Quick Writing Tip: How To Train Yourself To Write Faster

Quick Writing Tip: How to Train Yourself to Write Faster

Have you ever heard of “Parkinson’s Law”? It’s the adage that “work expands so as to fill the time available for its completion.” If you apply that to writing, it means that if you give yourself two hours to write two hundred words, it will take two hours. But if you give yourself thirty minutes, it will take thirty minutes.

Of course, there’s a limit to how fast you can write. But if you are frustrated with your slow speed, try this training exercise: time yourself.

Choose a word count goal and set a timer for 25 minutes or less.

In the beginning, be easy on yourself. Try giving yourself the goal of 100 words in 25 minutes. If that seems easy, increase the word count goal or decrease the time until you find a speed that’s doable but not completely overwhelming.

I used to be a reaaaaaaally slow writer, until I figured out that if I completely focused under a ticking clock, I could write 500 words in 25 minutes. No distractions, no time for research, no making cups of tea or answering the phone. Just straight writing. Suddenly my word count goal of 1,000 words a day seemed ridiculously easy. Whereas before I would languish for hours at the screen, drawing blanks and getting distracted, now all I had to do was two laser-focus sessions of 25 minutes each. No problem!

Your word count goals might be different, and you might find that timed writing is not for you. But if you do try it, I recommend you do a timed session that’s not very long–5, 10, 15, 20, or 25 minutes at most.

The reason you want to stay to 25 minutes or under is that anything over that you run the risk of getting tired and distracted.

If your mind is really prone to distraction, or if 25 minutes seems like a long time, start with 5 or 10 minutes.

You might be amazed how much you can get down with a concrete deadline.

A few more tips:

I like to use the Howler Timer for Mac because instead of obnoxious beeping, it makes lovely animal noises. You can download it for free.

Turn off your phone.

Turn off all social media.

Make sure you have everything you need for your session, so that when you click “start” on the timer you’re ready to go. Personally, I go to the bathroom and make sure I have anything I want to drink before I start my 25 minute session.

Let others know not to bother you. If possible, shut the door to your room. If you can’t get away from people, at least wear headphones to discourage anyone from talking to you.

If you have to stop for a good reason, pause the timer and re-start it once you’re writing again. (The idea here is to really train yourself about the difference between “on” and “off” time when it comes to your writing.)

You can spend a few minutes thinking about what you’ll write before starting, but don’t get sucked into thinking or outlining for longer than 5 minutes. The goal of this exercise is to get yourself out of your head and force you to put words on the page more quickly. Don’t postpone starting the timer because you’re scared.

If you wrote as fast as you could and stayed as focused as possible but didn’t make your word goal, it’s okay!! You are practicing, and the more you work at it the better you will get.

Also, if you try this a few times and it’s really not for you–maybe it’s too overwhelming, or stressful, or makes writing harder instead of easier for some reason–that’s totally fine, too! Don’t beat yourself up. There are lots of successful slow writers out there.

How about you all? Have you ever tried to train yourself to write faster? What were the results? Anything to add to this list?

generate a girlfriend here and tag this with what kind of girlfriend you got

An Actual Writing Tip From An Actual Author

Wow holy shit I’m gonna actually give you guys an actual writing tip, being a published and award winning author and all.

Anyways, a great way to work in TOTALLY UNRELATED little details about your setting or what have you that may or may not be relevant later on is through the use of metaphors, euphemisms, etc. in character dialogue.

“This cold is terrible! I’m wearing more layers than an Aenirian bride!”

Congratulations, you now know something about Aenirian marriage customs. You might not even know what exactly an Aenirian is, but you know that their brides wear lots of layers.

See where I’m going with this?

Ways To Describe Someone's Voice

adenoidal (adj): if someone’s voice is adenoidal, some of the sound seems to come through their nose

appealing (adj): an appealing look/voice shows that you want help, approval, or agreement

breathy (adj): with loud breathing noises

brittle (adj): if you speak in a brittle voice, you sound as if you are about to cry

croaky (adj): if someone’s voice sounds croaky, they speak in a low, rough voice that sounds as if they have a sore throat

dead (adj): if someone’s eyes or voice are dead, they feel or show no emotion

disembodied (adj): a disembodied voice comes from someone who you cannot see

flat (adj): spoken in a voice that does not go up and down; this word is often used for describing the speech of people from a particular region

fruity (adj): a fruity voice or laugh is deep and strong in a pleasant way

grating (adj): a grating voice, laugh, or sound is unpleasant and annoying

gravelly (adj): a gravelly voice sounds low and rough

gruff (adj): this voice has a rough, low sound

guttural (adj): a guttural sound is deep and made at the back of your throat

high-pitched (adj): true to its name, a high-pitched voice or sound is very high

hoarse (adj): someone who is hoarse, or has a hoarse voice, speaks in a low, rough voice, usually because their throat is sore

honeyed (adj): honeyed words or a honeyed voice sound very nice, but you cannot trust the person who is speaking

husky (adj): a husky voice is deep and sounds hoarse (as if you have a sore throat), often in an attractive way

low (adj): a low voice is quiet and difficult to hear; also used for describing a deep voice that has a long wavelength

matter-of-fact (adj): usually used if the person speaking knows what they are talking about (or absolutely think they know what they are talking about)

modulated (adj): a modulated voice is controlled and pleasant to listen to

monotonous (adj): this kind of voice is boring and unpleasant due to the fact that it does not change in loudness or become higher/lower

nasal (adj): someone with a nasal voice sounds as if they are speaking through their nose

orotund (adj): an orotund voice is loud and clear

penetrating (adj): a penetrating voice is so high or loud that it makes you slightly uncomfortable

plummy (adj): a plummy voice or way of speaking is considered to be typical of an English person of a high social class; this word shows that you dislike people who speak like this

quietly (adj): in a soft, quiet voice

raucous (adj): a raucous voice or noise is loud and sounds rough

ringing (adj): a ringing voice is very loud and clear

rough (adj): a rough voice is not soft and is unpleasant to listen to

shrill (adj): a shrill voice is very loud, high, and unpleasant

silvery (adj): this voice is clear, light, and pleasant

singsong (adj): if you speak in a singsong voice, your voice rises and falls in a musical way

small (adj): a small voice is quiet

smoky (adj): a smoky voice is sexually attractive in a slightly mysterious way

softly spoken (adj): someone who is softly spoken has a quiet, gentle voice

soft-spoken (adj): speaking or said in a quiet, gentle voice

sotto voce (adj, adv): in a very quiet voice

stentorian (adj): a stentorian voice sounds very loud and severe

strangled (adj): a strangled sound is one that someone stops before they finish making it

strident (adj): this voice is loud and unpleasant

taut (adj): used about something such as a voice that shows someone is nervous or angry

thick (adj): if your voice is thick with an emotion, it sounds less clear than usual because of the emotion

thickly (adv): with a low voice that comes mostly from your throat

thin (adj): a thin voice or sound is high and unpleasant to listen to

throaty (adj): a throaty sound is low and seems to come from deep in your throat

tight (adj): shows that you are nervous or annoyed

toneless (adj): does not express any emotion

tremulous (adj): if your voice is tremulous, it is not steady; for example, because you are afraid or excited

wheezy (adj): a wheezy noise sounds as if it is made by someone who has difficulty breathing

wobbly (adj): if your voice is wobbly, it goes up and down, usually because you are frightened, not confident, or are going to cry

booming (adj): very loud and attention-getting

quavering (adv): if your voice quavers, it is not steady because you are feeling nervous or afraid

a voice like a foghorn: very loud voice

in an undertone: using a quiet voice so that someone cannot hear you

someone’s dulcet tones: the sound of someone’s voice as they speak

reading advice (for writers)

you know those posts that are like, “remember when we used to read books and now we all have no attention span because of the internet.” then there’s the very contrived advice that’s like, “if you want to be a writer you have to read”??

well i think they’re completely true but they also really suck, and we of the youngish adult writers of 2018 have it pretty hard, especially those of us in fandom who enjoy reading fanfic more than original fic because it’s mostly tagged properly and possesses the emotional catharsis we’re looking for, pretty much guaranteed.

that said, i think it’s really important – whether you write fanfic, ofic, or both – to read traditionally published work, in part because it can help better inform your fanfic, but also because it will help develop your writing overall. and if you’re interested in ofic, it’s pretty much a necessity to read.

so, i just graduated from an MFA program in creative writing, and contrary to popular opinion, the MFA does not actually teach you how to write. it gives you space to write, and mostly, it teaches you how to read as a writer.

so here is everything i’ve learned about reading as a writer over the past two years:

you do not have to read anything you don’t want to read

part of the problem with “read everything you can!” advice is that there is a lot of stuff out there, and a ton of it doesn’t jive with your interests. moreover, there’s a kind of pressure to read the Classics just to say you’ve read them when in fact a lot of them are boring, irrelevant, and dare i say overrated. so here is me giving you permission: you don’t have to pick up Hemingway or Faulkner or whoever else to be a good writer. life is too short to force yourself to read dead white dudes.

if a book doesn’t grab you by the first 10%, put it down

this is what has helped me more than anything else as a reader, because i found i would commit myself to a boring book and then never want to read it, so i would stop reading for months at a time. so, when you pick out a book, go to the last page and check the number. promise yourself you’ll read 10% of the book. 400 pages? read to page 40 and ask yourself, “do i really want to turn the page? if i put this book down, would i want to pick it back up again later?” if the answer is no, return it to the library or wherever you got it. try the next book in your pile. your TBR list is long; be merciless. 

but if you want to make it look like you read the book…

commit to 25%. then go to the wikipedia article, read the plot summary, and fast forward to the last 10-15 pages. bam. you’ve more or less read the book. bonus points if you watch the movie, too. so if you’re really committed to reading Ulysses or whatever but you don’t want to slog through it, you can digest enough to be able to hold a conversation about it in a few hours and move on with your life. you can even pretend you enjoyed it and found it a formative reading experience that helped shape your understanding of the work of fiction, really, absolutely groundbreaking, etc etc. this is especially helpful if you find yourself anywhere in the literary sphere because other writers will expect you to be familiar with the canon. 

read selfishly and take tools from everything you read

when you read anything, even the stuff you don’t like, ask yourself, “what tools can i take for my own writing?” let’s say you really love the plot structure – write it down somewhere so you remember to try it out for your own story. if you love the lyricism of the sentences, find a few sentences you really like and jot them down by hand, inspect what about them makes you love them so much. steal aspects of characters you admire, pacing, conflict, stakes. steal as much as you can without stealing the words themselves. you can even use this for things you don’t like by rephrasing the question: “what is it about this story i would like to avoid in my own work?” pivot every single thing you read to be about you and your writing. take notes. mark up and highlight your book if you have to. reading as a writer is not a passive activity but an active one. you’re not being entertained, you’re learning. so let published works teach you. 

carve time out of your day to read

at 7pm every day, i put my phone down and pick up an actual physical book. this is my personal preference – i have no beef at all with ebooks, but honestly, i get so tired of staring at lit screens all day, and paper books without the distraction of my phone is such a nostalgic feeling for me, back when i was 14 and the library was my second home and if someone wanted my attention they had to call me on a landline. if you had the same upbringing, dedicating some time to read a physical book will do you wonders. if ebooks are your thing, it’s still important to schedule reading time for yourself, not as an obligation to uphold, but as something to do that’s good for you and that you enjoy. 

write letters to your favorite authors!!

seriously. if you love a book, let the author know. they will not be annoyed or upset. they will be thrilled. it’s a good way to network with other writers, and it’s a great practice of literary citizenship.

when someone recommends a book to you, ask why

this is something i’ve only recently learned to do, as someone who gets book recommendations pretty much constantly. if the person knows you decently, i don’t think it’s out of line to ask, “what would i specifically like about this?” because then that will tell if you if the person is only recommending it because they like it, not because they think you’ll like it. if the person knows your writing, it’s fair to ask, “how is this book in conversation with my work?” so you have a head start in the kinds of tools you’ll want to take from it. 

follow your aesthetic instincts

as a writer, honing your aesthetic will always be one of your highest aims, which means constantly seeking out writers whose aesthetics you admire and analyzing what it is you admire about it. “aesthetic” is kind of a vague term, but it refers to your overall vibe – the things you write about and why you write about them. my aesthetic is more or less “midwestern class warfare meets sexual identity crises with a lot of dark humor,” so i tend to look for other writers who share facets of that aesthetic and i inspect what’s working for them, where they publish, what their influences are, etc. i try to read both within my aesthetic but also far outside of it too. for example, i love historical fiction but i know i’ll never, ever write it. but i appreciate the aesthetic, and i can take tools from it like dedication to detail, internal conflicts, etc.

read short fiction (please)

this is my personal plea. short stories are a great way to find authors whose work is in conversation with yours, so that you can then go check out their novels with a good idea already of what you like about them. short stories are all over the internet via literary and genre mags. they’re a much smaller commitment than novels and tend to have just as much emotional impact (if done well) as novels. more importantly you’ll always have recs for your friends, and it’s a lot easier getting someone to read a 6k story you enjoyed than a 60k novel.

resources

don’t have time to read but like to listen? try the new yorker fiction and writers’ voice podcasts

like marking up books but don’t want to buy them new? check out thriftbooks (my favorite site on the internet – the link here will get you 15% off!)

finished a book you like but don’t know what to read next? try what should i read next

want to stay apprised of the goings on in the modern literary community? subscribe to the lithub newsletter and arts & letters daily, two newsletters i’ve been subscribed to for years 

as always i’m glad to answer any questions! happy reading!

writing advice tag

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