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Writers have to simultaneously believe the following two things:1. The story I am now working on is the greatest work of genius ever written in English.2. The story I am now working on is worthless drivel. (109)
He says this is how a writer should think during the
submission for publication process, as a way to stay motivated and positive.
It’s best if you believe both these things simultaneously, so that you can call on Belief 1 when you’re deciding whether to mail the story out, Belief 2 when going over the story to revise it, Belief 1 when choosing which market to submit it to, Belief 2 when the story is rejected (of course, I expected to get this back), and Belief 1 again when you put it back in an envelope and mail it to the next-best market. (109, emphasis original)
However, I think it has some very good applications for
the writing process itself.
If you’re a young
writer who listens to a lot of writers who are older than you, you’ll probably
hear at least one of them say something
like this: “Oh, yeah, I found something I had written when I was in high school.
It was absolutely terrible. It was so terrible that I laughed the whole
time I was reading it—and it was a little embarrassing, because I remember at
the time thinking that I was just the hottest writer ever.”
Actually, that’s what you’ll hear me say. The first draft I
wrote of The Tower Key was worthless
drivel. But at the time, I seriously
thought I was every bit as cool as J.R.R. Tolkien.
This might make a young writer feel self-conscious. If older writers think their work was terrible
when they were your age, then is there the possibility that your work is
terrible?
The answer is yes.
And no.
This is where Card’s principle comes into play. I, however, would like to present a modified
form of it:
Always believe in your writing (while you’re writing it).
Say that a couple of times. Let it really sink in.
When you are writing, you’ve got to believe in
yourself. You are the bomb, you are the single greatest writer
who ever lived, people will be
knocking down your door for autographs,
and you’ll be swimming in so many acclamations that people centuries from now
will still weep with joy at the mere mention of your name. Because you
are that cool. Write the way you want to; have confidence in your
writing. With every key stroke, believe
that you really are writing “the greatest work of genius ever written in
English.”
However, notice that little parenthetical note: “while
you’re writing it.” While. This means
that when you are done (and have allowed yourself a week or so of glowing
victory), you have to stop believing blindly in the quality of your work. Card
would say that you should switch to believing that your story is “worthless
drivel.” While I get what he’s saying, I
think that can create an unhealthy pattern of all-or-nothing thinking.
What I would say is that you should simply stop blindly believing in your work. Instead, you
switch to interrogating it, the way a prosecutor would in a court room. You cross-examine it. You no longer trust that it is super-duper
awesome. You become aware that your
super-awesome story is actually not so totally awesome after all. You might, depending on how long you go
before going back to cross-examine it, find it to be embarrassingly bad.
After you’ve interrogated and cross-examined and otherwise
discovered your story is not the hottest thing in the history of all things
hot, you need to switch to editing and re-writing.
Re-writing is writing.
What’s the rule for writing? When
you’re writing, you go back to believing in your work. Sure, it was
bad, but just look at all these
awesome changes! This story was pretty
promising before—now it’s going to be so amazing that the Dalai Lama is going
to have glorious religious visions while reading it!
Once you’ve finished editing and re-writing, you switch
back to being an attorney cross-examining a witness. You don’t hate your work
or think it’s worthless, but you don’t trust it, either.
The idea is to repeat this process until even the
skeptical mindset says, “Yeah, this is actually pretty decent, and I’m proud of
this.” You want to be proud and
confident, but not operating under any delusions of grandeur. You do still need
to espouse the idea that you can always improve.
Nevertheless, you should
honestly believe that what you have is pretty solid. Then, you can restart the process, following
Card’s guidelines for submitting your writing for publication.
Always believe in your writing (while you’re writing it).
If you don’t have this positive attitude while writing,
it is really easy to get so depressed that you quit writing for months at a
time. At least, that’s how it is for
me. My default setting when writing is “mean,
nasty critic.” Once I learned how to embrace this idea of believing in myself
while I was writing, I found that my productivity soared. It really is amazing what self-confidence can
do. Then, when it’s time to evaluate the
work, I let out my mean, nasty critic for a play day. Once I’ve evaluated my writing, I shut the
critic back up in its jail cell and go back to my positive attitude.
If I’m writing and run into a rough spot, or I keep
thinking that maybe what I’m writing is awful, I find it helpful to repeat the
rule to myself like a mantra: Always believe in your writing (while you’re
writing it).
So, if you’re worried that your writing project might be
terrible, don’t. Is there a chance you’ll
look back on it and dislike it? Yes. But
that doesn’t matter while you’re writing
it. Tell your mean, nasty critic to shut up, because you’re busy writing
something that will give the Dalai Lama a religious vision.
Because yes—you are that awesome.
Do you find
yourself doubting your writing abilities?
Do you think that this advice might work for you? If not, what are some
steps you can take to boost your confidence while you are writing? Share any
thoughts or questions in the comments.
Work cited: Card, Orson Scott. How to Write Science Fiction and Fantasy. Cincinnati: Writer’s
Digest Books, 1990.
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