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The Difference between an Editor and a Writing Coach

Pink RoseBefore I became a writing coach I didn’t even know that writing coaches existed. However, I did know about editors. I had been running a writing group for a little over five years and had heard various stories—some good, some horrible—about the editing experience. Some of the writers I talked to loved their editor and couldn’t imagine getting to a final draft without them. Others had been burned and vowed never to go back. But no matter what kind of experience they had, one thing was very clear: Continue Reading

3 Major Types of Rewrites, and the Big Mistake to Avoid with All of Them


One of the first things a writer learns is about the power—and the challenge—of the rewrite. For those writers who assume that everything Ernest Hemingway wrote flowed perfectly out of his pen on the very first try, the illusion is shattered. The more experience a writer gains, the more they know that rewriting is part of the process for all writers. But that doesn’t mean that rewrites still aren’t confusing, overwhelming, or just plain difficult. They most definitely can be all of those things. What can really be helpful is for writers to back up, look at a map, and make sure they’re not going in the wrong direction. Continue Reading

Right Brain vs. Left Brain

Right Brain-Left Brain Theory has enjoyed rising popularity in recent years. In a nutshell, the theory states that the right side of your brain handles the intuitive, expressive, emotional stuff, and the left side handles the analytical, rational logical stuff. Now, whether or not you subscribe to the belief that certain people are more “right-brained” or “left-brained” you can use the basics of this framework to tap into some of your best creative writing.

Buddha and Mariachi

Imagine that you could drive your mind like you drive a car. If you want to go anywhere, pick a gear and stick with it.

Right-brain writing work is putting yourself in DRIVE. You’re moving forward, sometimes so fast you can’t really stop and look around. That’s your writing gear. Left-brain work is putting yourself in REVERSE. You’re backing up slowly to see what you might have missed. That’s your editing/revising gear. Just like a car, you can’t be in two gears at once. And if you shift rapidly back and forth between DRIVE and REVERSE, you won’t cover very much ground.

DRIVE: Let Your Right Brain PLAY
Writing your first draft, tackling those first few pages, getting your thoughts out of your head and down onto paper—those are all Right Brain writing functions. You’re driving. And if you allow yourself to stay in drive, you might even jump on the freeway and discover all kinds of new locales.

This is what we call Creative Flow. It means moving your energy into a state of opening and allowing. It means surrendering to the words pouring out of you, even if somewhere inside you’re still cringing at your word choice or struggling to describe something. You open to the experience. You allow yourself to make mistakes. After about five or six pages of nonstop writing, your subconscious will really start cooking, and this is where the awesome juicy stuff will start coming out of you.

Just like a car, your creative engine needs time to warm up. And in order to become the best driver you can be, you have to drive on a regular basis. Sit down, every single week, and push yourself to write nonstop—at least five or six pages. Surrender to the flow, even if you can’t make sense out of it.

REVERSE: Let Your Left Brain JUDGE
Critiquing your work, adding and cutting material, combing the pages for typos—these are all Left Brain writing functions. You’re backing up to see what you missed the first time through. These logical, analytical functions all have their place, but in creative writing that place comes when you have a finished sloppy first draft of your manuscript.

This is what we call Revision. All writers have to revise. (Yes, even Ernest Hemingway.) When you revise your work you’re bringing in your careful, critical eye. You’re asking questions like, “Will this make sense to the reader?” “Can my opening line be better?” “How can they fly to Saturn if they need pink elephant juice to do it?” The energy of revision is slow, nit-picky, and judgmental.

Just like when you’re driving a car, sometimes it’s necessary to back up and change direction. And when you’re backing up, you have to do it slowly and check all your mirrors. In order to master creative writing, you need to hone your craft. Let your inner critic come out to poke holes in all your lovely plans—as long as it’s after you’ve finished your first sloppy draft.

The more you write, the better you’ll get at letting go and surrendering to the flow. When it comes time to revise your first sloppy draft, you’ll get good at zeroing in on problems and issues. I’ll be covering both processes in much more detail with the goal of giving you comprehensive how-to guides for finishing that first draft, and revising it for outside readers later.

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