Writing novels ain’t easy. Heck, writing short stories ain’t easy. Well, in some senses it’s easy; sometimes having an idea is the easiest thing in the world, and even whole sections can fly off your fingers so fast and perfect it seems like you should be able to write, like, a dozen novels a month. Maybe more.

Ah, but then—as every writer knows—comes the doldrums, those slow times when not only can’t you seem to get the words right, you also can’t seem to even have an idea. Everything feels leaden and dead and the idea that you might ever write a complete story again seems depressingly ludicrous.

For those moments, I recommend drinking heavily. Actually, drinking heavily is my go-to medicine for just about any writing-related, but especially those horrible moments when it seems like your Muse has abandoned you.

There’s another horrifying moment for writers, one that gets a lot less attention than the big bad Writer’s Block. It’s the sudden downturn in energy and productivity that sometimes follows completing a major project—The Aftermath of a novel can be brutal. I should know, I didn’t just complete one novel, I completed two, as well as a short story. And I crashed hard.

The Come Down

I wrote several novels over the last 2 years—four of them, to be exact. Two weren’t quite great (and one of those I managed to pare down to a short story that contains the essentials, leading me to believe that I was way over-padding that premise). But two are very good, in my not-so objective opinion. I worked on them concurrently for the last few months, jumping back and forth between them. And when I finished them, very close to each other, I was very happy with the results.

Since then I’ve been … well, struggling’s not the right word. It’s been slow, though. I don’t have a big project in mind, and the smaller pieces I’m working on aren’t exactly pouring out of me.

I’ll get there, I always do. And that’s what’s necessary in these moments: Faith in yourself, in your own idea machine. You have to remind yourself that the tens of millions of words you’ve written over the course of your life (or the thousands, or the hundreds) all came after periods of struggle. It happens, it’s not a big deal, and it will pass.

Aside from, you guessed it, drinking heavily, my antidote to this crash is to work on as many short projects as possible. Short stories can get a lot of half-baked ideas out of your head—some of which might become fully-baked with a little time and effort—and keep your fingers moving until your lizard brain shrugs off the malaise and gets cranking again. When that happens, you want to be ready. Although the drinking never hurts either.

Writing is a glorious creative adventure wherein your imagination is free to roam infinite universes, but it’s also a craft and a skill. As the latter, sometimes it can get a bit … well, boring‘s not the right word. Familiar, maybe? The first time you pull off some literary trick it’s exciting. When you’ve written 600 short stories and twenty-five novels, some of your own bag of tricks get a little been-there, if you know what I mean.

Shaking things up is necessary from time to time. Working in a new, unfamiliar genre, or changing up your process can be remedies to a certain malaise that can set in. I’ve always been mystified by writers who act like their process is somehow an unchangeable fact of the universe, as if changing the schedule and mechanics of their writing will somehow result in disaster. I myself get into deep, comfy ruts when it comes to schedule and mechanics, but I also try to occasionally challenge myself and get out of that comfort zone—like writing a novel as a series of novellas, for example. Recently, I find myself contemplating a decentralized style of writing a novel.

Literally Linear

I’m usually a pretty linear writer; even when my story jumps around in time or is otherwise complex, I start at the beginning of my story and proceed A—Z from there in the order that I conceive of the story. That’s how my brain works, so that’s how I write.

I have an idea for a novel right now that’s going to involve a frame story of sorts and then some individual episodes. Normally, as I said, I would start at the beginning and just go forward from there, but this time, for whatever reason, I want to try something different, so I’m going to just randomly write sections of the book until I’m done. Instead of starting with what would be Chapter 1 and moving forward linearly, I’m going to maybe start by writing Chapter 14, then Chapter 20, and so on.

Why? Why not? But mainly I want to keep things fresh and try something new. There’s such low stakes with little tricks like this, there’s almost zero reason not to try things once in a while in an effort to shake up your own complacency. Worst case scenario? I give up and restart with a more traditional approach to process. Or maybe I go insane and start wandering the neighborhood in a robe, muttering to myself … more often.

When I was in college, I once wrote a short story entirely in crayon. This was most likely because I was bored, but there was a story reason for the choice that I can’t recall (just as I can’t recall what the story itself was about, and I lack sufficient energy and motivation to dig it out of my files to find out), some sort of color theme. It’s one of the few times in my career I’ve tried to play around with the presentation of a story as opposed to relying on the words themselves to carry whatever message I’m trying to convey. Although I do have certain private peccadillos (only writing short stories in longhand, only using a blue pen) when it comes to publishing my work I don’t like to rely on font or design choices to carry anything, because those can be lost or misinterpreted. When the superadvanced roach species that rules this planet in the future finds my work (and they will), I don’t want half the point lost because they don’t have Comic Sans loaded on their futuristic devices.

It’s Not a Rule, Though

I’m currently reading a novel that does rely on a lot of design work and special fonts, and it’s not working for me. For one thing, the special fonts are distracting; one is meant to resemble handwriting, but the perfect repetition of the letter forms betrays it and spikes me out of the narrative. For another, the special, heavily-designed sections meant to resemble specific modes of writing, time periods, and other aspects of the story are just kind of useless.

Your mileage may vary, of course; anything can be pulled off in a novel or story, it just requires that you have the talent and vision to do so. For example, I love House of Leaves despite (or perhaps because of) it’s use of font shenanigans and specific design choices. And would I love Carroll’s The Mouse’s Tail—which I named my blog after!—if it wasn’t so meticulously laid out?

Still, for myself, I’m a purist. I’d like to think I can convey anything I need to simply through my control of the language. And I kind of feel like that’s definitely where you should start, even if you do end up utilizing some font shenanigans or other design wankery to get a certain effect. All of your work should be design-indifferent, utlimately, in my opinion, with the frills added on later. I stick with italics for anything that’s not part of the main narrative, and if you’re confused after reading one of my stories, then it’s not the fault of the design or the font choices, but rather of my writing.

But then, what do I know? Depends who you ask. The Duchess will tell you I have some knowledge of housekeeping, but not much else. And she will go on at length on this subject, too, so clear some time.

Something that doesn’t get discussed a lot in the conversation about writing (and selling and marketing) stories is what happens when you finish something. Writers put so much energy into a novel, so many months or years of effort, so many restless night worrying over plot points and pondering why a character doesn’t seem to be gelling the story, that finishing a novel is sometimes more of a crawl over the finish line as opposed to a triumphant sprint.

Putting that kind of mental energy into a project means that for many writers there’s a crash after you’re done, a creative hangover of sorts that can knock you off your game for a long time.

Out of the Groove

For me, part of it is that by the time I get to the final act of a novel I’ve become really familiar and comfortable with the universe I’ve created and the characters I’ve filled it with. There’s a great deal of pleasure when you’re totally in control of a story. You’ve solved all your plot problems, you’re so familiar with your characters it’s like they’re real people to you, and everything becomes, at the end, effortless.

Then you finish. And you’re suddenly faced with the monumental task of starting over, from scratch. And the idea is simply exhausting. Even if you have a great idea you want to develop, actually, you know, developing it seems like lifting a building over your head.

Worse, of course, is when you finish a book and realize that it isn’t good. That you screwed it up somehow. All that effort, and your choice now is to either trash what you have and start over from scratch, spend another few months trying to sort out the problems without a total re-write, or start something new and hope it goes better.

Either way, there’s always a hangover after finishing something. My preferred way of dealing with it is to have multiple projects going at once. This overlaps the hangovers a bit, which mitigates them. If for some reason I don’t have something else already in progress, I sometimes find it’s bracing and curative to dash off something short and maybe a little crazy. To just take any crazy idea that pops into my head and write it fast and dirty, without planning or deep thought.

Or, you know, drink heavily until my body turns yellow and I’m confined to bed and having nothing else to do but write. Sometimes that.

As you might suspect from a blog tied to a book called Writing Without Rules, I generally don’t believe there is any “correct” way to write. You Do You tends to be my reaction to people’s declarations of process, writer’s block cures, or systems for developing characters or plots. All that matters is that you get words on the page or screen, and that you’re excited about those words. However you get there is immaterial.

I do, however, have opinions based on my own experience. It’s important to note that these are just opinions, personal expressions of personal experience filtered through my own preconceptions and assumptions. Still, it’s useful to see how other people do it. Sometimes finding out that another writer does things the same way you do is heartening. Sometimes seeing another process or an alternative view of the business or craft of writing fiction and/or non-fiction suddenly prompts you to change your approach.

For example: Concurrent projects. Some writers fixate on a single project. They devote themselves to it, doing research, planning and plotting, then writing and re-writing, revising and excising until they’re satisfied. They work in a linear fashion.

Not me. I usually have several projects going at once, usually a few novels, a short story, and any number of other things. And that’s not even counting the freelance work and promotional blogging that I do. What can I say—I think there are distinct advantages to spinning plates.

WIPs All the Way Down

I just completed two novels that I was working on concurrently, and I have a third novel begun while those two were in process, plus a monthly short story, another one-shot short story set in one of my established universes, and two other ideas that will either be novels or … something else, who knows. And I recently stumbled onto another short story that I’d half completed and then forgot about, so I jumped in to finish that.

I like having all these projects going for three main reasons:

1. Variety. If i get bogged down in one story, uncertain how to proceed, I can just jump over to another one. And while I’m working on the second, I’m subconsciously recharging my batteries for the first. Plus, I get to indulge two genres at once, if I want.
2. Confirmation. Ideas are funny—they jump into your brain electric and buzzing with potential. Then some of them die off, withering away, while others just get stronger and brighter. Working on a bunch of different things means that if one withers away and goes nowhere it’s not nearly as devastating as it otherwise would be.
3. Preservation. For me, ideas don’t last too long unless they’re developed. A concept that seemed ingenious last month might turn into ash if I don’t hang some words on it.

I don’t divide my time and attention equally. One project can rise up and claim all of my attention for a time, especially if it’s near the end. I don’t have any rules about this. I just work on whatever I want to, regardless of what else is on my dance card. Including this blog.