Jenna Avery | Called to Write

Find your character’s moral problem with the Enneagram

October 9, 2013 by Jenna Avery Leave a Comment

Today’s article is a guest post by story and Enneagram expert Jeff Lyons of StoryGeeks.com. His article touches on a often overlooked aspect of story development that many writers miss and their story structure suffers as a result: their main character’s “moral problem”.

Jeff will be teaching us more about how to identify a character’s moral problem in his upcoming workshop here in Berkeley, California (I’m co-hosting) on October 26 and 27 on his method of Rapid Story Development. We’d love to have you join us if you’d like to learn more.

Now here’s Jeff’s article:

The problem is moral

Hands down, the most important and most overlooked story structure element all writers either miss altogether or bungle is the moral problem. This pesky problem is not just a nice perk — it is a make-it-or-break-it story structure component of any good story.

The moral problem is the hole in the heart of your protagonist. He or she starts off the story in some pickle, some predicament of their own making, ideally brought about by the very moral problem to which they are oblivious. This problem is making them act badly in the world. They are hurting people emotionally, mentally, and maybe even physically due to this lack. It’s the hurting of others that make it a moral issue, and not just a psychological one (the distinction is about hurting others versus hurting oneself). The character needs to learn some lesson about how to live in the world so that they no longer hurt others; some lesson that elevates them (hopefully, but not always) to be a better person. They learn that life lesson that makes them moral again.

Good stories have protagonists with this hole in their heart. And the best stories rip out the protagonist’s heart and then somehow heal it again, before the heart gets put back inside (I’m speaking metaphorically, of course — unless this is a Clive Barker horror story).

How to find the moral problem

So, the question becomes: how does a writer figure out how to find one of these heart-holes? How do you assure that your protagonist has a meaningful moral problem and an equally meaningful growth-moment at the end of the story where they see the error of their evil ways? Some writers have a natural gift for this and flawed and tortured protagonists come to them as gracefully as flight to an eagle. For others (i.e., most of us) the process of finding a good moral problem is more like trying to find a taxi on a rainy night.

The good news, however, is that there is a tool that any writer can use to help them crack this problem, regardless of their natural gifts. That tool is called the Enneagram. The Enneagram is a powerful archetypal system that describes the nine core personality drives underlying all human behavior. Each of the nine drives is rooted in thoughts, feelings and actions that largely determine how we interact with the world, for good or ill. Everyone has an Enneagram type — including fictional characters and stories themselves. Writers have used this tool for many decades to develop multi-dimensional characters, but it can also be used as a story development too, when coupled with story structure principles. It is this relationship between the Enneagram and story structure that gives writers a doorway to finding the most dramatically powerful moral problem for their protagonist.

What’s your character’s poison?

Let’s take an example and walk through the problem as a point of illustration:

You just wrote the movie The Verdict. Frank, the protagonist, is a ambulance-chasing, alcoholic lawyer who is constantly looking for the next sucker to scam into hiring him. You know he’s a drunk. You know he’s in pain. But what’s his moral problem? Is his alcoholism the moral problem? Alcohol hurts lots of people. Is his pain the moral problem? If so, what’s the pain? How do you figure out which it is? Writers spend lots of time caught up in this maze of questions and confusion.

Enneagram to the rescue. Each of the nine Enneagram personality styles has something called a “poison”. This poison is the hole in the heart. It is the thing that poisons everything they do, everything they feel, everything they think. So, what’s poisoning Frank? Certainly alcohol is, but that’s mostly just hurting him. It’s not hurting other people. What he’s doing that’s hurting others is that he is using them. He sees people as targets, not people. So, we have the answer, right? He’s using people. That’s the moral problem, right? No, not quite. That’s what he’s doing; that’s not why he’s doing it. The moral problem is the motivation, the thing causing the using.

The Enneagram poison can help you quickly answer this question and find the real moral problem. Of the nine personality styles, the 3rd style (“The Achiever”) is the one who has the poison of secretly feeling that they have no personal worth or value. This fits Frank’s actions to a tee. For him, people have no value; they’re things to be used. He ultimately feels this because deep down he believes he has no value or worth himself and therefore no one else has value either. Over the course of the movie he learns that, indeed, not only do people matter, but that he himself matters and he can make a difference in the world.

And so not only does the Enneagram technique of looking for the poison explain the motivation behind the protagonist’s immoral behavior, it also points to the final self-revelation at the end of the story, where the hero or heroine realizes how to heal the hole in their heart. In this case, Frank realizes he has value and so do other people. He is able to make a new choice as a result.

Moral problem and story structure

As a writer, having this key piece of information — a clear moral problem — is critical for you to not only address your main character’s development and arc, but also to guide you on how best to structure your story so that key story beats, like the inciting incident, low point, and final climax, are all driven by the engine of the protagonist’s moral problem.

This is a deep subject, but a critical one for any writer. The moral problem can make or break your story, and the Enneagram can help you rapidly navigate the difficult questions that might otherwise hang you up and drag out the development process.

If you’d like to learn more, join us in Berkeley on October 26 & 27. Early registration ends TOMORROW, Thursday, October 10. Find more and register here: http://RapidStoryDevelopment.com

Your turn

As always, we love to hear your thoughts in the comments.

Warmly,

You may also be interested in:

Thanks for reading.

Filed Under: Writing Tagged With: Enneagram, jeff lyons, Jenna Avery, moral problem, Rapid Story Development, story structure

Using the Enneagram to move from character to story

October 2, 2013 by Jenna Avery 3 Comments

In the third and final session of my interview series with Enneagram and story development expert Jeff Lyons (recordings no longer available), we talked about “Bridging the Gap from Motivation to Structure With the Enneagram.” Today’s post is a recap of what we discussed.

His process for “bridging the gap” from premise line to character to story is quite fascinating, and he illustrated it using a breakdown of The Great Gatsby according to the Enneagram.

Bridging the gap

Here’s an overview of the process:

Step 1. Write out your premise line and log line.
(See the last post for more on premise line development.)
Step 2. Define the moral problem that best illustrates the story’s premise line.
(In Gatsby, Nick focuses on trying to fit in and be liked, he isn’t being his truest self, which is a form of lying.)
Step 3. Look for the Enneagram type that best represents the motivations (not behaviors) of someone with that moral shortfall.
(Nick most aligns with the Enneagram type 9.)
Step 4. Study the integration and disintegration points for that type to identify what the character is capable of and what they’re greatest opponent might be.
(Points 3 and 6, respectively.)
Step 5. Explore the entertaining moral argument possibilities between those two types.
(Can you succeed and achieve without giving up your soul?)
Step 6. Brainstorm about the communication styles, “pinches”, and blind spots of each of those two types.
(Nick has various challenges that Gatsby can poke at and wreak havoc with.)
Step 7. Map your story using these Enneagram components and correlate them with the visible structure components we discussed last time.
(This includes the protagonist, moral problem, chain of desire, focal relationship, opposition, plot & momentum (midpoint complication, low point, and final conflict), and evolution/de-evolution and is the more complex step where the story is broken down into a greater level of detail).

Your turn

Have you considered using the Enneagram in your story development? Will you consider using it in the future? We’d love to hear your thoughts in the comments.

Warmly,

You may also be interested in:

Image by © Royalty-Free/Corbis

Filed Under: Writing Tagged With: Enneagram, jeff lyons, Jenna Avery, novel writing, Rapid Story Development, screenwriting, story development, story structure, writing

Constructing a powerful premise line as a framework for story structure

October 1, 2013 by Jenna Avery 3 Comments

In the second class of my interview series with Enneagram and story development expert Jeff Lyons (recordings no longer available), we talked about “The Critical Importance of Premise Line Development.” Today’s post is a recap of what we learned.

Jeff started off by talking about the importance of being clear about what you’re writing is about a situation or a story:

A story is about a person on a journey of change, where they are trying to achieve a goal or attain a desire and have a revelation about themselves at the end. Stories include relationships, because, as Jeff says, “Stories are conversations, not monologues.”
A situation, on the other hand, is usually some kind of problem or predicament with a solution that tests a protagonist’s problem-solving skills but doesn’t reveal character. Few, if any, subplots, twists, or complications are required to solve the problem, and it ends in the same emotional emotional space it began in. Standard genre beats may still evident but not the deeper underpinnings of story structure.

While Jeff doesn’t suggest that story is better than situation or vice versa, he says that they require different building blocks to successfully deliver them. A story will rely on deeper story structure components, while a situation will rely on entertainment value, great set pieces, and good dialogue, but won’t reveal character or be driven by a moral problem or theme.

And what is story structure?

Jeff defines story structure differently than the way most of us have learned to think of it. Most of us think of things like inciting incidents, turning points, mid-points, climaxes, and resolutions as story structure. Jeff describes these as “story beats” and says that most writing systems that purport to be about structure are actually focused on these typical beats and are missing the deeper, natural structure implied by both premise development and character motivation.

Getting from idea to premise line

When a story idea first arrives, it often comes as an “undifferentiated mass”. It’s a collection of swirling notions and intuitive instincts that don’t translate yet into a clear organized story structure.

Jeff uses premise line development as a tool to begin to decipher the fuzzy, abstract ideas into a more concrete, contained story — the nascent beginnings of story structure. He compares it to stepping down electricity from the power plant into a useable form in a residential setting. It has to go through transformers to make it available at a functional level. The premise line is the first step in translating from that vague mass of ideas into something resembling a story.

The way that he does this is by using seven core elements to begin to tease out the components of the story and shape them, including:

Character — do you have a sense of a character who will be central to the story?
Constriction — what happens that pushes the character off the line they’re on at the beginning of the story?
Desire — what does this character want? At this point, we’re not talking about something specific or tangible, that comes later, but rather a sense of a core desire or motivating force.
Relationship — who is this character in relationship with? (Again, stories are conversations.)
Resistance — what is the push back or opposition that stops the main character from getting what they want?
Adventure and/or Chaos — what is the adventure or chaotic experience the character has that leads them to the epiphany at the end?
Change — this is the dramatic epiphany the end — how the character changes as a result of their experiences.

Moving from premise line to visible structure

Once you’ve identified your premise line, you can then move to a more “visible structure” for the story. This is a process of taking what you’ve started with and beginning to develop and flesh out the pieces of the story more deliberately. At this stage of the process, you’ll make the following shifts:

The character becomes the protagonist.
The constriction becomes the moral problem of the protagonist. (This informs the inciting incident.)
The character’s desire becomes a chain of desire (a sequence of goals or desires all related back to the character’s core desire).
The relationship becomes the focal relationship for the story, the person the protagonist experiences the journey with.
The resistance becomes the central opposition. At the outset and premise level, you may just have a sense of an opposing force. At this stage it would become personal, dramatic, and/or personified.
The adventure/chaos becomes the plot and momentum of the story through the second act. (This is the part of the story that includes the typical story beats, like midpoint, low point, and climax).
The change is the evolution or de-evolution of the protagonist.

Bridging the gap using the Enneagram

In order to make the transition from that undifferentiated mass of the original idea to the more visible structure of the premise line all the way into a visible, clear structure, Jeff uses the Enneagram to help identify the specifics for each one of these elements, such as:

The best protagonist for the story, based on the personal change the story is designed to illustrate.
The best opposition or antagonist for the story, designed to help provoke the protagonist into that change.
Brainstorming and understanding the protagonist’s core desire based on their Enneagram type, to design a chain of desires that the character seeks that drives the story forward.
The best allies or focal relationships for the protagonist.
The best likely inciting incidents, turning points, midpoints, low points, and battles/climaxes that will stimulate your specific character and/or be driven by him/her to the final outcome of the story.

The Enneagram doesn’t tell us the ONLY options for each of these, but rather suggests the best form for each of these elements. Then as the writer, it’s up to you to begin to craft the specific story details to deliver that. (Form follow function, after all.)

For instance, at the broadest level, an Enneagram Three seeks approval from the outside as a way of validating themselves, but what they really need is to have their own sense of value and sense of self. So a story about a Three would be designed to play out that journey in a visual, visible metaphor organized around the ideas of approval-seeking as the constriction, taking an action that would cause a loss or challenge based on that approval-seeking as an inciting incident, to a low point where the Three finally realizes they are sacrificing themselves on the altar of approval and giving up everything to do so, all the way to a climactic moment where the Three stops looking outside themselves for approval and decides to find it within.

At a more specific level of story detail, those ideas could play out with a businessman who will never say no to a contract, trying to please everyone and perform by juggling and obfuscation, but he finally says yes to too many projects and the house of cards he’s built around himself comes crashing down. He would then realize he needs to choose projects and work that HE values, and by so doing, recognize his OWN inherent value. It’s HIM that makes the projects successful, not the game he’s playing.

And of course, we can get even more specific from there, as well as fleshing out the details of his supporting relationships and opposition.

Your turn

Do you develop a premise line for your work? Tell us about it! We’d love to hear your thoughts in the comments.

Warmly,

You may also be interested in:

Graphic courtesy of http://www.fitzel.ca/enneagram/graphics.html

Filed Under: Writing Tagged With: Enneagram, jeff lyons, Jenna Avery, premise, premise line, Rapid Story Development, writing

Using the Enneagram for Story Development

September 18, 2013 by Jenna Avery 11 Comments

In the first class of my interview series with Enneagram and story development expert Jeff Lyons (recordings no longer available), we talked about “The Secrets of the Enneagram Most Writers Are Overlooking.” We had a mix of participants on the line, it seemed to be about 50-50 on who had prior experience or knowledge of the Enneagram and who did not, and Jeff did a great job of making the material accessible to everyone. Today’s post is a recap of what we learned.

Jeff talked about how powerful the Enneagram can be for writers because of its archetypal patterning of human drives and behaviors that transcend cultural boundaries.

He walked us through a quick overview of each of the nine Enneagram types, or styles, as he calls them. He describes the styles as being nine basic strategies for living, including showing us how we behave when we feel successful, weak, vulnerable, and strong. His descriptions of the types quickly demonstrated how powerfully the Enneagram types can be used for character development and why so many writers have used the Enneagram that way for so long. He also described several ways writers can use the Enneagram beyond simple character development, which I’ll give you the highlights of in a moment.

The Nine Core Enneagram Styles

To start, though, let’s take a look at the nine core Enneagram styles:

The One is the “do the right thing” person who derives their sense of safety, security, and love in the world by following the rules and doing things perfectly.
The Two is the “to be loved” style, sometimes called “the caretaker”. Twos look for the person with the most power in their environment and make themselves indispensable to that person in order to feel loved. They manipulate in order to get the love they want. Glenn Close’s character in Fatal Attraction is an example of an extremely unhealthy or “disintegrated” Two.
The Three is the “performer or achiever” and focuses on getting EVERYONE’s approval (not just one person in power, like the Two). Jeff described the Three as a “therapist’s nightmare”, because they tend to perform emotion rather than feel it (though they do have and feel emotions deeper down).
The Four is the “to be special” style. This type has a negative side, feeling that something is missing. They can be melancholy, depressed, and always looking for someone to help them solve the problem of “what’s missing”. They “long to long” and are often overly self-oriented.
The Five is the “thinker” type who controls their environment by controlling information. They don’t like intense emotions and control the people around them by controlling (sometimes withholding) information. Keanu Reeve’s character “Neo” in The Matrix is a great example of a Five who controls his world through data, at the beginning of the story in particular.
The Six is the “safety-security” style. Sixes always have a plan, they know where the pot holes and the landmines are. They tend to have a problem with trust, but if you win their loyalty, they’ll be a friend forever. If their lives are working, they tend to be happy, but they will also dismantle their entire lives in order to have a problem to solve. There are also “counter-phobic” sixes who tend to strike first if they think you might be a threat to them.
The Seven is the “to have fun” style. “Why have one friend when you can have 100 friends?”, as Jeff said. Sevens are great at having fun and enjoying life, but they also have a tendency to be addictive types and their fast-paced, highly-active lifestyles are designed to help them avoid their inner pain.
The Eight is the “self-reliant / leader” style. They control people by making the rules. They are the most projected on than any other Enneagram type, because they have such a strong presence that can feel confronting. They can be very protective of the downtrodden and provide leadership or can become dictators at an extreme. They avoid relying on other people.
The Nine is the “peacemaker”, the one who finds safety by finding common ground. Nines make sure that everyone is heard except themselves — they are self-abandoning. They don’t get in trouble, but they are also not seen.

Character Development & Beyond

Here are some story development applications Jeff described for the Enneagram:

Determining your characters’ core personality types — this has been done by writers for years.
Determining your protagonist’s growth arc — Each of the nine types has a specific drive toward “disintegration” and a higher place within them for “integration”. Studying those paths of disintegration and integration can help writers get clearer about their characters’ growth arcs in their stories. This has also been done for years by writers.
Choosing the best protagonist for your story, depending on the moral problem you want your character to solve in the story and the type of story you are telling. For example, love stories are often Two-driven stories, and pure sci-fi stories are often Five-driven stories.
Selecting the best opponent for your protagonist, based on your protagonist’s Enneagram type and growth arc, so they are designed for maximum conflict that will provoke the protagonist’s growth.
Choosing the best allies for your protagonist, so your characters interplay with each other for best effect.
Designing and structuring your story to naturally take your protagonist through exactly the right crucible that forces them to move from their moral problem into their point of integration, or revelation, by the end of the story.
Understanding the types of stories we will be innately drawn to tell, based on our own Enneagram styles, which can make us more conscious writers.

All of these help us “pre-structure” our stories BEFORE we go into story beat development, which is what so many of us are familiar with already and tend to think of as story structure (like Blake Synder’s Save The Cat method, for instance).

Next week, in the second class of our series, Jeff will be talking to us about:

Premise line development and its critical importance in story development.
Story structure components.
How to tell the difference between whether or not you have a story or a situation.

Your turn

Are you familiar with the Enneagram? What has it helped you shift or change in your own life? If you’re a writer, do you use it in your writing? I’d love to hear your thoughts in the comments.

Warmly,

You may also be interested in:

Graphic courtesy of http://www.fitzel.ca/enneagram/graphics.html

Filed Under: Writing Tagged With: Enneagram, jeff lyons, Jenna Avery, Rapid Story Development, story development, workshop, writing

The Power of the Enneagram

September 12, 2013 by Jenna Avery 11 Comments

I’ve been a follower of the Enneagram since 1998. The Enneagram is a powerful system that is highly useful for understanding your personality and inner motivations.

My work colleague told me about it one day, and mentioned that she was pretty sure I was a “Six” just like she was. Horrified to be lumped into a category with someone I often struggled to get along with, I quickly set out to prove that I WASN’T A SIX! I didn’t care what it actually was, I just didn’t want to be THAT.

I took a few tests online and found that the results were mixed. In some I WAS a Six. The horror! In others, it came back as a Four. Hmm. (The tests can be a great place to start if you’re curious about this.)

My colleague suggested that the best way to “get” the Enneagram was to attend a panel discussion, where I could watch and hear from groups of particular types. I think over the years I’ve now attended two different Enneagram panel series and one other Enneagram class here in the local San Francisco Bay Area.

But what I vividly remember is watching the panel of Fours in the first series I attended. I was already suspecting I was a Four — the Individualist, the Dreamer, the Romantic, the Tragic Romantic, the Artist — and I was determined to find out once and for all. (The names vary depending on whose book you’re reading, and some people don’t even like to use the names at all because of the projections people make onto them.)

Fours are known for wanting to be different and special. Unique. It’s both a source of pain and pride for them.

At that first panel series, I watched the entire row of Fours talk about their experiences being a Four. We got all the way down to the very end of the line (there must have been 12 to 14 people easily), and the last woman said, “I don’t know, I just don’t really identify with everyone else here. I mean, I know I’m a Four, and I know you all are too, but I just feel different.”

Right then, I knew in my core, as she expressed EXACTLY WHAT I WAS THINKING, that I was, in fact, a Four.

It wasn’t exactly a thrilling revelation, though it certainly did alleviate my other drama about my colleague (Fours seem to, ahem, like, create, and attract drama). Mostly it hit me: “Oh man, you mean all that stuff that Fours are? I’m that too??”

Most of the Enneagram books out there tend to look at each of the nine types from a fairly negative perspective, and a lot of people can be overwhelmed by that. I quickly learned that most of Helen Palmer’s books were too dark for me, and found Personality Types: Using the Enneagram for Self-Discovery* by Don Richard Riso with Russ Hudson. I loved the levels of integration and disintegration they described because it gave me a sense that there was hope for improvement and it helped me learn a ton about myself and my suddenly transparent behavior and fixations.

So fast-forward a few years.

Over time, the Enneagram has been a great tool for me for both understanding and getting along with my Nine husband (a Peacemaker) and helping my clients understand themselves better (of course many of them tend to be Fours :) ). One of my colleagues has written a series of books for empaths based around the core Enneagram principles* that I highly recommend. I’ve written a few articles related to the Enneagram myself, and have a page on my old website about the Enneagram and how it relates to high sensitivity.

And once I started writing fiction, I turned to the Enneagram to use it to develop my characters. But I thought of it as simply that, a tool to help me develop each character individually.

I never really thought of it as anything more, or how the characters might be related to each other through the Enneagram.

Then last October, I was following one of my fellow ScriptMag columnists online, Jeff Lyons, who tweeted something about a class he was offering and I discovered that he also offered writing-related, “rapid story development” Enneagram classes and I was enthralled! I wanted to know more right away. It didn’t take long for us to talk about him coming here to Berkeley to teach his method.

What amazes me most about it is that he uses a combination of story premise and the archetypal Enneagram system to do story structure work. Not just character, not just motivation, not even just how characters are related. He works with his own proprietary story premise model with the Enneagram to tackle character, plot, and structure in a holistic, integrated fashion.

Who knew!?

I can’t wait to see how he does it, and I hope you’ll consider coming to join us too. He’s going to be teaching the Enneagram in a very hands-on fashion — it sounds like perfect hybrid of observation, teaching, taking action, and getting a chance to put it into practice. He’s even going to do some 1:1 “magic time” with a few lucky participants on their own story structure and premise. It’s going to be amazing.

If you can’t come and be there live, or if you want more information, we’d love to have you join us over the next three weeks for a three-part interview series with Jeff so you can get a sense of this ground-breaking tool. You can find out more about the teleclass series and register here.

Your turn

Are you familiar with the Enneagram? What has it helped you shift or change in your own life? If you’re a writer, do you use it in your writing? I’d love to hear your thoughts in the comments.

Warmly,

You may also be interested in:

Filed Under: Writing Tagged With: character development, character motivation, Enneagram, jeff lyons, story structure, writing

Bored with your writing project? Or terrified to face it?

September 4, 2013 by Jenna Avery

One of the cleverest smokescreens in writing is creative apathy.

This is the point with a project where you suddenly get bored or lose interest in your writing. It tends to crop up at key stages in your writing project, like midway through or even just shy of the end.

When you hit it, you’ll start thinking maybe you’re just not that interested in this project and maybe it’s time to move on to something else.

But is that your highest truth?

I call creative apathy a smokescreen because it tricks you into thinking you’ve lost interest. It obscures the fact that you’ve encountered resistance to your project. It sends you off on a tangent, looking for other projects, wondering why you’ve lost interest, thinking maybe you never should have picked the project in the first place.

In my experience working with writers this creative apathy usually comes up as a response to either fear or creative burnout. The latter, creative burnout, comes about from pushing ourselves too hard or too long and becoming creatively exhausted. The former, fear, happens when we bump up against the places in our writing where we feel uncomfortable.

This fear could be as simple as being afraid to do the hard work, not knowing what comes next, or not knowing how to solve a story problem. It can be triggered by not having enough information about how to proceed with a task.

The fear can also arise from beliefs about your ability and talent, like a belief you should already know exactly how to do something before you even try.

I find that many, many writers hold this idea that writing should come naturally. That it should be easy, and that if it isn’t, it is a matter of a lack of talent or ability.

Carol Dweck, in her book Mindset: The New Psychology of Success*, suggests that this belief demonstrates a “fixed mindset” – that we have everything we are capable of having from birth, that we cannot improve or increase our skills, etc. She contrasts this with a “growth mindset”, which says that we are capable of more if we focus on learning and applying ourselves.

I was struck by this comment she made:

“People are all born with a love of learning, but the fixed mindset can undo it. Think of a time you were enjoying something – doing a crossword puzzle, playing a sport, learning a new dance. Then it became hard and you wanted out. Maybe you suddenly felt tired, dizzy, bored, or hungry. Next time this happens, don’t fool yourself. It’s the fixed mindset. Put yourself in a growth mindset. Picture your brain forming new connections as you meet the challenge and learn. Keep on going.”

What if the next time you feel bored with a project, you consider the possibility that fear is coming up and sending you into a fixed mindset place – the very opposite of creativity – and instead choose to believe that you are capable of solving whatever problem you’re avoiding, even if it means getting help, brainstorming longer, or doing research to help you tackle it?

In other words, what if you adopted a perspective that said, “I can do this, somehow, even if I can’t see how yet“?

Perhaps it helps to also hold the belief that if you conceived of the project, you are also capable of seeing it through.

Your turn

Do you fall for creative apathy or forge through it? What’s your approach? I’d love to hear your thoughts in the comments.

Warmly,

You may also be interested in:

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Filed Under: Writing Tagged With: boredom, creative apathy, fear, project stages, writing

Reward yourself for writing

August 28, 2013 by Jenna Avery 2 Comments

In my Writer’s Circle, one of the things members commonly bring up as a question is how to reward themselves for meeting their writing goals.

We have a list of questions we answer on our site, once we’ve completed our writing for the day (or not, as the case may be). This is one of the stickiest questions for many of us:

How will you acknowledge or celebrate what you’ve accomplished today?

The question tends to trigger a lot of resistance and debate and discussion. Sometimes writers even avoid answering it or fulfilling it. I know it’s a hard one for me to remember too!

But here’s the thing, it’s incredibly important to both celebrate and acknowledge the work you do as a writer both on an ongoing daily basis and at the end of a significant project phase, like finishing a first draft or a rewrite.

Here’s why:

You’ve fought resistance to show up, put your butt in your seat, and do the writing. As small as that may seem from the outside, you know deep down that every day it is an accomplishment. We’re talking about a daily battle that you’re winning.
By creating a positive association with your writing, you are more likely to show up and do it again the next day. Bottom line? It reinforces your writing habit.
Writing is a long term endeavor. It’s all too easy to walk around feeling like you’ve never done enough when the draft isn’t finished. Stop that right now. Instead, celebrate what you have done. It’ll make it easier to keep going all the way through to the end.
Too many writers significantly undervalue themselves and their writing, especially if the day’s writing session was particularly hard. Stop that too. Take the time to recognize the value and importance of what you’re doing. It’s important to you, right? For most of us, writing is a true calling. If that isn’t important to feed, honor, and sustain, I don’t know what is.

Ideas for rewards

Here are some super simple ideas to get you started with rewards, celebrations, and acknowledgments:

Do a happy dance.
Dance to music for a minute.
Shout, “I did it!”
Throw your fists up in the air and say, “YES!”
Say, “I declare myself satisfied!”
Hug yourself.
Pat yourself on the back.
Play an inspiring song.
Make yourself a cup of tea.
Take a moment to stretch.
Stand in the sunshine for a moment, look at the sky and appreciate the world and the gift of writing.
Do the things you’d normally be doing while procrastinating about your writing (like checking in on Facebook or Twitter, or playing games on your iPad).
Tell your writing community about your progress and be proud of yourself (the Writer’s Circle is a great place to do this).

You might also like this slideshow from B.J. Fogg on “Ways To Celebrate Tiny Successes”. (The slideshow has the line, “Hey now, you’re a rock star,” as one idea for a celebration. Love it! That’s from “All Star” by Smashmouth)

Two tips for getting the most out of rewards

Tip #1: Fogg recommends celebrating within a second of completing the task as being critical for reinforcing small successes. So even if you give yourself a bigger reward at the end of the day’s work, do mini-celebrations each time you hit a milestone (e.g. a page done, a hour of writing, 15 minutes of writing, whatever you’re aiming for). I have a sound effect for a cheering crowd set up on my iPhone that goes off whenever I finish an hour-long writing sprint. It always reminds me to notice and acknowledge what I’ve accomplished.
Tip #2: Gina Hiatt, the founder of the system my Writer’s Circle runs on, also points out the importance of not “pre-celebrating”. Pre-celebrating means doing something fun — celebrating or rewarding yourself — BEFORE you do the writing. That doesn’t work, because it only perpetuates procrastination AND triggers a guilty conscience. The whole idea here is to eliminate your guilt and anxiety around your writing.

But what about the major milestones?

What happens when you finish your draft, put the final polish on your rewrite, turn in your script to a contest, or your box of books arrives in the mail — in other words, hit a major writing milestone?

Please — and you may take this as a request from your writing coach if you like — REALLY celebrate!

Do something like this:

Take yourself out to a fantastic lunch or dinner.
Go to the spa for the day.
Take a day off and watch movies and eat your favorite foods.
Open a bottle of something yummy.
Tell your friends.
Have a party!

This is a MAJOR accomplishment and deserves to be celebrated.

Particularly if you’re someone who tends to undervalue and underrate and always have more to do and feel like you have to move on to the next thing, STOP, and congratulate yourself on finishing.

Then dive back in the next day. :)

Your turn

What do you do to reward yourself for writing? Tell us in the comments.

Warmly,

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Image by © Royalty-Free/Corbis

Filed Under: Creativity, Writing Tagged With: celebrations, habit, Jenna Avery, the writer's circle, writer's circle, writing, writing rewards

This Writer’s Life: How 5 Minutes of Daily Writing Can Change Your Life

August 7, 2013 by Jenna Avery 12 Comments

Writers who tend to join the Called to Write Coaching Circle — and get the most out of it — often have both a deep call to write (whether they’re doing it consistently or not) and a specific project they want to work on, perhaps one half-completed, languishing on a shelf for a couple of years. And when they find out about the Circle, they’re eager to move past the dreaming or stuck stage into action.

This is the story of a man who has done just that.

When he joined the Circle all the way from Sweden, Rikard Bergquist had been working on his novel intermittently, struggling to find enough time to write and to move past the outlining and preparation stage into writing actual New Words. And he had a little two-year-old daughter at the time too! (She’s three now.)

After being in the Circle for a session or two, continuing to write intermittently, and listening to me (~~harp on about~~ :) ) advocate for early morning writing and small writing sessions as a powerful way to jump-start a writing habit, one of our other members “threw down the gauntlet” and challenged him to try writing for 5 minutes every day and logging in every day on the site to report about how it went for him. He took her up on the challenge. It changed his life.

In less than four months, after building from 5 minutes a day to a solid writing habit of 60 minutes a day, he knocked out 75,000 words and completed his first draft. He’s still with us in the Circle now, working on revisions. He is one of our most dedicated and consistent members, showing up to write and log in on the site even while traveling — he even met me for coffee in Berkeley here the other day to talk shop while on a trip to the U.S. from Sweden. It was great fun. :)

I asked “Rick” (as we affectionately call him in the Circle) to talk to us today about his experience with finishing his novel, how he got there, and what’s he’s learned about his writing process along the way. You may be surprised to find some ideas and inspiration you can adopt for yourself.

1. Rick, first, welcome and thanks for being here. Let’s start off by having you tell about your recent major milestone — finishing the first draft of your first novel. What was that like for you?

It was one of the most empowering and surprising experiences I’ve had. Empowering because finally this dream of a novel I’ve had for a couple of years was becoming a reality. I escaped the terror of the first draft and actually produced 75,000 words. Instead of laboring and trying to make early parts of the story perfect, writing and rewriting, outlining and rearranging the order of scenes, as well as reading the latest book on craft and thinking I finally got it, I did the work and now have a substantial number of written pages to show for it.

It was surprising because I did it by writing for about an hour every morning during four months — I never thought an hour a day would amount to anything. I surprised myself weekly when I saw what I had accomplished with just an hour every morning. I surrendered to the process, allowing myself to write badly, knowing that it was only the first stage in a big adventure. Overcoming that editor inside of me, who kept telling me it was crap, was a big victory. And my first draft is the result. Now I know that first drafts aren’t supposed to be outstanding perfect novels, they’re just supposed to be written.

2. Can you give us a soundbite about what the story is about and about who you are?

The story is set in the 1570s of Stockholm, Sweden. In a power struggle for the crown our hero supports a new queen for the throne, who turns out to be a murderer, poisoning her competition. When his secret love interest is surprisingly accused and imprisoned for the murder, without any hope of pardon, our hero has to choose between his career or saving her. And what price will he pay for the choice he makes?

I work in the financial industry, for a private equity company, with business development. It’s hands-on management in selected individual companies in a wide range of industries. Writing is for me a creative outlet and a possibility to follow a totally different path.

3. What have you learned about your writing process from participating in the Circle?

Consistent daily work is key to my process. Being consistent means that I stay in touch with my writing, even though I might be working and doing other things during the day. The story evolves and develops in my subconscious, waiting to be served up during the next writing session. Setting goals and being accountable within the Circle, giving and receiving feedback on each others’ processes — in short, knowing that my efforts are noticed by others is a big motivator for me.

Focusing on the process rather than the craft, is a very important difference from other writing groups I’ve participated in. For me, this group is about focusing on getting the writing done, every day. What you write, how you write, and when you write is up to you. But do it every day. The accountability and support of the Circle is key to making that happen.

4. What were the biggest challenges you faced before joining the Circle? Have they changed?

My biggest challenge was finding time to write. I kept telling myself I needed chunks of at least 3-4 hours of undisturbed concentrated time to get anything done. I used to laugh at friends telling me how someone they knew had finished a novel by coming in 15 minutes early to the office and using that time to write. “It just isn’t possible,” I used to say, but now I know better. I kept on trying to find my big chunks of time, getting them here and there. It was a constant struggle. Looking back, I feel like I wasted a lot of time thinking about how to find time to write, but never doing the actual writing, and instead ending up feeling frustrated and lost. I knew I wanted to write, but why didn’t I just do it? I wrestled a lot with that question. With the help of the Circle I established a habit of rising early and writing for an hour every morning. Consistently.

5. When you first joined the Circle in May 2012, what was your writing habit like and how did it evolve? Were there any key moments where you shifted your habit? Was there a particular trigger or did it build over time for you?

At first my writing consisted of sporadic big chunks of time, where I spent the first part of each writing session reconnecting with my story and the latter part coming up with some new tweaks to my outline, synopsis, and characters. I always felt happy and satisfied afterwards, but not continuing to work on it over time always made me question my earlier work when I got back to it. And I was never moving into writing actual words, paragraphs, and chapters of the book, just staying at the outline stage.

There were two key moments for me — One: I followed the advice from you, Jenna, and fellow members of the Circle to adjust my target amount of writing time downward until I found a suitable amount that I could do consistently every day. For me that was five minutes. How amazed and surprised I was of the power of those five minutes. It changed my world — I connected on a deep level with my story and gradually increased the five minutes to sixty minutes per day. At first outlining scenes and then actually writing the first draft.

And this is where my second key moment occurred — Two: I could not get myself writing. I stalled. I reworked. I was stuck. Again following advice from the Circle I gave myself permission to write badly. I told myself “I am writing crap,” and suddenly I was writing about 750 words during that hour every morning. And surprise, it wasn’t all crap.

6. What advice do you have for other writers?

The only way to do it, is to do it. Complete the journey from the first page to the last page. If you can’t do this, it’s game over. Because without the first draft, you have nothing. You need a lot of faith to do it, faith in your unproven ability to write a novel. But give yourself permission to fail, to write crap, to make mistakes, to forget your outline and synopsis and before you know it, you will have your first draft.

7. What’s next for the novel and for your writing?

Right now I am revising the draft. Aiming at having a first rewrite done in a couple of months. There are times when I feel like giving up, but I now know that that’s only part of the writing life. It’s a constant flow of ups and downs, you just have to trust the process and keep putting one foot in front of the other. Finishing this first draft, I will turn it into my second and then my third, or as many as I need to finally hold an amazing novel in my hands.

8. Is there anything else you’d like to tell us?

Have faith, never give up, and know that in the end you’ll succeed. Once you’re in the habit of writing, trust the process to bring you to the finish line. If you feel down and lost during the journey, just tread water and wait for the next creative wave to come. It always does, have faith.

Thanks, Rikard!

Your turn

Join me in congratulating Rick on his big accomplishment and help cheer him on for his revisions! Leave a note for him in the comments. Feel free to ask questions too. Tell us what you think about writing for 5 minutes a day.

Warmly,

You may also be interested in:

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Filed Under: Guest posts, This Writer's Life Tagged With: accountability, five minutes a day, Jenna Avery, perfectionism, procrastination, Rikard Bergquist, writer's circle, writing, writing accountability, writing habit, writing in the morning

The stages of a writing project

July 31, 2013 by Jenna Avery 10 Comments

Something that’s helped me when taking on a longer writing project is understanding the natural ups and downs of the writing process. Now when I know I’m in an “up” or a “down”, I don’t take either one too seriously and just forge ahead.

But in the past, I’ve made the mistake of thinking that if I’m having a hard time or if I’ve “lost interest” in a project, that it means something about the project, like:

It’s not the right project for me.
I’ve blown it and I don’t know how to fix it.
It’s time to ditch the project and move on to another one.
I’m not capable of solving a particular problem or of finishing.
The idea I started with wasn’t actually good enough.

Now that I’ve been through this process a few times, and I’ve worked with more than a few writers and observed them going through their own stages with their writing projects, I’ve come to see the experiences we have as natural patterns that are part of any project. And “getting” that I’m having a normal experience helps me make the decision not to take it too seriously and to continue on, even if I’m having a hard time with it.

The stages of a writing project

So let’s talk about these stages we go through, shall we?

Here’s what I’ve observed about the natural stages of a writing project. I’m sure they apply to ANY kind of creative or other resistance-triggering endeavor. If you have other stages you’ve recognized, please post them in the comments.

The idea! — “Ooh! I have an idea for a project, this is great! I can’t wait to get started!”
The joyful beginning — “Yay, I’m starting today, this is so exciting, this project is going to be amazing! It’ll be my best project yet!”
The crash of reality — “Oh, wait, I really actually have to show up and do this now for real? Like every day? I don’t even know where to start or what happens next!”
The commitment phase — “Okay, bit by bit, I can do this. I’ll figure it out. I can make this happen.”
The dreaded middle — “Wait, what’s supposed to happen here? Where am I? What’s this about again? Why am I doing this?”
The downhill side — “Okay, I’m past the midpoint, it’s all downhill from here, I can see the ending from here, I can make it!”
The 80% mark — “This is so boring, I’ve lost interest in this project, I’m over it. I don’t even know why I was interesting in this idea in the first place. That other project sounds like so much more fun.”
The recommitment moment — “I’m not falling for that, I can do this, it’s not that much longer, I’m not falling for that Bright Shiny Object (the other project), I’m going to keep going.”
The almost to the bitter end stage — “This is terrible. What was I thinking?”
The last push — “I just gotta get to the end, then I can see what I have.”
The end — “I made it! This was so worth it.”

And then, of course, we start all over again.

Notice the creative blocks

What’s particularly useful about this is noticing how creative blocks like perfectionsim (“This’ll be my best project yet!”) and apathy (“I’m over it.”) can show up. They are resistance in disguise. The key is not to fall for them, but to keep going until you get to the end. THAT is the time to evaluate what you have and decide what happens next with it.

An epidemic of incompletion?

I see an epidemic of not finishing all around me. Perhaps it has to do with the short-term gratification culture we’re raised in these days (a favorite quote from Carrie Fisher, “Instant gratification takes too long!”).

What I know is that personal strength, self-confidence, and self-worth is deeply grounded in commitment, doing the work, and making the hard choices.

Your turn

My best experiences of my life so far never have come from taking the easy way out. What about you? Leave a comment on the blog and let me know.

Warmly,

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Filed Under: Creativity, Writing Tagged With: Creativity, cycle of a creative project, endings, stages of a creative project, writing

Ask Jenna: How can I stay more focused on my writing?

July 24, 2013 by Jenna Avery 2 Comments

I received some great questions from one of our Writer’s Circle members the other day about staying focused on writing, and she gave me permission to answer them here.

The Question

First, here’s her question:

[I’d love some] tips for getting more focused when I’m writing. Several factors are at play, I’m sure, but probably the biggest ones are:

1. Internet Addiction. It’s a bad habit, but I am constantly checking for new email messages. Need to shut off the interwebz while I’m working, but I find that even if I do that I still find other ways to distract myself (getting up for water, making lists of other things I need to do, etc.)

2. Resistance. The usual. It’s easy to be excited and loose with my ideas when I’m not facing the keyboard, but as soon as I say it’s time to work I freeze up, get distracted.

Any tricks for combating these issues?

I feel like it’s just a matter of discipline, but even knowing that I still haven’t been able to make better habits. And, even more frustrating, it’s only when I’m working on my own projects — the things I should be MOST excited to have time for. If I’m writing for someone else (with a deadline, for money) then it’s not a problem because it’s just a task to cross off my list, so I do it.”

The Answer

Here’s my answer:

First, great questions, thank you. Second, here are some thoughts to get you started with this shifting all this:

For the internet: Experiment with being super ruthless about the rules (for now) about what you’re allowed to do or not. For example, turn off the internet connection while writing, close the email program, maybe even try the app Freedom to block access to all internet related stuff for a specific chunk of time.

Pay attention to all the things you distract yourself with and figure out a system for them so they can’t distract you. This is what I call “You-proofing your writing” (more on this in a future article). Don’t see these “distractions” as failures, but as parts of the puzzle to refine. Examples:

If you typically find yourself getting up for water in the middle of a writing session, design a new routine to get a glass of water before you sit down to write. I keep a bottle of water next to all my writing spaces so can I refill my glass easily.
For to do lists, consider a 5 minute purge of everything on your mind before you start working. Or keep a pad of paper close at hand so you can quickly jot things down and then get back to writing. I like to use the app “Things” to track my ideas and to dos, so I pop into that program and put things on the list if they nag at me while I’m writing. Yes, it’s better not to break concentration. But if it’s keeping me from focusing because I’m afraid I’ll forget it, it’s worth it to me to take a moment to get it down.
Other distractions might include taking phone calls (turn off the phone if you can or have caller ID so you can see if it’s your kid’s school calling), having a messy desk (dump everything in a box!), people dropping by (put a sign on the door that says “Do Not Disturb”), etc. Think about the possibilities, notice when they come up, and see what you can do to anticipate them.

Be mindful of the distractions on an emotional level. For example, if email is your downfall, think about why you’re called to it. Are you looking for something in particular? I find that when I’m feeling vulnerable, I’m more likely to turn to email as if I can find solace there. It doesn’t work, and it’s worth seeing that I have an unfulfilled need so I can seek fulfillment for it elsewhere in its proper place. Or notice that you want to get up and get water right when you’re reaching a hard part of the project. How can you support yourself through that moment rather than turning away from it?

Understand your resistance: On a similar note, we “freeze up” because we get into flight/fight/freeze mode when tackle our own projects because our projects MATTER to us on a deep level. Being AWARE that distractions and things like finding it easier to work on other people’s projects are all part of the normal fears that come up about writing can make it easier to stick with it and navigate it, using things like:

Setting super small goals so you can more easily talk yourself into doing them, e.g. 15 minutes. Then stick to it. You can increase the time the next day and beyond, but the idea is to create the habit around a strengthened comfort level first. So it might be slower at first but it will pay off over time. It’s a bit like building muscles up over time.
Using a timer to help keep you focused for the duration of your writing session goal. I find I’m much less likely to get up or do other things while I have a timer running. It might seem silly or weird but it’s worth experimenting with.
Talking or coaxing yourself through it. When you notice yourself getting distracted or feeling stuck, tell yourself, “Okay, this is just fear coming up. I know how to do this. It’s just putting one word on the page after the other, and I can even change it later if I don’t like what comes out. Just one word after the other.” Or something like that. Acknowledging the fear really helps. Discipline doesn’t help here as much as self-compassion does.

Your turn

Do you have a question? Submit through my contact form here and I’ll do my best to answer you on the blog.

Also, what do you notice about your typical distraction patterns? Post them in the comments and I’ll toss out some system strategies for you too!

Warmly,

You may also be interested in:

Filed Under: Ask Jenna, Getting Stuff Done, Writing Tagged With: Ask Jenna, creative blocks, distractions, freezing, resistance, routines, writing

The problem is moral

How to find the moral problem

What’s your character’s poison?

Moral problem and story structure

Your turn

Bridging the gap

Your turn

Image by © Royalty-Free/Corbis

And what is story structure?

Getting from idea to premise line

Moving from premise line to visible structure

Bridging the gap using the Enneagram

Your turn

Graphic courtesy of http://www.fitzel.ca/enneagram/graphics.html

The Nine Core Enneagram Styles

Character Development & Beyond

Your turn

Graphic courtesy of http://www.fitzel.ca/enneagram/graphics.html

Your turn

Your turn

* Affiliate link

Ideas for rewards

Two tips for getting the most out of rewards

But what about the major milestones?

Your turn

Image by © Royalty-Free/Corbis

1. Rick, first, welcome and thanks for being here. Let’s start off by having you tell about your recent major milestone — finishing the first draft of your first novel. What was that like for you?

2. Can you give us a soundbite about what the story is about and about who you are?

3. What have you learned about your writing process from participating in the Circle?

4. What were the biggest challenges you faced before joining the Circle? Have they changed?

5. When you first joined the Circle in May 2012, what was your writing habit like and how did it evolve? Were there any key moments where you shifted your habit? Was there a particular trigger or did it build over time for you?

6. What advice do you have for other writers?

7. What’s next for the novel and for your writing?

8. Is there anything else you’d like to tell us?

Thanks, Rikard!

Your turn

The stages of a writing project

Notice the creative blocks

An epidemic of incompletion?

Your turn

The Question

The Answer

Join Called to Write