creative process

A Productive Hubris Towers Work Day

Last Thursday Bill and I took most of the day to work on a couple upcoming projects, including planning the overview of Hubris Towers Season 2. It was absolutely delightful – just the sort of day I hope will one day constitute my actual full-time job.

We spent the morning embroiled in a proof-of-concept of a project about which I am not yet able to say much, except that:

  1. The proof of concept definitely proved the concept. This project has legs. At this point I’m pretty confident that it will happen, and if/when it does, it’s going to be great.
  2. We had 2 nice-ish microphones and 3 computers of varying age and no combination of computer and mic worked. Tech. Fail. But the show must go on, and we found a way to do a thing anyway.

After that fiasco-slash-smashing-success, we went out and got yummy shawarma from a food cart and took a walk around a grassy park in the sun–a rather surprising amount of sun for a February day, really–and talked about our production schedule for Season 2.

Season 1 was eight episodes varying in length from about 12,500 words to over 20,000–I forget the exact numbers. We’ve decided to make Season 2 six episodes of roughly 20k each. That gives us room to develop a full story in each episode and keeps the production schedule from stretching out too long.

We talked about a couple refinements to our process, too: mainly getting me a full clean outline before I start writing (instead of overlapping Bill’s outlining and my writing, as we often did in Season 1) and alerting Bill sooner when I start to diverge from his outline (as will happen from time to time) so that he can account for the changes as he continues to plot.

In the afternoon we retired to my basement headquarters to schedule details and talk plot in broad strokes. I don’t want to give any spoilers, so without going into too much detail I’ll just say that the compact high-rise golf course mentioned late in Season 1 makes a reappearance, we have some great character arcs in store, and both of us laughed and laughed as we talked it out.

Trying the Don Roos Kitchen Timer system

This week I’m trying out a new system of setting and tracking writing goals. More of a philosophy, in a way.

I think it’s called the kitchen timer system, as espoused and/or created by Don Roos, which I learned about because my wife was reading Lauren Graham’s book, which lays it out, and she showed it to me.

The basic idea is that each day you set a time goal for the next day, and you spend that much time with only two things in front of you: your journal and your work-in-progress (hereinafter WIP).

Turn off your Wi-Fi, turn your phone face-down and ignore it, don’t watch or listen to anything except music without words, and start to write.

You have two options. You can either work on your WIP, or, whenever you want and without recrimination, you can write about anything at all in your journal. When you get bored of journaling, you can go back to your WIP. When you get stuck on your WIP, you can go back to your journal. You can even sit and stare at your journal and/or WIP without writing if you want, as long as you don’t switch to anything else.

If you put in the time goal you set for yourself, you win. Simple as that.

Even more canny, if you don’t hit your time goal–and this is critical–you just move on. Take it as a sign that your goal wasn’t very realistic and set a shorter one for tomorrow. DO NOT set an even bigger goal to “make up for it” tomorrow.

It’s kind of genius.

In my experience, it’s almost impossible to journal or freewrite for a very long time at all without getting down to the roots of whatever emotional/intellectual/creative issues have me stuck or preoccupied. It’s also very hard, having gotten down to said issues, to journal or freewrite about them for very long without some sort of useful resolution or reframe emerging. And once my issues are resolved, I generally find the WIP writing easy and fun, even addictive.

This system is also great because it defuses the psychological risk inherent in high-stakes and/or high-intensity creative writing goals, especially those framed in functionally less actionable terms. If my goal is to write 1,000 words on my WIP, I’ll finish that in somewhere between half an hour and never, especially because the implicit goal is to write 1,000 good words, preferably 1,000 brilliant words.

Usually, if I can’t think of words that seem sufficiently brilliant, I’ll sit and think harder. More realistically, if I can’t think of words that seem sufficiently brilliant, I’ll play a dumb game on my phone or turn on a sitcom. Or both. (I’m a terrible person.) This method invites me, when I can’t find brilliant words, to just write whatever words, which I can always do.

That keeps me writing, trends toward resolution (and, eventually, a return to brilliance), and gives me a controllable win. All I have to do is stay there and not open any other things until my time’s up. Unlike being brilliant, that’s something I can simply decide to do, and my brain gets a lot more excited when I make the win about a concrete decision, not an unpredictable flash of insight (much less a thousand of them in a row).

When Characters Make Up Characters

I’m not sure if this is the sign of a horribly fractured psyche or what, but my characters not only help me with my creative process, but they’ve even been known to make up their own characters. I mean, it’s pretty routine to hear authors talk about characters “taking on a life of their own,” but this is at a whole different level.

Best example is probably Otto, resident geek and aspiring technomage of The Dream World Collective. Partway through the story it became evident that he has a “consortium of highly skilled gremlin and gremlinoid adventurers” that he consults and/or bickers with from time to time. Funny thing is still get them mixed up—Griphook and Grumbles and Tickleback and…I think there’s another one—but Otto has a live and vibrant relationship with them. He does know that they’re imaginary, though. That’s key. (Intriguingly, so do they.)

The part that really interested me was when Otto’s characters took on a life of their own. In one chapter Otto finds out that Grumbles is married. Otto didn’t know it, and I certainly didn’t. It really took me by surprise, though I suppose it stands to reason that if a character can develop an independent identity to the extent that he’s making up characters, those characters could do the same.

So that’s all fun, but where it becomes useful is in letting those characters who have developed a rich independent identity start pulling their weight in the creative process. I’ve done this in various ways. Sometimes I interview characters to learn more about them and get insight into where their story is headed. Lately I’ve been experimenting with character improv, where I just give two characters a prompt and let them play off each other—this has been a ton of fun and I’ve started releasing some of these as patron perks.

One of my favorites, though, has been holding board meetings with my characters. I basically imagine a boardroom with all of us in it, provide and/or ask around for agenda items, and let the discussion unfold sort of like I would when writing a scene or dialogue. With richly-developed characters it can result in surprisingly productive discussions.

In fact, early on in the development of The Dream World Collective there was a character named Max. During a board meeting he started being a jerk, and we realized we didn’t want him in the story. I think he came to the same conclusion and left. Then we held auditions to fill his spot, and that’s how Alex joined the book.

Fun fact: Max makes a cameo in Episode 1.

DWC 46-51 Text Art