Speak Out With Your Geek Out: Finishing Your Work

When Alana tagged me to participate in Speak Out With Your Geek Out, I loved the concept but didn’t know where to start.  I have a ton of geeky habits.  Obviously, I write science fiction and fantasy.  I play Magic: the Gathering, and I pretend to play Go and Bridge.  I fence – pretty geeky as Olympic sports go.  I ran a three-year-long Star Wars campaign in college using the West End Games d6 rules set, which was totally awesome.  I game with my friends on the weekends.  I own a kilt, and three swords.  I just downloaded Civilization V, and I love playing it with a tablet & stylus because with a stroke of a pen, I can send my armies marching across the surface of the world!  For Persia!

But I’m not the most dedicated Magic player in our group.  I’m rarely the one to discover new board games, or TV shows.  My video game playing pace borders on the glacial, and my knowledge of Bridge, Chess, and Go hovers just above “how does little horsey move?”  I read, and I read widely, but so do most people I know.

Writing’s probably the thing I’m the biggest geek about, but while I can gush about the act of creation and the joy of holding a pen and the pleasant rush that comes when someone says to you, “That’s really good,” I can’t write that essay at less than book-length.

So here’s my exhortation, the thing that I love and that all of you should try:

Finish your work.

Opening your laptop and starting a story about aliens, or the devil, or aliens meeting the devil, or a murder, or vampires, or whatever – easy to do.  Starting a role-playing campaign with your friends – straightforward.  Forming a band – all you need is a name (or ten).

Once you’ve started, though, follow through.  For writers, that means finishing the manuscript.  Love what you’re doing.  Don’t doubt.  (Doubt comes later – that’s your Inner Editor’s job.)  GM’ing a campaign?  Don’t leave it a sequence of unconnected episodes, with a hidden mastermind behind every plot.  Add tension, complexity, import to the story.  Climax.  Reveal what’s been kept secret.  Slide the players into a quiet denouement.  Bandmates – record that album.  Write those twenty songs.  Play some shows.

You can’t finish everything.  You will abandon projects.  (Don’t give them up entirely – an abandoned work is only a work you haven’t returned to yet, or a work you haven’t figured out how to subsume into something else.)  But you will mark your life by the projects you completed.

Finishing requires effort.  Requires expansive mind.  Requires the courage to reject older ideas, to delete formative scenes, to realize that maybe you should learn to fingerpick, or keep time, or play a diminished chord.  Finishing requires attention to detail, sensitivity to your own goals and motivations, and a blind obliviousness to everything in the world that says you should do something else.  Or, if not obliviousness, then at least the knowledge that everyone would understand if you quit, that it would be cool and give you more time to sleep or hang out with your friends – and the determination not to quit anyway.

Finishing, in short, is the geekiest, coolest thing I know.

And it can make your life better.  Writing “The End” at six in the morning after a twelve-hour typing binge in my junior year of high school, on a 300,000 word novel I’d started a year before, made me think differently about the way I wrote, and the effect it could have on me and on other people.  I started off writing a story about angels and demons and the apocalypse and superheroes, and ended up… still there, but better.

All of you out there with a half-finished novel in the trunk, or a painting not done, or a few songs you’ve never played in front of anyone: try finishing your work.  You’ll feel awesome, and I guarantee you there are people who’d like to read/see/hear it.

Edit before you show it to them, though.  That’s important, too.

4 Responses to “Speak Out With Your Geek Out: Finishing Your Work”

  1. Daniel Gooden

    Max – I’m hung up halfway through a novel and now thinking I need to go back and plot everything out. That has not been my method in the past–The Unmade Man was more a list of locations I wanted to pass through and I got lucky enough to find conflict where I went. Conflict has been harder to find in this new draft.

    So, I was curious to know how much you plot, or what bits do you like to have figured out before you rush into the first draft.
    Thanks,
    Daniel

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  2. max

    Hi Daniel-

    I rarely do outlines of my books until a quarter to halfway through the first draft. My process (to the extent I have one) is to start with some image or conflict in mind–could be an initial scene, could be a midway-through scene or a climax, could just be a mental impression–write a bunch, and then, once I’ve run wild for twenty or thirty thousand words, figure out where I stand and where I’ll need to go. This works well for me, because it lets me introduce danger, conflict, romantic tension, whatever, early on, as needed, and then stand back and decide how all those elements fit together. I dislike having everything pre-planned before I start a draft–characters can take shape as I write, situations can shift as tension increases, and if I’m too rigid I can end up fighting my own plan as much as using it. The outlines I make while writing tend to be rough guides to the story–open to change as I make choices, elide (or remove) plot elements, etc. It’s kind of like agile development (I can’t believe I’m making this analogy)–general plan, write frantically, re-evaluate plan, write frantically, re-evaluate again, and eventually you reach the end of the story and get to start editing.

    At least that’s the way I handle it. The process is personal, and I know many folks who are inveterate outliners. As always, your mileage may vary. -Max

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  3. Daniel Gooden

    Thanks Max. I’m certainly in the reevaluating phase at the moment. I came into it with a strong sense of the setting, but have realized I’m short on conflict and my main character isn’t who I thought she’d be.

    In the past, I wrote like you’re talking about with a few scenes and an ending in mind. The deeper themes and character traits showed up on the way, and I find that to be the joy of writing.

    For this one, I had an idea ahead of time of what themes I wanted to portray and how they were reflected in the setting and characters. Then I got halfway through and realized they weren’t showing up automatically.

    I figure I’ve over thought it for the seat-of-the-pants method, and under thought it for the plot-it-all-out method. Either I’ve got to write a proper outline now, or loosen up on the reins and let the story go its own route.

    I’ll get it ironed out, but I wanted to search around a bit about methods and see if I could find some inspiration. Thanks for chatting with me on this -Daniel

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  4. max

    Good luck! I’ve found my toughest books to be ones where I started with a theme–themes are great, but they’re so atmospheric and emergent that if you’re not careful you can really strangle the story. My advice would be to let the theme evolve as you work. Of course, outlining and structure could achieve the same goal. Let me know how it turns out!

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