Perfection vs Good Enough

  • Perfection vs Good Enough

    Guest Blogger, David Moldawer, is the author of The Maven Game. He writes weekly essays for writers.

    Perfection vs Good Enough

    Take the old quote:   Perfect is the enemy of good.

    Voltaire might have been the one to say it in this form, but the idea of “good enough beats unattainable ideal” has been around much longer. In fact, it warrants its own Wikipedia entry, if you’re curious to trace its history.

    However it’s expressed, it’s good advice for a writer. But is it perfect? (See what I did there?) I’ve often said, “remember, perfect is the enemy of good,” to people stuck in the trap of perfectionism, but over time I’ve come to question the effectiveness of simply saying the words.

    If you’re working on a solo project with no genuine deadline, more can be done to improve it. And even more. There is always a better solution to even the smallest creative problem in any work, whether or not you can find it in a reasonable amount of time. That simple fact can be paralyzing. In fact, I’d argue that while writers might not actually get “blocked”—nothing is truly in the way of getting words down—they can definitely be paralyzed by perfectionism.

    While I’m skeptical of the value of the adage—it’s never gotten me out of any ruts—I do find demonstrations of the good-enough philosophy motivating. They get me going when nothing else can. Seeing good-enough in action, it becomes just a little bit easier to inject a little pragmatism into your own work.

    I’ve written before about my love of the competitive forging reality show Forged in Fire and this is a part of it. When a smith accidentally snaps his blade in half with thirty minutes left on the clock, it’s inspiring to see a feat that took over two hours the first time somehow repeat itself in a quarter of the time with comparable results. A few minutes of an episode of Forged in Fire is often the kick in the pants I need to push through and finish instead of finesse.

    Another place I turn to for good-enough inspiration is the YouTube series Pitch Meeting. In it, writer/actor/comedian Ryan George portrays both a sociopathic studio executive and the manically productive screenwriter tasked with pitching him on his latest project. (He’s the writer behind all the big movies.) As the screenwriter explains what happens in the film, the exec can’t help but point out all the things that don’t make any sense, or that might annoy viewers, or that might be downright offensive. “Whoopsie!” the screenwriter cheerfully replies. “Whoopsie!” The exec repeats. And on they go to the next plot point. After all, they’ve got a movie to make.

    For over two years, George-the-screenwriter has pitched George-the-exec on dozens, if not hundreds, of movies.

    The beauty of the Pitch Meeting concept is that it forces you, the viewer, to grapple with the fact that a real writer and a real exec—at minimum—had to force their way through all the inconsistencies and logical fallacies inherent in a screenplay in order to get it made. It goes without saying that they solved many more than they ignored, but at a certain point, the originators had to say “whoopsie!” and leave it at that.

    Click here to read the rest of David’s “Whoopsie” essay.

  • Character’s Voice . . . Prompt #445

    Your fictional characters should be as different from one another as the real people in your life. One way to show differences is in their voices.

    Years ago, returning home from Aqua Zumba, I drove past Hermann Sons Hall and remembered the German woman who managed the building as if it were her immaculate residence. On our early morning walks, my husband and I watched as she polished door knobs, washed windows, and replaced gravel in the driveway. Her mission was to keep “her” building spotless. You didn’t want to cross her.

    How does a writer establish “voice” for characters? 

    If your character is a stoic German woman who manages a building as if it were her pristine cottage, picture what she looks like. Short hair, stern features, sensible shoes, tailored clothing. Then you can imagine what she sounds like: sharp, clipped sentences, uses precise words sparingly.

    Contrast that with a Mother Goose type:  round in looks, ample lap for children to sit on, laugh lines forming parenthesis around her mouth, her eyes crinkle with merriment. She might talk softly or slow. You can hear the smile in her sugary voice.

    Write a scene showing two characters’ personalities using dialogue.

    For more on writing about character: Three-dimensional characters . . .  Prompt #444 on The Write Spot Blog.

  • Three-dimensional characters . . . Prompt #444

    You have probably heard about the importance of knowing your fictional characters so well that you know what he/she had for breakfast. Readers don’t need to know this, but the writer does.

    You don’t need to include everything you know about your characters in your story, but as the writer/creator, you need to know a huge amount of information about the people (and animals) who populate your story.


    The challenge is to create memorable characters rather than one-dimensional characters. Your fictional characters are like actors in a scene.

    Some fictional characters seem shallow while others seem richer. The difference could be that the writer knows the characters/actors so well, that the dialogue and the details fit the character.

    Your fictional actor may want to step out of character and exhibit new behavior. This is fine, as long as it’s credible. Your job as writer is to drop convincing clues so when the character does an about face, the reader believes it. You can still have twists and turns that are surprising for the reader, but everything needs to be consistent with what the character would or could do.

    Examples:

    Is your character a loving husband who shows his affection with gentle actions towards his wife? If yes, then it would be out character for him to leave her stranded at a party. There would need to be a reason for his out-of-character behavior. Maybe he found out she isn’t who he thought she was.

    If your character shuffles in worn-out bedroom slippers, listens to the radio from 4:30 pm to 6 pm in her favorite armchair while knitting, then goes to bed at 7:30 pm, it would be strange for her to dress up in Spanx and a tight red dress to go bar hopping. She could do this, but you would have to set up the scene so it’s believable.

    If you portray your characters as authentic, then when your characters drive off a cliff in a convertible, the reader believes they would really do this. Yes, I’m thinking about Thelma and Louise.

    Want to practice?

    Write three scenes.

    Show your character in an ordinary scene . . . something they usually do, their routine, their habits.

    Write a scene with details about what might make that character go over the edge, a “last-straw” type of thing, a friend or a relative did something one too many times. Or the character receives news that spins his/her life in a new direction.

    Write the final scene showing the character exhibiting new behavior.

  • Freewrites: Opening Doors to Discoveries

    Notes from Marlene Cullen’s talk about freewrites. Scroll down for links about how to use freewrites and how to write about difficult subjects without adding trauma.

    I gave a talk about freewrites at the Redwood Branch of the California Writers Club. I’m sharing my notes so you, too, can enjoy the freewrite method of writing.

    I love freewrites because they are so . . . freeing. Freewrites can open doors to discoveries.

    I was thrilled to discover freewrites, unlike short story and novel writing, this was something I could do. I hope these tips help make your freewrites fun and successful in inspiring your writing. 

    What is a freewrite?
    A freewrite is writing spontaneously with no thinking. Just putting down word after word, with no worries about spelling, punctuation, how it will sound, and no worries about the final product.

    Sometimes when you are engrossed in your writing project and the writing is coming easily . . . that’s like a freewrite. The difference is that, with a freewrite, there is no end goal in mind.

    With a freewrite, you can write about what happened to you, what happened to someone, else, or you can write fiction, poetry, whatever comes up during a freewrite is fine. . . as long as you keep writing and don’t stop to think. Thinking is bringing the editor in and this isn’t the time for editing nor censoring.

    Sometimes, with a freewrite, it’s the process, not the product.  

    Freewrites can be used to understand and work out things that are puzzling or disturbing or annoying. Sometimes it helps to write about something in order to understand it.

    One way to start a freewrite is to use prompt: A word, a line from a book or a line from poetry and write from there. You can also use a visual item as a prompt.

    One of the things I like about freewrites is the freedom to write whatever you want about any topic. Ideally, with no worries about what your writing sounds like . . . no worries about the outcome.

    If you don’t want anyone to read what you’ve written, you can destroy your writing. Or you can save it in a secret place. But you have to remember where that secret place is!

    Another thing I like is that since freewrites are very rough first drafts, it doesn’t matter what the writing is like . . . it can be fragments, or unrefined ideas, or mental doodling set in writing.

    The challenge of freewrites is getting out of the way of yourself.

    During a freewrite, let your writing flow with no judging.

    What about that inner critic that we all have?

    When you are in the zone . . . in the groove of writing . . . there is no space for the inner critic to hang out.

    With freewriting, it’s just you and your creative mind playing with words.

    Let go of your worries about your writing.

    If you can talk . . . if you can think . . . you can do a freewrite.

    One way you can use freewrites is to get past roadblocks in your writing . . . whether fiction or non-fiction.

    If you are having a problem transitioning from one scene to another, or you are having trouble getting a character from Point A to Point B, do a freewrite.

    As you begin a freewrite, relax your mind . . . have no expectations about the outcome. This is play time.

    It’s the “What if?” game. What if this happens or that happens? What if your character says or does this or that? Play around with the possibilities.

    You don’t have to use any of your freewrites in your final scene. But you may generate ideas that you can use. Be open to the possibilities.

    How to be successful with freewrites.

    Let go of your ideas about what perfect writing means.  Give yourself permission to be open to whatever comes up during a freewrite.

    You can think of freewrites as making discoveries.

    Take deep breaths as you begin and then relax into your breathing and let the writing happen.

    When you are writing in this free style, you are not writing for an audience. You are giving yourself the gift of writing for yourself.

    During a freewrite, immerse yourself in your writing. Write at a place and a time where you won’t be interrupted.

    Let go of your worries and just write.

    Write to satisfy your desire to go to a meaningful place in your writing. You get to decide what that means.

    During a freewrite you can go deep into the recesses of your mind and really write.

     It’s okay to start with gut level feelings or to get to gut level feelings. It’s okay to go for the jugular as Natalie Goldberg says

    As you write, you might notice discomfort, especially if you are writing about an uncomfortable experience or about a difficult memory.

    When that happens, gently put your hand where you feel the discomfort. If you can’t put your hand there, put your thoughts there . . . your loving, caring, patient thoughts.

    When you are feeling uncomfortable, you can either stop writing and come back to it later. Or, work through it.

    To work through it, have a focal point, something you can look at that will remind you to breathe deeply.

    If you know you are going to write about a difficult subject, have a plan before you start writing.

    When the writing gets tough: Look out a window. Walk around. Look outside. Take a sip of water.

    When writing about a difficult subject, let the tears come, let your stomach tie up in knots. It’s okay to write the story that is challenging.

    Get through the barriers to go to a deeper level.       

    See your story and tell it.

    This is a lot of information. Let’s take a deep breath.

    More ideas for successful freewrites:

    When you are writing, if you run out of things to say, write down, “I remember. . .” and see where that takes you.

    Or write, “What I really want to say . . .” and go from there.

    Writing Prompt

    Let’s try a type of freewrite now.

    Get comfortable.

    Relax into your chair.  Both feet flat on the floor.

    Rotate your shoulders in a circle. Opposite direction.

    Rotate your head in a circle. Opposite direction.

    Bring your shoulders up to your ears. Let them down with a harrumph sound.

    Escort your inner critic out the door. Shoo! Good-bye.

    Give yourself permission to be open to whatever comes up.

    Take a deep breath in. And let it out.

    Go back in time to when you were 4 or 5 or 6 years old. See yourself at this age. Perhaps you can see a photo of yourself at this young age.

    Now, we’re going to travel up in time, starting with a memory of when you were 4 or 5 or 6.

    As we do this, pause when you feel energy. You might feel a flutter in your stomach. Or a tightening in your jaw. You might feel a constricted throat. Notice as you travel through your memories where you have a physical reaction. Stop there. Pause. Think about that time. If you want, you can put your hand on the place on your body where you feel this energy. If you can’t put your hand there, put your thoughts there.

    Deep breath in. Let it out.

    See yourself when you were twelve.

    Another deep breath in. Release. Let go.

    See yourself at 16 or 18.

    Remember when you were a young adult, early twenties.  Mid-twenties.

    Choose one of the memories you just thought about that brought a strong physical reaction. The reaction could be joy, pain, pleasure, or discomfort.

    Choose one event, or experience, and think about what you were like before this event happened. Then the pivotal event happened and you weren’t the same after.

    Drill down to the precise moment the pivotal event happened.  Look closely, like looking through a microscope or a telescope.

    See the details of where you were, who was there. What happened?

    Write about it now . . . Freely . . . with no thought of the outcome. No plan to ever share this writing. Just write.

    When you are finished writing.

    Breathe. Take a deep breath in. Release your breath. Shake out your hands. Stretch.

    Take a moment to transition from writing to being back in the room.

    LINKS

    What is a freewrite?  Why should you do it? How is it done?

    Get Started. How to use writing prompts.

    Don’t think. Don’t plan. Just write.   

    Don’t think. Don’t plan. Just write.   

    More about freewrites.

    How to write without adding trauma.

    Writing about difficult times.

  • Imaginary Gift . . . Prompt #432

    Give yourself an imaginary gift.

    Fantasize for a moment.

    If money were no object. And time and place were non-issues. . .

    What gift would you give yourself?

  • Something special . . . Prompt #423

    Do you have something special that belonged to someone who is no longer alive? Why is it meaningful to you?  

    Or write about something that is meaningful and why.

  • Faced your fears . . . Prompt #421

    Write about a time you faced your fears.

    Or a time you could have faced your fears, and didn’t.

  • Spring is . . . Prompt #419

    Spring is . . .

     . . . The true harbinger of spring is not crocuses or swallows returning to Capistrano, but the sound of the bat on the ball. — Bill Veeck
     
    . . .
    The world is mud-luscious and puddle-wonderful.E.E. Cummings

     . . . a heart full of hope and a shoe full of rain.

    Your turn . . .

    Spring is . . .

    Just Write!