Overdressed & Underappreciated

im really not

this is a best buy — a chest high labyrinth of brand displays and loss leaders stalked by unreliable salesteens

and this is a bass pro shop

best buy puts sets out a tiny selection of product by brands that can pay for the privilege and says heehee money for our spreadsheets

bass pro shops shows you 15 versions of everything imagineable and their own versions and says whoooo look how big our dick is

square brackets with notes to self mid-line like [does this make sense with worldbuilding?]

ah yes, Main Character and their closest friends, Unnamed Character A and Unnamed Character B.

bullshitting your way through something that you probably definitely need to research later

also square brackets to link up scenes. [scene transition idk] my beloved

the total freedom of word vomits

"I'll fix that later"

the moment when the world and characters start to gain a life of their own

pieces falling into place as you write that you were uncertain about before you started

Not only is this allowed but it's something i encourage all writers of any kind to play with! :D

The idea that all writers know what to say all the time and just splash fully-formed drafts out one word after the other is false. There are some who can do it, but i think most of us... can't. Which is why we need tricks like square bracket notes! They're not cheats or lazy writing or some other flavour of Not Allowed, but instead really really important tools that we should use as much as we need to.

Some of the most helpful tricks I've collected over the years are:

make some notes in square brackets – e.g., I had to write a scene on a sailboat, but I know nothing about sailing so i literally just had notes like [boat part] and [how to do X thing?]. If you use square brackets as punctuation anyway, use something else like [[double square brackets]] or a unique letter combination like XY at the start of the note; the point is to pick something you can search for easily later on.

(You can also style inline comments in a different font/colour. Scrivener has an inline annotation feature; if you use Word, you can make a specific Style to make notes stand out at a glance, etc.)

bullet-point your way through any tricky parts – this can be pure stream-of-consciousness vague ideas. it only needs to make sense to me later. much more helpful than just leaving big blank gaps that Future Me has to work out how to fill, but also better than dwelling on a piece of writing forever.

use comment tools – mostly do this if I have ideas for alternate events and/or phrasing, or if I want to check something for continuity purposes.

write out of order – Best advice i ever got for academic writing is to know or even write your conclusion first and your introduction last, which your main argument in between. Similar principles apply in fiction, or any kind of creative writing. If there's a part of the essay that I can visualise clearly or a part of the story that is particularly exciting or important, I might write that first, then figure out how it fits/how everything fits around it.

keep a loose scenes and/or "outtakes" folder – anything that i write out of order goes here, along with any notes for how I think I want to incorporate it into the full text. In the same vein, if I delete something but don't know for sure it will never be relevent ever again, it gets cut and pasted into an outtakes folder.

Basic rule though is that you do not have to get your writing perfect on the first try. This is where drafts come in. The way I see it is to treat each draft as a fresh start – I create/open a new document (well, new Scrivener file) and start over as if from scratch. Each draft gets a narrower focus than the last. This is my process, as an example:

first draft is the word vomit. You do whatever you need to do to get it onto the page, and it can be terrible. In fact, it probably should be terrible. You can fix everything later. it's fine.

The second draft is a half-hearted cleanup attempt. I'll re-type everything because everything is subject to change, from the characters' personalities to the pacing to the order of events. It's all primordial goop, basically. i'm just poking and prodding and making a few adjustments, but mostly trying to create a more stable version of the first draft. All shortcut tricks continue to be my best friend.

By draft three I'll let myself copy-paste between documents if I'm particularly happy with a passage, but try not to get hung up on anything specific. I'll still make liberal use of square brackets etc. as I need to, but try to address as many from the previous draft as I can. This is where I get more brutal with making decisions and trying to fix parts of the story in place.

Draft four is usually my final draft, but there's literally no rules about how many drafts you're allowed to write. It's at this point that I try to keep square brackets etc. to a minimum (unless i've diverged significantly from the plot of a previous draft and having to rewrite large chunks), and make sure to address all the notes and problems encountered in previous drafts.

This is when I move on to revisions. Revisions are the "final do-overs", for me. I start them when I'm satisfied with all the large-scale aspects: plot and chronology; characters' personalities, motivations and arcs; large-scale pacing (so the over-arcing pace, rather than the pacing in individual scenes); backstories; and worldbuilding. I'll copy the last draft's document instead of starting with a blank one. First I run through those large scale things one more time and tweak until I'm happy, not just satisfied. Then I shrink my focus to in-scene pacing, dialogue, and the quality of the writing itself.

I'll also rewrite my plot outline between each draft, too. The act of actually re-writing stuff is very helpful for making your brain think about it.

I don't believe I've ever met two writers who have exactly the same process. Every writer I've spoken to about the craft of writing has their own process, usually developed over years and years of practice and trying things out.

For example, I don't rewrite at all, that sounds horrendous, I just save-as to create a new draft. I also get the big structure stuff done in outlining, but I'm a weirdo who writes 20k word outlines. As mentioned above, I am one of those people who needs space between drafts--or at least, between rough draft and first revision. And I do my first revision on paper, always. The human brain processes screens and hardcopy differently! I write all over my printed rough draft, and then go back to the doc and apply those edits and anything else that occurs to me at the time, so my draft 2 is more sort of draft 2.5??

There's a lot more, obviously, and it's different between novels and short stories (I don't print short stories unless I'm really struggling). But I'm always experimenting with different ways to write, and sometimes they work and sometimes I get stranded and have to go back to the drawing board. Some people have a lot more hand writing in the prep stages, in notebooks or on index cards--I visited someone once whose dining room walls were covered in butcher paper and index cards with pushpins!

So if you're a newbie writer, experiment! Read about a bunch of different ways to get those words down! Try new things! Put notes and placeholders and such in your drafts, write by the seat of your pants, try out the whole in-depth outline thing, revise every paragraph before moving on to the next one, whatever works!!

the following events ensued:

1. predictable lively discussion on the preparation of Wienerschnitzel, in which natives and wurstaboos are pro-puff and everybody else is like *confused dog head tilt* why wouldn’t you want the crust to stay ~attached to the thing you put it on? as with other fried foods?

2. thirty “Bad Schnitzel is my band name” jokes

3. thirty “Bad Schnitzel is my stripper name” jokes

4. one “ah yes, Bad Schnitzel! a lovely spa town” joke

5. this absolute masterpiece: