Acts of Malice

 
 
 
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    Mystery writer Tammy Cravit’s musings on mystery fiction, the craft of writing and living a writerly life.
     
    It’s Like Magic, Only Not September 26th, 2008

    I’ve been pondering lately why it is that people seem so fascinated with how we writers work. Readers — and those that aren’t — always want to know where we get our ideas, what tools we use, what process we use to weave a tale from thin air. Some would-be and beginning writers even study the techniques of their favorite bestselling authors, succumbing to the cargo cult thinking that replicating the process will reproduce the resulting bestsellerdom.

    This focus on the “how” of writing always puzzles me a little, especially coming from non-writers. I can’t think of many other areas of life where we show similar curiosity. We don’t care what kind of blade our contractor puts on his Sawzall, so long the sink is in the right place when the kitchen remodel is done. We don’t really want to know the exact mix of pigments our painter uses, so long as our dining room wall ends up Tatami Tan and not some other color. We don’t even really care what brand of violin they’re playing on the CD in the car stereo — well, unless it’s a Stradivarius, perhaps.

    So why the fascination with how writers work?

    I think the reason is, perhaps, that the process of writing is the closest thing we have in today’s world to alchemy. It’s almost as though we possess a form of philosopher’s stone. But rather than transmuting lead into gold, the writer’s magic transmutes ideas and thoughts and the small snippets of ordinary lives into whole worlds and universes, and lets us share those invisible nowheres with other people.

    To me, that is the true magic of writing. We can all create castles and dragons and princesses in our minds, or imagine killing a hated boss, or falling in love with a handsome and mysterious stranger. But the writer’s lapis philosophorum has the remarkable power to anchor that imaginary world into the physical one, and to create a portal between the two. We do more than lose ourselves in our fantasies: We create a way for others to enter them, to see the worlds we create, to experience the stories that play out in our imaginations, and to pass between those worlds as easily and simply as picking up a book.

    If writing is the magic of today, and we are the sorceresses and mages of the modern world, it’s no small wonder that people want to know how we do it. After all, everyone always wants to know how the trick is done.

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    What Are Your Squelchers? September 3rd, 2008

    I’ve been reading an interesting book this week, Freeing Your Creativity by Marshall J. Cook. One of the concepts that Cook, a professor at the University of Wisconsin, talks about in his book is that of the Squelcher.

    Squelchers are the kryptonite of the writer’s psyche, those seductive lies that our internal editor tells us to destroy our creativity. They may reflect the criticisms, or perceived criticisms, of others. Or, they may betray only our own internal self-doubt. But either way, it’s tough to be creative when Younger Self, that creative idea-driven right-brained part of our psyches, is squashed down with the baggage of our squelchers.
    So, how do we beat our squelchers and get on with the business of being creative?
    Cook’s suggestion is as simple as it is powerful: Write down your squelchers. Then rebut them. In writing. Three rebuttals per item is a good number. Save that sheet of paper (or word processor file). When a squelcher pops up, remind yourself of how you’ve answered it, and then keep writing.
    Here’s an example of a couple of my squelchers and how I might rebut them:
    SquelcherRebuttal
    Nobody’s going to take your writing seriously.Why not? If I take it seriously, others will too.
    Why not? Plenty of other writers are taken seriously, and everyone had to start somewhere.
    So what? The only judgment that really counts is mine.
    You’re not good enough to get published.Why not? I’ve already had many articles published in magazines and newspapers, and a book isn’t really any different - just longer.
    Why not? Plenty of other people get published, and I can write at least as well as some of them.
    Says who? I’ll never know what I can do until I try.
    Nobody wants to read what you write.Says who? I’ve gotten positive responses to my writing before - why should this be any different?
    Says who? I’ll never know if that’s true until I try and find out.
    How do you know? People like all sorts of different kinds of stories - I’m sure I can find people who want to read the stories I have to tell.
    So, how about it? What are your squelchers telling you? And what should you be telling them back? Sound off in the comments, and let’s silence our squelchers together.

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