There’s a long-standing theory that writers shouldn’t talk about their WIPs because that’ll take away their desire to write it, or interfere in some way with the creative process.
I’m calling BS on this.
Having said that, I’m not one to publicly talk about works I’m planning to write, nor do I advocate doing so… simply due to common sense cart-before-horse reasons. In my casual observation, there’s a pretty solid negative correlation between those who do the above—typically on social media and typically in bemoaning fashion—and those who actually finish/revise/polish/publish their work. Although my business-whiz son would be the first to say, “Dad, correlation—in either direction—is not causation,” so technically we’re not sure if blabbers don’t finish or finishers don’t blab. Either way, I’m not taking any chances…
However, I have a countervailing philosophy that says there can be a significant creative benefit to discussing your works-in-progress, assuming it’s done in the right way with the right person. (The not-right person is the one whose first reaction is to immediately tell you exactly what's wrong with your idea and how they’d improve it, etc. Life is rough enough without voluntarily pulling on that specific hair shirt.)
But… When you're on page 281 of a 400 page novel and you find yourself holding a couple of competing ideas in your mind, it can be very helpful to run them by someone who knows how to listen and can help you brainstorm in a positive fashion. The other person may likely be a writer but they don’t have to be. The more important part is that they read widely and thoughtfully, and are capable of putting their emotional responses to story ideas into words. Spoken words. (And of course the most important factor is that they adhere to the Prime Editorial Directive™: Help the writer write THEIR book as best they can.) Really, it’s much more of a gentle back-and-forth exchange—like a lunar-gravity ping pong match with a nerf ball—than any sort of critiquing session. You’re looking for the “Yes, and…” kind of response vs. the “No, but…” type.
One benefit, of course, is simply getting another viewpoint (similar to what a beta reader does, but more “during” than “after”). And that’s great. But you also get something you don’t get from a beta reading—the real-time back-and-forth exchange of ideas concurrent with the initial creative process. You’re trying on ideas with your “pre-beta” without having to write them out first, and you can quickly pivot with a “…or maybe she does this instead of that” if you realize your first idea wasn’t quite right, and your brainstorming partner might reply with “…yes! And what if he sees her do it, but maybe she doesn’t know he sees her…?” to which you respond, “Yeah, and then he’d act differently toward her and she wouldn’t know why, but we would…”
And so on.
This can be an effective way to jumpstart your story elements (as well as a great time saver, since you’re essentially beta-testing without having to type it all out first), as long as you’re aware it also means you’re primarily testing plot ideas and not the actual writing itself. (For that, there’s still no substitute for someone reading the written words without any verbal input from the author, just to ensure everything in your head actually made its way to the page.)
Another way this can save you time is what I call “rabbit hole avoidance.” Sometimes, having external editorial feedback during/before the initial drafting can spare you the heartache of throwing away large chunks of writing and starting over when you come to the astute conclusion that maybe you shouldn’t go down the whole “kill & bury the uncle” path in chapter 17… which is fine, except the epiphany comes a hundred pages later—in chapter 25—when you finally realize you could really use that uncle right about now because he’d be perfect for another idea you have. Damn. If only you’d thought of that earlier…
And now for what may be the biggest potential benefit of “talking plot.” Talking about a creative activity seems to engage a different part of the brain than just silently thinking about it. I can’t count the number of times that simply outlining my plot issue verbally has led to me turning around and—again, verbally—solving it. Sometimes before having received any input from the other person. Not sure why this is so—maybe your mouth has a more direct connection to your subconscious?—but I’ve seen this work too many times to ignore it.
Not all ideas put forth will be useful ones. That’s okay—poor ideas often lead to good ones, which is the whole concept behind brainstorming. Or as my wife likes to say, “Mark will come up with 99 bad ideas, but idea #100 makes it worth wading thru all the lousy ones.” (Usually followed by a snicker.) But again, much of this process is simply the brainstorming partner listening and making encouraging noises, then occasionally asking pertinent what-if questions. The main thing is that the designated writer in this scenario not make blanket “NFW” responses to any ideas, but listen and consider in turn. When this happens—on both sides—the end result is usually very positive and productive.
The above is my experience. Everyone is different, with a different workflow, and this may or may not work for you. My only advice would be to try it and see. The next time you’re stuck in the sagging middle, instead of just putting your head down and grinding something out, consider bouncing a few ideas off someone else—ideally someone considerate and creative—and see if it sparks something. I’m betting it will.
If you have any techniques you use to jumpstart your story-spinning, please share them with us in the comments.
This is where I write about things that are of interest to me and which I think may be of interest to you. I’m assuming most of you are here due to an interest in reading, writing, editing, publishing, etc., so that’s the primary focus.