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Printed from https://writing.com/main/newsletters/action/archives/id/8284
For Authors: May 10, 2017 Issue [#8284]

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For Authors


 This week: Analysis Paralysis
  Edited by: Jeff Author IconMail Icon
                             More Newsletters By This Editor  Open in new Window.

Table of Contents

1. About this Newsletter
2. A Word from our Sponsor
3. Letter from the Editor
4. Editor's Picks
5. A Word from Writing.Com
6. Ask & Answer
7. Removal instructions

About This Newsletter

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"In three words, I can sum up everything
I've learned about life: it goes on."
-- Robert Frost


Trivia of the Week: The five bestselling authors of all time on a per-book basis (calculated by dividing total book sales by the number of books written) are J.K. Rowling (=~43 million copies sold per book), E.L. James (=~37 million copies sold per book), Agatha Christie (=~35 million copies sold per book), Dan Brown (=~33 million copies sold per book), and Harold Robbins (=~32 million copies sold per book). To put Agatha Christie's accomplishment in perspective, though, she accomplished that average across eighty-five books, whereas the others are on the list for having extremely high sales of a very limited number of books. Christie is also the only author other than Shakespeare to have sold a number of copies of her work that numbers into the multiple billions.



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Letter from the editor

ANALYSIS PARALYSIS


Since its coining in the 1960s, the term "analysis paralysis" has been used for the phenomenon whereby someone over-analyzes or over-thinks a situation to the point where a decision or action is never ultimately taken. In other words, you spend so much time and effort debating what choice to make that you either run out of time or lose the desire to make any decision at all.

Well before this phrase was coined, there was an Aesop's fable called The Fox and The Cat, which goes a little something like this: a fox and a cat are discussing how many escape tricks they have. The fox boasts that he has dozens of ways to escape trouble while the cat admits he only has one. When hunters arrive and set their dogs on them, the cat quickly scrambles up a tree while the fox considers all of his many ways of escaping and is caught by the hounds before he can commit to a course of action. The moral of the fable is that it is better to have one way to safety than to have dozens of ways that you can't sort through in time.

Analysis paralysis can be particularly dangerous for authors, because there are so many different possibilities to choose from. Authors have to decide what kind of character they want to write about, what direction they want their story to take, sometimes even what to write about in the first place. And at each of those steps along the way, analysis paralysis can set in if you're conflicted about what you want to do.

In order to prevent analysis paralysis, the following techniques are often suggested:

Set limits. One of the most difficult parts of writing is figuring out what to write about. There's a universe of possibilities out there! Giving yourself artificial limits can help narrow the scope of your focus to something a little more manageable. One of my biggest struggles is figuring out which genre to write in, since I enjoy so many. But it's important to remind myself that at some point I need to focus on one until I actually finish something. There's always time to write that other genre later. Other people may need to set limits in terms of subject matter, characters, or twists and turns the plot can take.

Clarify objectives and priorities. Sometimes it can help to clarify what you're trying to achieve. Believe it or not, some people analyze a problem so much they get lost in the weeds and forget what the original objective was! It's always helpful to take a step back and ask yourself what your goals and priorities are with a piece of writing. Is it to get it published? Enter a contest? Get some feedback from people? HINT: all those things require you to actually finish the writing first, so the answer to "What is my objective?" is often, "Finish this piece of writing so I can..." *Wink*

Remind yourself that nothing is perfect. Your work will never be 100% flawless. Many books, even professionally published ones, have a typo or two. And even if there aren't any technical problems, I guarantee that almost every author, if given an older piece of their writing, would want to change something about it, be it a subplot, a scene, or even a sentence that they feel could be improved upon. While there's nothing wrong with wanting to make your work the best it can be, perfect is the enemy of good (Voltaire originally coined this phrase as "better is the enemy of good"). In other words, don't let your quest for perfection stop you from ever finishing anything or reaching your goals.

Take small, iterative steps. If you're tackling a big project like a novel, sometimes breaking the process down into smaller steps you can revise a few times is helpful. For some authors, that might mean outlining a story a few times. For discovery writers, it might mean accepting the fact that there are going to be several drafts so they shouldn't sweat about the details or specific language in the first one. For me, I've found it helpful to experience the writing process (brainstorming, writing, revising, completing) as a whole to remind myself how much I enjoy the process and how satisfying it is to finish something. A short story or poem can be a great short-term project to get me back in that zone.

Change the number of options. Changing your number of options from all of the things to a more limited number can be extremely beneficial because it limits your scope of focus from going in a million different directions to only a few very specific directions. Used in this manner, it's essentially the same as setting limits described above. But there are also times where simply changing the calculus can help and considering more options can give you freedom too. If you've convinced yourself to write a private investigator mystery story, for example, you may find yourself stuck because you can't figure out a satisfying, unique take on a P.I. mystery story. So what if you changed the options to a mystery story about a private investigator OR a career criminal OR an ex-soldier? What if you changed your options so you're writing a mystery OR a romance OR a sci-fi epic? Use this technique carefully though; you don't want to give yourself so many options to consider that you end up paralyzing your creative decision making again!

Add or remove emotion. If you're not already pumped up about your writing, get pumped up about it. Figure out what you need to add to the story to get emotionally invested. If you have an emotional attachment to something, you're going to care more about writing it and finishing it. Alternately, it's entirely possible to care too much about what you're writing and be so close to it that you have a hard time working on it or putting it out in the world. In those cases, gaining some space and objectivity can help you look at it more for what it is (a single piece of your writing) than as this super important thing that you absolutely cannot fail at. You can always rewrite it later. *Smile*

Talk about it. Sometimes it helps to just talk things through with a friend or fellow writer. This can take the form of talking about the actual thing you're trying to write and getting a second opinion ("I think you should do that!" or "I like that option best"), or it can be as simple as discussing your struggles with the process so they're out in the open and not something you're forced to struggle with just inside your head. My wife is a great person to talk to about my writing struggles because I'll go on and on about how frustrated I am with all the different things I'm trying to write. And eventually she'll just ask me, "Yeah, but when was the last time you actually finished something?" It's like getting splashed with a bucket of ice water (in a good way). People often having a hard time seeing the forest for the trees when it comes to their writing and it helps to get some perspective. In my case it's usually, "stop thinking about writing and start actually writing." *Wink*

Make the best decision possible. At the end of the day, a decision needs to be made one way or another. But there comes a point where you need to simply make the best decision you can at the time. It may not be a perfect decision, but chances are it'll be one you can live with. If you've ever shopped for a car, or a computer, or another high dollar value item, chances are you've been through this process because you want to make sure the thing you're going to be buying and using for years is the right thing for you. You've agonized over the individual specs, compared multiple models, read countless reviews from other consumers, etc. (If you're one of those people that can just walk in and buy something without overthinking it, I don't know how you do it! *Laugh*). But at some point, you've had to just make a decision otherwise you'd be visiting car lots or electronics stores for the rest of your life. Writing is the same way. Sometimes you just have to tell yourself that you've done enough soul searching and need to pick a path forward. Chances are it's going to be something you can live with.

I've struggled with analysis paralysis off and on for years. Especially when I'm trying to tackle a large project like a novel, or coming back from a long writing absence and feel out of practice, I often spend a lot more time than I should debating what I want to write about, scrapping half-formed project ideas, and generally changing my mind mid-stream ... a lot.

One of the best ways I've found to break out of these unproductive periods is to enter contests, especially the ones here on Writing.com. Especially if it's prompt-based, look at all the boxes they tick: they usually give you specific limits (deadline and content limits like the genre and maximum number of words, rating, etc.), have very clear rules, are short enough that you don't have to commit months of your life to writing it, and allows you to take the small iterative steps of starting, writing, revising, and completing a whole story.

Until next time,


Jeff Author IconMail Icon
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If you're interested in checking out my work:
"Blogocentric FormulationsOpen in new Window.
"New & Noteworthy ThingsOpen in new Window.


Editor's Picks


This month's official Writing.com writing contest is:


What a Character! : Official WDC Contest Open in new Window. [E]
Create a memorable character using the given prompt for huge prizes!
by Writing.Com Support Author Icon



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Ask & Answer


Feedback from my last newsletter about writing that draws attention to itself ("For Authors Newsletter (April 12, 2017)Open in new Window.):



brom21 Author Icon writes: "Wow, good pointer man. I will use this piece of knowledge and play with it some. I love how simple but helpful about attracting attention to something like dialog or just narrating the plot can be. Thanks!"

Thanks for writing in! Always a pleasure to hear from you. *Smile*



Monty Author Icon writes: "Sounds like good advice Jeff."

Thanks! *Bigsmile*



Quick-Quill Author Icon writes: "I agree with your descriptions of elemental prose versus purple pose. You description of both shows the difference in readers today. The 2 hour movie and the solve a crime in an hour have turned readers into demanding lean books. Heavy on character and plot, less on description and setting. Satisfying the younger readers is getting harder and harder."

Genre definitely plays a huge part in the expectations of description. Readers buy action/thrillers for the pace and the intensity of the events whereas fantasy readers or fans of literary fiction typically prefer more time spent on crafting precise language and going into greater levels of description. To each their own, I suppose!



Osirantinous Author Icon writes: "Love this NL, Jeff, because I'm one of those who can't write purple prose to save their life!!! Now, I don't have to. But... I find the opposite with 'said'. It jars if it's always there. Especially if there is no action or reaction or anything that indicates how something is said. I know the reader wants to figure some things out on their own but a continuous blank said makes me have to do all of it, and I don't want to. I'd rather a dialogue tag just not be used."

It's funny, even the proponents of not deviating from "said" acknowledge it can become redundant. So I suppose the lesson is all things in moderation? *Laugh*



Vivian Author Icon writes: "Thanks for sharing with us. I agree with almost everything, except using "said" most of the time. I know some "experts" say to use said, but other "experts" say using it all the time becomes a distraction to the reader and at times becomes awkward. Guess experts can't even agree. -Viv"

Very true. I'm sure for every opinion and piece of advice out there, someone else thinks it's a terrible idea! *Laugh* Personally, I find myself somewhere in the middle of the two extremes; I don't want to feel like I have to come up with some new descriptor with every dialogue tag, but I definitely get bored if I use "said" all the time. I suppose I view dialogue tags a lot like I view using a thesaurus... the English language is filled with hundreds of thousands of amazing words. Writers should take advantage of the variety without feeling like they have to be fancy just for the sake of being fancy. *Smile*



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