with western themes. The film “Cowboys and Aliens” from 2011 merged the two genres well, with aliens in the Old West. The movie “Outland” from 1981 has been described as a space western which is a subgenre of the science fiction genre and uses the themes and tropes of the western genre.
  • Paranormal – Ghosts, angels and demons, vampires, werewolves, and the occasional Sasquatch appear in these stories.
  • Horror – The element of fear is what sets this genre aside and often combine the paranormal genre with horror in a western setting.
  • Mystery – Think Pinkerton,stagecoach, and bank robberies, stealing mine claims, along with good old-fashioned murder. Central characters are sheriffs, deputies, US. Marshals, government investigators, and detectives from Pinkerton, including a female detective.

Revisionist Western Subgenre: 

During the 1960s, westerns took on a different tone. They became dark and sinister, with more violence than a traditional western where morals such as good and evil were clear cut. A revisionist western often portrayed the hero as more of an anti-hero, and the division of good and evil blurred. Many movies, so-called “spaghetti westerns,” dealt with deeper issues and different values.

Neo-western Subgenre:

The neo-western is set in present day and carries the themes of a traditional western—a high moral code, good and evil are clear. Characters and settings are often the same, but modern sensibilities are applied to the story. Often, the hero feels out of place as some consider the code they live by as old-fashioned. The Longmire series by Craig Johnson is an excellent example of the genre.

Next:

Characters, Setting, and The Importance of Research

Resources:

Agnew, Jeremy. December 2, 2014. The Creation of the Cowboy Hero: Fiction, Film and Fact, p. 88, McFarland. ISBN 978-0786478392
Masterclass: Western Genre    https://bit.ly/3hIwMSA http://www.cuebon.com/ewriters/Wsubgenres.htmlhttp://bestfantasybooks.com/weird-west-fantasy.html
Brophy, Philip (1987). “Rewritten Westerns: Rewired Westerns”. Stuffing. No. 1. Melbourne. Retrieved 2014-09-01.

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Announcing Writers Unite!’s sixth anthology volume.  We invite all writers of westerns or any writers interested in the western genre to submit a story to our Dimensions of The Wild West anthology.

If you are interested in submission, you must be a member of Writers Unite! on Facebook.  https://www.facebook.com/groups/145324212487752/
If you have questions, please email writersunite16@gmail.com

Link to Guidelines for the Dimensions of the Wild Westhttps://bit.ly/3fh7zgr

Writers Unite! Tips on WRiting

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Michele Sayre: A Thousand Words (give or take) – Writing From Different Places

A Thousand Words (give or take) – Writing From Different Places

By Michele Sayre

First, I’ve retitled my blog yet again because the title I had before was a bit limiting. But it wasn’t just the title I was having trouble with.

For the last three and a half years I’ve been wanting to write book-length non-fiction and also shorter non-fiction pieces like blog entries and essays. Yet I couldn’t stay with that type of writing and I’ve been trying to figure out why. I knew I was coming to non-fiction from a very personal and emotional perspective but I wasn’t quite aware that I write from a completely difference place inside of me unlike how I write fiction and poetry.

Here’s how I figured out I write from two different places inside me.

With fiction, I write from a place of excitement born from my imagination and inspiration. When I get an idea for a fiction story, I get really excited. My heart pounds and my nerves hum and all I want to do is write the story. I don’t plan our plot out my stories and yes, I get bogged down and even driven nuts by that. But it’s still a place of excitement even when the story is emotionally gut-wrenching.

With non-fiction, I don’t feel that excitement at all. I don’t feel my heart pounding and my nerves humming in anticipation. I write non-fiction sometimes starting out with a weigh on my chest that almost makes it hard for me to breathe. I write it sometimes on the edge of bawling my eyes out. I write it thinking so hard my brain almost hurts and my eyes cross and burn.

With fiction I feel great joy in telling a story. Sometimes I feel like a kid sitting down to hear a story read to me, or opening a book for the very first time, or sitting in a darkened movie theater. It’s a need and an intense desire to be a part of that rich storytelling tradition.

With non-fiction, it’s about getting my emotional baggage out of my head and a ton of difficult thoughts in order. It’s a need to share, but not from a place of joy like fiction. And this has been a hard realization for me, but a much-needed and very welcome one for me, too. This realization has lifted a big weight off my shoulders I’ve been trying to lift for a long time. Knowing I write non-fiction from a different place inside me and that it’s not a joyful one helps me understand it’s okay to feel like I do about it. It also tells me I’m okay in not working on the non-fiction all the time because if I did I’d probably go clear around the bend to crazy-town. I thought it was because they were big projects with a lot of moving parts but it’s what I have to think and feel in order to write them.

Writing is like falling down a rabbit-hole into Wonderland sometimes with all its’ assorted pitfalls and weird shit to deal with. For me, understanding why I write what I want to has been a big part of my life over the four years. I say I have a complicated relationship with writing and not just because I’ve been doing it for so long, and not just because of how I started, but because of what it’s led me to.

I’ve written a lot of stuff over the last four years that’s been very intense and emotional as hell for me. I’ve shared some of it but most of it has been trashed as I’ve deemed it too raw and unfocused. I see it was now just me venting off excess thoughts and emotions because I know as a writer I can’t just rant-and-rave on the page and edit the crap out of it to get something meaningful. For me, there has to be focus in what I put out there. I’m very good with fiction now in terms of staying on track so now I’ve just got to figure out how to do that with my non-fiction work.

And another thing that’s interesting is how I write poetry. That’s a bit of mix between that humming energy of fiction with the weight of non-fiction. My poetry comes out pretty fast and then I edit it down from there. It flows pretty quickly out of me but it’s almost like I’m desperate to get it out of me.

I think a lot of writers would refer to my difficulties in writing as ‘writer’s block’, and I think that’s a valid term here. I’ve never dismissed the term ‘writer’s block’ as I know that there are times when a writer can’t write and they have to figure out why. Stepping away from the keyboard and going inside your head, especially into the storage unit as I call it, isn’t easy. But like I’ve said before, it’s more than worth it.

I feel better now having written this out. I feel a weight coming off me and a clarity that is sharper than before. I’ve had a lot of these moments of clarity as I call them over the last four years or so and though this one doesn’t have me jumping for joy, I’m grateful for it.

About Michele Sayre:

Writer of fiction, non-fiction, and poetry. Native Texan, Uber-driver, taco lover, mom to chonky cat and diva dog.

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Please visit Michele’s blog for more amazing insights into the writer and the writing process: https://michelesayre.wordpress.com/

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Writers Unite! Tips on Writing



Please note: the images used are free-use images and do not require attribution.

Writers Unite! Workshop: Writing Comics! POW!

Writing Comics! POW!

By David Noe

First off, there are a number of folks out there around my age who HATE that I POWed the title. There were literal decades of newspaper and book and TV articles that came out after the Batman TV phenom that used that cliché. We knew that comics were a legitimate art form. We knew they could be on par with “real” literature. It just took until the 80s to prove it to the world. Secondly, if you want to write comics, I mean if you actually want to make comics because you want to WRITE them, then you already know this.

There are certain things to keep in mind when scripting comics. Writing a comic book story and scripting it are two different animals. Scripting is different from prose or poetry but is related in key ways. You don’t count words; you count pages, and whether you have a single-page filler or an eight-page short story or a twenty-two-page comic or a hundred-plus-page graphic novel, you are a slave to the page count. You still MUST have a beginning, middle, and end no matter the length of the story. Even continued stories must have proper arcs. Even if hardly anybody will ever read it, you need to do it right. If you don’t take pride in your work, you shouldn’t even be doing it.

I’ll avoid the many other aspects of the business to focus on just the scripting, but you should keep these other things in your thoughts, especially if you are going the self-publishing route (if you are going the work-for-hire route, you have other problems to deal with). You need to organize talent, deadlines and schedules, money and lack thereof, intellectual property, copyright and registration, interpersonal squabbles, and a host of other tasks that make it like herding cats. Onward to the nuts and bolts.

The Script

Sci-Fighter is owned by David Noe and is used with permission.

Just exactly what IS a comic book script? Well, you take a movie script or a play… and you throw it out the window. There are actually NO galvanized accepted ways of scripting comics. This is actually a good thing in most cases. If you are a writer only, you need to find the best way to communicate with the artist the things you want on the page and the order you want them. Really, that’s it as far as the actual physical structure of a comic book script. Now, there are generally accepted ways to write a script, but they are general. You must choreograph every panel in a way that progresses the story, has the proper flow and visual impact. Keep in mind that you want to be able to have the artwork tell part of the story too. Don’t try to get all the info in the panels, but have the two merge together to make something that is better than the sum of its parts. Some writers produce reams of description. Some writers draw little sketches for their artist. Communication is the most important thing, communication with the artist and colorist and letterer and publisher, communication and clarity in the script, communication on the page and in the story. That being said, there is another method of comics writing called the Marvel method, that I will not get into here.

There are also things to avoid. As a writer, you are going to want to use ALL the words. Do not do that. Learn to let the pictures tell part of the story. No reader wants a text-heavy comic. There needs to be a balance, and finding that balance comes with time and experience and many hours of failure and also talent. Panels. So many panels. If you want your artist to hate you, try making a story full of nine or twelve-panel grids. It’ll look crowded and muddy. It can be done, but only if it is used deliberately and rarely. Talking heads are the same way. Depending on the genre, you need to be very careful with a lot of talking head panels. Again, this can be used artistically, but you need to be sure that’s why you’re doing it. Try to keep your panel count down to six or fewer, depending on what the story needs.

Coming up with ideas is the same as any creative endeavor. Try to be original or add your own spin to something. Do not despair! This may be the actual hardest part for some people. If you have that idea burning a hole in your brain, you need to do some basic homework. Always keep in mind that you have to get it exactly right on page count. Not only does the story have to rise and fall in the right places, but it has to end on the exact right page on the exact right panel. Work on your characters, their motivations, look, backstories, etc. It’s the same as any story writing. You need to know your character. You Pantsers out there may have a little more difficult time, if only because of the structure of the scripting. It’s hard to meander when you have to make it fit (but that’s what first drafts are for, right?).

My advice to script layout is to make a very clear delineation between your pages and panels. Use bold letters for panel description and regular letters for panel dialogue. Make your pagination larger so that it stands out on the scripted page. Always remember to put your name on the script. It’s also a good idea to put at the beginning how many pages long the story is, if you are dealing with a book that has different lengths of stories.

You will be surprised when you start to see the art. Sometimes the artist will get exactly what you were thinking and portray it perfectly… and it may stink. It might also be a remarkable, intense, elevating moment in your life when you get to see another creator examine and interpret your material, and then present it in another format than how you first created it. Other times, the artist may totally miss the mark or not obey your directives, or go off on his or her own tangent. How you react and what you do about it will have to be dealt with early. You will need to decide how you will handle this. It may ruin or enhance your story, but writers can be as wacky as any other type of creative individual. You have to remember that the artist is interpreting your words and is not inside your head. Make yourself very clear. Some artists need that and some artists resent that. Writers and artists both can sometimes have difficulty dealing with differing points of view or constructive criticism. However, you must remember that this is a collaboration between two different art forms. That’s what makes comics an art form, a POWerful art form.

David Noe is the cofounder of InDELLible Comics, publisher of full-color graphic novel anthologies (all available on Amazon). He also writes novels and other sundry books.

Visit InDELLible Comics:

Facebook: https://www.facebook.com/groups/114254119027859/
Comics available on Amazon. com
Cover Artists:

PopCom1 by Steven Butler
PopCom2 by Marvin Mann
PopCom3 by Kevin Frear,
Tomb1 by Paul Rose,
Spades1 by Josh Deck

Enzo Stephens: Ghostwriting

Writers Unite!’s Featured Blog Series!

Writers Unite! is fortunate to have among its members, many bloggers, and essayists who write content about the writing process or their author’s journey or both. We will be posting their articles for your information and enjoyment. Please read and comment, visit the author’s website, blog, or Facebook page, Twitter, Instagram and share!

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Ghostwriting

By Enzo Stephens

“Hey, so what do you do to put bread on the table, Enzo?”

“Well Jake, I’m a professional writer.”

“Really?  I’ve always wanted to be a writer.”

Jake’s wife, Emily provides this further illumination to Jake’s aspiration.  “He has such good ideas…”

Now it’s my turn to act interested.  “Well, that’s tremendous, you guys. So what’s stopping you?  You guys could go in on it together; like a little family project.”

At this point, there comes an onslaught of excuses that, quite literally, feel like an overdose of Novocain being jammed in my carotid with the barrel of a recently-vacated ballpoint pen.

As in, OUCH.  Please stop and don’t say another word.  But of course, the good Jake and Emily continue their diatribe, and again, for the sake Being a Nice Guy, the Interested Face gets plastered on again while they blather on.

“Good question Enzo.  Writing is a huge time investment—”

“—And there’s all the stuff with the kids.”

“Right!  Lots going on, Enzo.”

“Do you think I’ve got ‘lots going on’, guys?”

“Uh, well…”

“I just bet you do!”  Emily can be inappropriately chipper.  Then, “So Enzo, are you published?”  

Nice uncomfortable-subject shuffle there, Emily.  “You mean, is my work published?”

“Hah!  Now THAT’s a writer for ya!”

“Yes, I’ve got some work out there.”

“Really?  In your name?”

“No.  I use a pen name.”

“Anyone we’d recognize?”

Now there’s just a whole array of snarky answers I could throw in here, but I walk a deeper strategy of snark when this topic comes up in party banter.  Here we go…

“Oh yeah, you would.”

“Clearly, Jake, Enzo isn’t comfortable sharing his pen name, are you Enzo?”

“Not really, Emily.  I mean, why use a pen name if you’re just gonna dole it out like Halloween candy?”

“Hah!  Good point, Enzo.  Maybe a better question is, can you recommend any titles for us.”

“Despite my reticence to share my pen name, Jake, I’ll contradict that stance, but only here and now with you fine folk, and that’s under the promise from you guys that you will keep it under your hat.  Hmmm, maybe I can get you to sign a Non-Disclosure—”

“Enzo, you’re too much.”

“Right Enzo, our word is gold.  You can bank on it.”

“Cool, Emily.  Okay, have you ever read ‘Cujo’?”

And now comes the obligatory moment of stunned silence as the realization rolls over their non-poker playing faces.  Then, “Jeez, that’s you?”

“You’re…” voice lowered to a whisper, “Stephen King?”

A quick wink in response, and then, “So let’s talk about your desire to write…”

“Well, Mister King, like I said, there’s just no time.”

“First, Jakey-poo, I am NOT Stephen King, so please drop that right away or this conversation is el-don-no.  Capisce?”

Sheepish looks.  “Sorry, mister K—”

“—Uh uh!”

“Oh right.  Enzo.”

“So really, guys, telling me you don’t have enough time to actually sit down to write is, well you know, an excuse.”  I held my forefinger up in front of their faces to halt their silly defensive protests while I pressed on.

“The truth of the matter is deeper than what you just told me.  For instance, everyone has kids. I know of a single mom with three little ones that can crank out a one-hundred-thousand word masterpiece in three months.  What do you think her time-suck is like?”

So now they’re looking away a bit and they look a little uncomfortable like they’ve just been scolded.  I sucked in a deep breath and climbed right up on my soapbox. “Writing can be a hobby, sure, and I suspect that’s where you’re at when you said that you always wanted to be a writer, Jake.  

“But if you want to put out really great material, well, like anything else, it requires a butt-load of work.  And even more practice! Do you feel me?”

Honestly, after all that I’m pretty surprised that the court that I’m holding is still populated with these two. They nod in unison, giving me license to press on.

“So let’s get real here, guys and explore this a bit.  Is it the work that’s stopping you from chasing this dream you have of being a writer?”

Jake hemmed and hawed a bit, glancing at his oddly small feet.  “Honestly, Enzo, it’s getting started that’s the problem for me, I think.”

“Okay, that’s good, Jake.  You’ve drilled down a bit.  Let’s go further. What’s stopping you from getting started?”

‘Uh… I suppose it’s just sitting down and, you know, actually doing it.”

I nodded, and I totally GOT Jakey.  We were on to something here. My nodding encouraged Jake to press on.  “It’s like I know what I want to write. But I don’t know how to start.”

“And he really does tell wonderful stories.”  Yeah, thanks for that, Emily.

“I’m sure Jake does.  But I’d like to share something with you guys to help you move forward with your dream.  Good?”

“Absolutely!”

“Try taking on some small side gigs that will actually pay you for your writing.  When you know that you’re going to get paid BEFORE you begin writing, well, that’s all the motivation you’ll need to hot-wire your head.”

My Old Fashioned suddenly became bone dry and that sucked, so it was time to move on, but before finding the nearest watering hole, I had one more tidbit to drop on these hopeful folk.  “Nothing teaches the craft of Writing like getting paid for your Writing. Each gig you take on teaches you… just phenomenal amounts of improvement! So if you want to get going here, go build an account on a side-hustle platform and start bidding on small jobs.

“I’ll tell you now, the pay will suck.  But you’re not doing it to earn a living; not yet anyway.  Think of it as On the Job Training; you’re getting paid to learn.

“One more thing; I have a pretty significant volume of published novels doing the Exact.  Same. Thing. It’s called ‘Ghost Writing’, and I cannot emphasize the benefits of doing this to new and younger writers enough!”

Mic Drop.  Time for a refill!

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Soon:  More Ghostwriting

Author Bio:

Enzo Stephens has a serious case of professional ADHD.  He’s a professional writer with over 60 novels ghosted and several under his own name.  He’s an active blogger and has fallen in love with knocking out short stories.

Enzo is a retired Marine and a martial arts instructor for longer than most people have been alive, and his cats, wife, and kids merely tolerate his nonsense.

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For more of Enzo’s writing visit him on Facebook https://www.facebook.com/Enzo.stephens.5011 or check out the monthly archives here on the WU! blog.

( Please note: the images used as prompts are free-use images and do not require attribution.)  

Enzo Stephens: Writer’s Block

Writers Unite!’s Featured Blog Series!

Writers Unite! is fortunate to have among its members, many bloggers, and essayists who write content about the writing process or their author’s journey or both. We will be posting their articles for your information and enjoyment. Please read and comment, visit the author’s website, blog, or Facebook page, Twitter, Instagram and share!

Writer’s Block

By Enzo Stephens

The Great Plague of all writers throughout the course of history. Writer’s Block. It’s such a big deal that both words get capital letters!

Just had a comical image pop into my head of an ancient writer encountering writer’s block as he’s trying to etch scribblings on a stone tablet. Doesn’t make a lick of historical sense, but there it is.

For as many writers as there have been throughout history — and I venture to say each and every one of them has hit the proverbial wall called Writer’s Block, well, just as many have the solution to the problem and are more than eager to share their wisdom.

Add me to the ranks of the eager.

Writer’s Block is a problem (for writers).

Understanding the root cause of the problem is typically one of the first and foremost steps in resolving the problem. Makes perfect sense to me.

But I’m more of a Doer instead of a Thinker; I’m not cerebral by any stretch — even though my pappy used to kvetch at me about being stuck inside my own head all the time; so my solutions tend to be pretty basic, though they’re effective for me. 

For me, as with many prolific scribblers, my brain is a non-stop hamster wheel of stories; and not ‘stories’ per se, but scenes and snippets, dialogues, action shots, what-if scenarios, and Great Ideas for a Story. 

So, from the very outset, sitting down to belt out a story requires an immediate discipline to corral my thoughts and stop that hamster wheel. And the bigger the story, the greater discipline required, and for me, that’s a huge Writer’s Block. Hell, half the time I just don’t feel like containing the chaos!

I don’t struggle for words or to figure out how to say things that are impactful; I have too much to say! Reining all that in is a JOB!

(You should see how much of a battle I go through to do a novel! Yeesh! Hello, brain… you suck!)

Ergo (I really like that word!), seems to me that my solution works whether I’ve got too much to say and I need to nail stuff down, or if I have nothing to say and I have to break the logjam. I have two proven, tried-and-true solutions to share with y’all.

Conversation

I really like this technique. Dialogue is — in my opinion, some of the easiest stuff to write. It’s just two people talking. Happens all the time, everywhere across the world, and it happens for everyone.

“But Enzo, an imaginary conversation?”

Nah, screw that. Look, all of us have conversations that just don’t go the way we want them to go. Maybe we left things unsaid that should have been said.

So say them!

Write it out.

Don’t punctuate, don’t dialogue-tag, just write it. What was said, and then you make it fiction by finishing off what you WANTED to say, or what SHOULD have been said.

After you write it, go grab an adult beverage, come back and read it. You’ll love it! Why? Because it’s what you wanted to say; the conversation went the way you wanted it to go, even if it’s only fiction.

BOOM! 

Stream It

Aka, Stream-of-Consciousness writing.

I absolutely love this technique. Here’s what to do:

1. Put yourself in a place with no distractions.

2. Set your alarm for five minutes in the future.

3. Open a blank document, wordpad, whatever.

4. Write!

Sounds a little ridiculous, doesn’t it? But really, this is hugely effective when stuck for verbiage.

Here’s what to write about…

Whatever. 

One other rule for this exercise: don’t punctuate or paragraph.

So the end result ends up being a big fat blob of nonsense. I did this once and wrote nothing but profanity, and then I spent the next several days laughing hysterically at it. It was good sh^t; funny as all get out and outrageously graphic.

Here’s the hidden beauty of doing this; somewhere in that mess you’ll discover the kernel, word, verbiage, thought, whatever that kick-starts your Muse right in her tukas.

Remember. 

This isn’t to get you over your particular block; it’s to encourage you to remember what you really love about telling stories, even if it’s only just to tell stories. 

Re-Discover your JOY.

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Next from Enzo Stephens: Planning vs. Pantsing

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For more of Enzo’s writing visit him on Facebook https://www.facebook.com/Enzo.stephens.5011 or check out the monthly archives here on the WU! blog.

( Please note: the images used as prompts are free-use images and do not require attribution.)  

Paula Shablo: Getting to “The End” (Writing Conundrums)

Writers Unite!’s Featured Blog Series!

Writers Unite! is fortunate to have among its members, many bloggers, and essayists who write content about the writing process or their author’s journey or both. We will be posting their articles for your information and enjoyment. Please read and comment, visit the author’s website, blog, or Facebook page, Twitter, Instagram and share!

Getting to “The End” (Writing Conundrums)

By Paula Shablo

I don’t know that my recent lack of motivation to finish my book could accurately be termed “writer’s block,” since I have, in the meantime, written several other things.

I have the ending plotted out in my head, and I’ve made copious notes in my notebook working out the “how to get there from here” logistics.

I am at that point in writing where I always seem to land as a project nears the end—I don’t want to be done with the story, so I stall.

Logically, I know I won’t be finished. Far from it. I will be reading and re-reading, looking for spelling errors, plot holes, continuity.

In my process, a lot of the above editing will get addressed before I actually write the finale. It all has to knit together, and sometimes beginning to end doesn’t mesh on the first try.

I dislike re-writing endings. Since I don’t always know the ending when I begin—I am a “seat of the pants” writer, for the most part, especially with stories that exceed 50,000 words—I often have to address the beginning and middle of my story before I can complete it.

So, I am reading. Brushing things up. Changing whole scenes. Adding and subtracting. Re-doing research, just to make sure I have any historical references correct.

This is important—I once published a work with a very tiny scene referencing a baseball game between the Yankees and the Braves, who don’t even play in the same league! Embarrassing! Of course, I corrected it, but oh! My credibility!

Sure, I could claim alternate universe, but…lie, lie, lie. I goofed! I learned a valuable lesson. Check, re-check and check again.

This doesn’t ensure I will never goof again—undoubtedly, I will. I am not perfect, or even close.

Having confessed my Achilles heel—reluctance to reach “The End”—I’m curious: Do any of you writers here have the same writing issue? I’d love to read your comments!

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For more of Paula’s stories and articles please visit her blog:

Penz -o- Paula

WU! On Dr. Paul’s Family Talk

WU! On “Dr. Paul’s Family Talk” Podcast!

If you missed Writers Unite! on “Dr. Paul’s Family Talk” on Friday, here is the Podcast of the segment.

Join host Paul W. Reeves and WU! Admin Deborah Ratliff as they discuss the topic, “ Story Structure”.

Story Structure

If you would like to listen to the show in its entirety (and it’s a lot of fun), click on this Podcast link for Friday’s show!

IMPACT RADIO USA strives to provide the best in news, talk, sports, and music 24 hours a day, 52 weeks per year. Our goal is to keep you as the most informed and entertained Internet Radio audience.

Dr. Paul’s Family Talk 11-15-19

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Visit Impact Radio USA’s page on Facebook!

Click here for Impact Radio USA’s Facebook page!

WU! on Dr. Paul’s Family Talk

WU! On “Dr. Paul’s Family Talk” Podcast!

If you missed Writers Unite! on “Dr. Paul’s Family Talk” today here is the Podcast of the segment.

Join host Paul W. Reeves and WU! Admin Deborah Ratliff as they discuss the topic, “Characters”.

Characters

If you would like to listen to the show in its entirety (and it’s a lot of fun), click on this Podcast link for Friday’s show!

Dr. Paul’s Family Talk Friday November 08, 2019

IMPACT RADIO USA strives to provide the best in news, talk, sports, and music 24 hours a day, 52 weeks per year. Our goal is to keep you as the most informed and entertained Internet Radio audience.

Impact Radio USA

Click on the Listen Now button!

Visit Impact Radio USA’s page on Facebook!

Click here for Impact Radio USA’s Facebook page!