If you’d like a lesson in the unexpected you’d be hard-pressed to find a better model than Losers. Instead, we’re going to look at how despite (or with the assistance of) all the silly, Heider is able to put an ache and a depth into the stories of Winston and Louise.
“The biggest leap for me in my writing life happened when I got comfortable with failure. I wrote some disastrous things in grad school. But before that, my writing had gotten stagnant because I was too anxious about getting it right all the time. Allowing myself to fail gave me the freedom to take risks and make mistakes. Those mistakes, in turn, taught me how to write the way I want to write.”
As writers, we can look to our settings to provide a wealth of tools to not only add depth to the story but to underline the experiences of the characters, their feelings, their motivations, their desires.
“I love that when I have a question, I can reach out and pick the brilliant brains of other talented kidlit writers. I’m always amazed at how quickly plot or character problems can be solved when you get out of your own head. I also love how willing people are to share great examples of kidlit to use as mentor texts.”
Writer Friends! You shared with us the ways you sidewrite, and we listened. It was so fun and enlightening to get the scoop on your favorite exercises and tricks to get deep into your characters and figure out your plot.
When I don’t know the WHY behind a scene or a character, there is nothing more helpful than stepping away from the manuscript. When I am writing away from my story, I am free to explore my characters, setting, plot, theme…well everything. And since it doesn’t “count,” it also doesn’t have to be good—that is the permission slip I need.
I’ve finally discovered a way of dumping this inner perfectionist for at least part of the journey. I learned through trial and error that the keyboard, domain of the delete key, precursor to print, was where my perfectionist tended to take control. Pencil and paper was where my heart led the way. Which is why I began to “channel” my characters through freewriting. Like poetry, freewrites are a way I ditch my inner critic and make the switch from common sense to felt sense, from thoughts to emotions.
Sidewriting takes us away from linear and helps us explore divergent thoughts and also digs into our subconscious, which actually does know everything about our stories and is just waiting to tell us all about them.
The sidewriting exercise I rely on most is really simple. I write a messy, gossipy version of my story (or scene or conflict). I handwrite it, like it’s a note I might pass in class, and I allow myself plenty of gossipy digressions. . . . I’ve developed a kind of outlining process I love, but sometimes I really crave the structure of gossip, the way it’s built on cause and effect.
I always start with character. For me, that’s the spark that makes me want to write. Who is this person in my head? What are they grappling with? What do they need to figure out (about themselves and/or life in general)? To answer these questions, I write scenes about them and sometimes in their voice.