#83: Feeling Unworthy of Your Ideas

Dear Story Nurse,

I have recently realized that the major thing holding me back in my writing is a debilitating fear of failure masquerading as “no ideas.” I have tons of ideas! They’re very cool and interesting ideas! And then I go to write them and I’m staring at a blank page and suddenly all my shining ideas seem boring and cliche and I feel so utterly small and stupid that I abandon the whole endeavor and tell myself I’ll write once I discover a good idea.

Unfortunately, there is no idea on Earth good enough, and if there is a legitimately good idea, I tell myself I’m not good enough to write it.

I love writing! I love coming up with stories in my head! I have dozens of characters all ready and raring to go! I love playing with words and descriptions! I don’t want all of this to be ruined because I’m too scared to do anything with it.

My question is this: How do I breathe through my paralyzing anxiety and actually start to get words on the page?

—Fear, the Mind-Killer (she/her)

Dear Fear,

This is a very, very common fear among writers and would-be writers. So first, take comfort in knowing you’re not alone. Lots of people have found ways to work through, over, around, or past this, and you will too.

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#82: Getting Bored of Your Own Writing Voice

This question came from the priority request queue for my Patreon patrons. Thanks for your support, letter writer!

Hi Story Nurse!

I’m hoping you can spend a bit of time talking about voice, and about how we control it. By voice, I don’t mean so much “which character is telling this story,” but more that intangible, know-it-when-you-read-it something-or-other that makes one person’s writing different from anyone else’s.

Here’s my problem/question. I have a pretty clear voice, by which I mean that stuff I write tends to sound like me. It’s not highly stylized; I write fairly straightforward commercial fiction. But there is a me-ness to it—the tone, the details that interest me, the jokes I make, and so on. If you read things I’ve written, even though the topics and time periods are different, it won’t be long before you’ll likely say “ohh yeah, that’s her, I can tell.”

So-o-o… great, right? That’s what we want. Except… not always? Because to be honest, I’m pretty sick of listening to myself.

Context might help—I wrote a novel that’s in the proverbial drawer, I wrote one that got published, and I am halfway through the next. So this current WIP is either my 2nd or 3rd, depending on how you count.

I’ve only published one book, so I have no real fear of my voice being particularly tedious to anyone else. (I mean, except for those who didn’t like it in the first place, but never mind them!) This is less about boring my future readers and more about how bored I am of myself!

I hope this might be a “good problem” in the sense that perhaps it means I’m growing as a writer. That I am aware of my crutches and am holding myself to a higher standard than before.

But the question is… what next? I’m finding that sometimes I dread even starting a new scene because I am already rolling my eyes at how “me” it’s going to be and ugh. Enough of her! At the same time, I write the way I write because that’s how I think. It’s not put on, in other words. I don’t want to fake a voice, that’s clearly going in the wrong direction.

Any thoughts or suggestions on this? How do we shake things up while still staying true to ourselves?

—I’ve Heard the Mermaids Singing. Pipe Down Mermaids! (she/her)

Dear Mermaids,

Voice is a great topic, and a challenging one to tackle because it is so individualized. I’ve done a little bit of vocal training, and I’ve also done a lot of podcasting and used dictation software for writing, so I’m going to draw on those experiences with my literal, physical voice to discuss writing voice and what you can do to change things up a bit.

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#81: Your Writing Is Enough

Dear Story Nurse,

I just read your post on original ideas and the derivative nature of all stories, and loved it. I struggle a lot with feeling like I’m writing “unique enough” stories to justify putting the effort into them (it doesn’t help that I can literally go through my folder of ideas/snippets/starters and pinpoint exactly what I must have been reading/watching when I came up with each idea, so I wind up feeling like obviously anyone else would notice it too—even though logically I’m fairly sure it’s not that obvious and I only notice it because it’s my own stuff).

But in similar vein… how do you create unique, original worldbuilding? The hardest part for me is magic systems—I write almost exclusively fantasy, sometimes scifi with fantasy elements—and I love including magic and witches and sorcerers, but I feel like I can’t create a unique, exciting magic system to save my life.

The example I always go back to is the Mistborn series by Brandon Sanderson. I’ve never seen anything remotely like the magic system in that setting, allomancy (for those who haven’t read it, some people can ingest different alloys of metals and use those to fuel various mental and physical powers; all the powers come in pairs, like Soothing vs. Rioting people’s emotions). If I could hit on something that unique, that original, just once in my life, I would be thrilled. But in the end, most of my magic systems are either bog-standard elemental-based types of things, or more generic “magic just does what you need it to do, albeit in limited quantities or with skill requirements to make it work so it’s not a complete deus ex machina device” a la D&D.

You say that “originality doesn’t mean rubbing two brain cells together until they spark an idea that bears no resemblance to any idea that anyone’s ever had” but on the other hand it feels like, in this area of things, it does mean basically that—and I’m not sure the “file off the serial numbers” approach would work, if only because if you take a particularly interesting existing system (like allomancy) for your “base” to work from, I think it would still be pretty obvious. How can I either figure out how to spark unique ideas for magic systems, or stop beating myself up for not being able to come up with entirely new, unique, original magic systems for my worlds?

—Jadelyn (they/them)

Dear Jadelyn,

I love this question as a counterpart to the question about worldbuilding from real places. There are so many ways to approach the creation of a fictional place.

As I said in my post on originality, what makes your work original is that you make unique choices that no one else would make. It sounds like that’s where you’re feeling stuck—you know your worldbuilding choices are yours, but feel that they’re not “unique enough”. Instead of looking at the word unique (or original, though those aren’t the same thing), let’s look at the word enough.

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#80: Adaptation and Creation

This question came from the priority request queue for my Patreon patrons. Thanks for your support, letter writer!

Dear Story Nurse,

I’m in the planning stages of a trilogy adapting my Dungeons and Dragons character’s story to a novel format. It follows my character through her training as a knight, her fall from knightly society and loss of her homeland, regaining her honor, gathering allies and assets, and reclaiming her homeland from the rule of her half-brother and stepmother.

The first and last parts were left up to my imagination so I’m having an easier time outlining them. But the “regaining her honor and gathering allies bit” which will make up the bulk of Book 2 was played out in-game. And I’m completely stuck on how to adapt it.

I don’t want to use the campaign story because it belongs to the Game Master and my character didn’t really have a connection to the central conflict besides that fighting the bad guys was the Right Thing To Do. But I can’t think of new villains and new tensions for my character!

I have a feeling that brainstorming, developing my setting and side characters, and reading other fantasy novels for inspiration will help, but if you have any other advice, I would be most grateful.

Yours,

Book 2 Blues (she/her)

Today is the fifth Tuesday of the month, which means that my answer to this heartfelt letter is available exclusively to my Patreon patrons. If you’d like to see today’s post—and future fifth Tuesday posts—become a Story Hospital Patreon patron at any level, even just $1/month. If that’s not an option for you, enjoy reading through the archives and salivating with anticipation for next Tuesday’s column. I’ll be back before you know it.

Cheers,

Story Nurse

Got a writing question? Ask the Story Nurse!

#79: Ethical Worldbuilding from Real Places

Dear Story Nurse,

I have an idea for a novel I’m really excited about, but I’ve got overwhelmed by some of the world/character building.

The basic idea is a take-off on a Swords and Sorcery fantasy where, because of the availability of magic, technological development has stalled, and society has become a magocracy. The story then follows a group of inventors who create and spread non-magical technology. The things they actually invent are based on real history of science, but I’ve selected things by a combination of what makes sense with my world building and things I think are cool. It’s going to end up a very anachronistic mix, but it’s also a fairly self-indulgent fantasy story, not historical fiction, so I’m not worried about that. Just in case it’s relevant, currently the plan is that most of the story would take place in a big diverse port city where people are coming and going from around the world, but it’s early days and that may change.

Even though it’s strictly secondary world fantasy the bits of real history of science come from specific places which I would like to carry over into my characters and world building and I’m stuck on how to do that.

So that I have a concrete example, one of the things I know I want to include is the invention of the printing press, which is originally Chinese in real life. The bit I’m having trouble with is coding my printing press inventor from China-inspired-fantasy-land as Chinese in a way that gets the point across without being appropriative. I’m really struggling to figure out what sort of details are good for world-building, vs what is not, how much I can trust my readers to pick up, and generally (especially given there’s a lot of anachronism in my world already) identifying the boundary between diverse world-building and smearing bits of other people’s cultures around willy-nilly.

My printer is one of my better developed characters (I’m still fairly early in the planning stages of this), but I’m seeking general advice for all my non-European characters. Please help me escape the ‘everyone’s from Britain but with the names changed’ fantasy trap.

—Dendritic Trees (she/her)

Dear Dendritic Trees,

That sounds like a very cool project. I understand your concerns about appropriation, especially when you’re working with multiple cultures and doing what amounts to a cultural mash-up. Fortunately, people of color and others with relevant experience have created some great resources on cultural appropriation and cultural sensitivity in writing, and I’m glad to bring some of them together for you.

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#78: How Much Should Your Research Show?

Dear Story Nurse,

I’m in the planning phases of a time travel short story, and I find myself wondering how much research is too much. What’s a good way to find the line between authenticity and overdoing it?

—ASB (he/him)

Dear ASB,

There are two people for whom research might be “too much”: you, and your reader. For you, it’s too much if it prevents you from writing, or if your investment in research outweighs its return. For your reader, it’s too much if it it prevents them from enjoying the story.

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#77: Making Your Story the Length You Want

Dear Story Nurse,

I recently finished the first draft of my novel—a mystery set in a pretty traditional fantasy land. The problem? When I did the final word count, it came out to 27K. I’m doing the first round of editing—well, mostly adding scenes that I missed the first time around—and at the rate I’m going, it’s going to roughly double my wordcount, which still won’t bring me to the 80–90K typical of the genre. And I definitely do want this work to be a novel, not a novella. Retooling it for the typically shorter YA market would involve excising a lot of themes important to the story. So how can I get my wordcount up without adding unnecessary fluff?

—Wannabe Novelist (he/him)

Dear Wannabe Novelist,

There are two ways to approach this dilemma. One is the philosophical approach: the story is the length it wants to be, and there isn’t much that you can do about that. The other is the engineering approach: there needs to be enough story structure to support the story’s length, or the whole thing will collapse and that will be sad. I’m going to get into the engineering approach a bit, but I want you to keep the philosophical one in mind, because there are very good reasons that most of the seasoned writers I know tend to end up thinking of story length in those terms.

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#76: Revision Paralysis

Today’s question—or rather, today’s concern—comes from @MardouLedger on Twitter:

I think this is a very common anxiety, especially among those of us who tend to write first drafts that we really like, or who draft a lot more than we revise. Drafting and revising are two different skills, and if you’re more skilled at drafting, revision can feel very clumsy and awkward by comparison.

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#75: Guest Post: Writing Inclusive Erotica

This question came from the priority request queue for my Patreon patrons. Thanks for your support, letter writer!

Dear Story Nurse,

I’ve started a project that’s purely for fun and low pressure. It’s a collection of short erotica stories with genre flavor. Fantasy, sci-fi, superhero, maybe a dip into some public domain stuff like Arthurian legend.

I want to make my collection diverse and not just feature people like me. It would get boring and unrealistic if only white, bi, depressed cis women were featured! But since I’m writing erotica I’m worried I’ll fetishize people and include harmful tropes. I know about some tropes to avoid like the plague, but I’m not an expert. I don’t want to hurt people with my writing! How do I avoid this stuff?

Yours,

Social Justice Pornographer (she/her)

Dear Social Justice Pornographer,

What a great question! Since this is outside my area of expertise, I invited guest contributor Cecilia Tan (she/her) to write a response.

After over 20 years publishing erotic science fiction with Circlet Press and writing erotic fiction herself whenever she could get the time, Cecilia made a career pivot into erotic romance. She’s now an award-winning romance writer, but her heart remains in erotic SF/F, she’s still the editorial director of Circlet Press, and she’s launching an erotic urban fantasy series with Tor Books in September with the book Initiates of the Blood.

Many thanks to the Patreon patrons and others (including you, letter writer!) whose support enabled me to pay Cecilia an honorarium for her work. (You can also support Circlet on Patreon.) I’m very pleased to be able to bring her words to you.

Cheers,

Story Nurse


Cecilia Tan writes:

Dear Social Justice Pornographer,

I’m honored to be asked to address your question and must confess right off the bat that your collection sounds like the kind of thing I’d love to read. Given that I’ve been reading Circlet’s slush pile and submissions for 26 years, I can assure you your concerns are valid, but by being aware of the issues you’ve already taken the major first step toward being able to address them in your work.

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#74: A Sympathetic Character Who Resembles a Real-World Villain

Dear Story Nurse,

I know this probably looks like a troll letter, but I swear it’s a real problem I’ve got with one of my characters! Even I had trouble believing it at first. Long story short, I spent ten years working on a manuscript and just now accidentally realized that one of my secondary protagonists sounds a lot like Hitler.

This fellow is an elected monarch who is doing a terrible job of running his kingdom. He’s cut off his citizens from having very much direct contact with him, and he has an art hobby that has taken precedence over his actual duties. Amazingly, over several decades, he barely improves. It’s not the kind of art hobby that can be quickly changed to something else, either.

He was once a refugee from an aggressor continent that frowned upon the arts in general, and his poor artistic abilities directly trigger the driving conflict of the story. I know, this sounds like a neutral character at best, but the main protagonist ropes him into their quest in the third act, when his kingdom’s been taken over and he’s in hiding, because they’re the only person in the kingdom who genuinely likes looking at his art. He’s practically the visual artistic equivalent of Florence Foster Jenkins here. Eventually, the exile, coming clean about his part in accidentally creating the antagonist, and reconciling with some friends he’d abandoned over the years convince him that the townspeople don’t all hate him as much as he thinks they do, and he’s still redeemable as both a monarch and an artist. It doesn’t happen as neatly and easily as it seems to for the purpose of this letter.

I seriously considered turning him into a woman, because that’s solved a lot of quandaries in the past for me, but that would affect another plot point involving (independently of each other) a plot-relevant shirtless scene and a small handful of one-sided romances. I’d really like to keep this as PG as possible, so topless lady NotHitler is out for now. I figured the best way to attack this problem from here was to research Hitler and Nazi Germany and make sure this guy isn’t doing anything else that runs suspect. My browsing history has probably reached full-on “IT’S FOR A BOOK I SWEAR!” saturation.

NotHitler never commits a genocide or any unprovoked acts of aggression towards other world powers or groups of people. If I make him even more of an introvert and significantly more often taking a defensive stance than an offensive one, would that be enough, or would I have to seriously uproot a good chunk of this story’s foundation to make it work? I may not be a troll, but I know a lot of trolls would probably be quick to jump the gun if they see anything even remotely Hitlery. The last thing I’d want in my life is a bunch of readers accusing me of being a Nazi sympathizer because I redeemed a character that reminded them of Hitler.

If you’ve made it this far, I cannot thank you enough for staying with me. I can barely believe this is a real problem I’ve run into. But hey, better to go down as the guy who realized he accidentally wrote Hitler before publication than the guy who had to be told he accidentally wrote Hitler by the readers, right?

—Not a Nazi (he/him)

Dear Not a Nazi,

You are vastly, vastly overthinking this. Leave the character as he is and don’t worry about it. If you really want to be careful, run it past a targeted beta reader who’s an expert on WWII, or show the character enjoying a steak dinner and talking about how much he hates facial hair. But nothing in your description makes me think “whoa, totally Hitler!”, even with the context that you think this character is Hitleresque. I think you’re safe.

This excessive concern over a minor matter sounds like the product of an anxious aversion to declaring the book finished. If you’ve spent ten years on your manuscript and you’re starting to fuss over non-problems, I recommend submitting or self-publishing it as quickly as possible so you can move on. When you’ve worked on one project for that long, it can be hard to imagine your life without it, but both you and the book need some closure. Empty your browser cache with a clean conscience and keep moving toward The End. You’ll be glad you did.

Cheers,

Story Nurse

This advice is brought to you by my generous patrons on Patreon and donors through Cash.me and Ko-Fi. Got a writing question? Ask the Story Nurse!