art block, writer’s block, “art funk”, “burnout”, yada yada… it’s all the same thing, being a creator and wanting to create but having some kind of a wall preventing you from doing this.
this wall can take a lot of different forms, and i’m going to approach this post from the perspective of a visual artist, but no matter the medium, we all have a skill we’ve trained ourselves in and what I’m talking about will apply regardless.
Anyway as I said there’s a few different forms this wall can take. Here’s a few of them that I can think of:
Disillusionment with your current skill level
A loss of direction
Fatigue
Lack of drive
It’s really important to identify exactly what your wall is if you want to be able to dismantle it. This isn’t every way it can manifest either, just the most common ways that I see it manifesting, and you might have multiple at once!
Take some time to really self reflect on what the problem is if none of these are resonating after you’ve read the post, whatever it is you can find a way to manage it.
The most common advice I see for “defeating [creator’s] block” is committing to spending like five minutes a day working on something, anything at all. And that’s good advice! but not really for creator’s block, I think.
It’s GREAT advice if you’re lacking in discipline though, like I can easily get distracted and not work on things for months. So committing to work on comic related things for at least 30 minutes a day (and having this commitment be to other people that I’m checking in with each day, i think thats an important part) has worked really well for me, personally.
But I wasn’t dealing with any kind of a block, I just lacked discipline. I don’t think it’s very useful if for example, you hate how your art looks so you don’t want to draw anything anymore lmao
With that in mind, lets go through that list and I’ll try give you some advice from my experiences, and hopefully it’ll help give you the means to identify the problems you’re struggling with and find solutions to them if my advice isn’t quite what you need.
obviously this says art, but again this is applicable to all mediums. It’s an important concept to understand, the idea of a creator’s high vs a creator’s low depending on how developed your critical eye has become compared to your skill level.
If you’re not aware of it and don’t understand what’s happening, it’s REALLY easy to lose all motivation to create anything. Because why bother, if everything sucks? Definitely one of the most dangerous blocks you can run into, I think.
The solution, as with all of these walls, is to be kind to yourself.
Your critical eye improving is emotionally taxing, but it’s also an opportunity for great growth! It’s not easy, though. To get through it, you have to really confront what you don’t like about your work and target your weaknesses, and then you have to put in the time to try and improve them. That’s tough.
But self study doesn’t have to be a solo activity. Talk with your friends, seek out communities of creators, and follow resource blogs, channels, etc. I really think the best thing you can do is surround yourself with other creators, I’m in a few discords and hang out in the creative section of various forums etc
But this is really important: The act of targetting your weaknesses in order to improve them is going to make it REALLY easy for you to lose track of what you like about your work, and can in fact compound the issue and make you only focus on your flaws.
So, be kind to yourself. If you’re not happy with what you create, take the time to critically analyse your work. What don’t you like?
What do you like?
Don’t lose track of what you like while you study the things you’re less confident about, and with some patience and work your skill will catch up with your eye again.
I really can’t emphasise enough how important it is to not lose track of what it is you like about your work. The biggest motivation killer is always going to be falling out of love with your work, so do everything you can to prevent yourself losing the joy of creating.
Like, sure, a work might be technically perfect, but did you enjoy yourself while creating it? If you always ensure the answer to that is yes, the mismatch between your critical eye and your skills will be easier to handle because at least you’re still enjoying yourself, you know?
[An optional brief introduction, no longer than 2 - 3 sentences, perhaps where you elaborate on the #ownvoices of your manuscript, or pointing out certain things in your manuscript that the agent asks for. I reiterate that this paragraph is optional. Unless you have a very specific reason to be querying this agent—for instance, if they tweeted an MSWL for a heist novel and you’re querying a heist novel—there is no relevance, so don’t include this paragraph.]
[The first paragraph of your summary introduces the world, the main character, and their Normal. For instance, Cynthia lives in the times of a pandemic and works to continue living in their new normal. Every day, Cynthia chooses to get up and keep living and making the most of their situation while trying to find something to do to be useful.]
[The second paragraph of your summary introduces the plot. To continue with the above idea, Cynthia has been tasked with trying to find a cure to coronavirus, but all they have to work with in their home is duct tape, tangerines, Tylenol, and a never-give-up attitude.]
[The third paragraph introduces stakes, aka what will happen if Cynthia doesn’t discover a cure with the resources they have at home. Luckily for them, however, a woman named Jane they had a one night stand with needs a place to crash after she was evicted. Cynthia agrees to let her stay as their roommate, especially because Jane brings with her the missing ingredient to the cure for coronavirus, a magic bean she stole from a giant–but there’s only one magic bean. If Cynthia and Jane can’t find a way to make more beans, they might be sent to the realm of giants forever.]
[The closing paragraph goes like this: Complete at 89,000 words, THE MAGIC BEAN is an Adult contemporary fantasy with potential for a companion novel. I believe it will appeal to fans of Erin Morgenstern and Naomi Novik. Briefly explain who you are and share what you’re comfortable with about yourself—I say I’m 26, headed to grad school for archiving, and that the book is #ownvoices for genderqueer representation. Also mention if you have any connection to the publishing industry. I mention who I was previously represented by, why we amicably parted ways, and that I’ve mentored in many writing contests.]
[Final closure: Thank you for your time and consideration. I look forward to hearing from you!]
[Best,]
[My name]
[My phone number and, though optional, my twitter handle]
*i’ve been in the publishing industry for nine years now, have mentored many authors who went on to be published by the Big 5, and worked in writing contests to help writers, not only with their manuscript, but with their pitch and query letter and comps etc. i know what i’m about 😉
I challenge you to stop what you’re doing RIGHT NOW and think of one (1) thing that you’re excited about for your WIP. Even if you haven’t worked on it in ages due to writer’s block or Real Life Responsibilities or WHATEVER, just find ONE THING that you’re excited about. One thing that you like about your WIP.
Write it down. Pin it up in your work space.
Tomorrow, think of another thing about your WIP that excites you. Pin that up in your work space too.
Keep doing that until you’re excited for more things in your WIP than the things you dread writing, i.e. saggy middles, difficult endings, character arcs, whatever you’re stuck on right now.
If you’re planning on one day turning your manuscript in to literary agents and publishing houses, you need to make sure it’s formatted correctly. In many cases, your manuscript will be skipped over if it isn’t done to industry standard, so here’s the basics that you’ll need if you don’t want to be ignored. Before I get started, please know that this is aimed specifically at fiction manuscripts. If you’re writing non-fiction or a memoir, the expectations will be different, so it would be wise to Google what you need.
The Basics
Make sure your font is 12 point Times New Roman, Courier New, or Arial. These are the only three fonts you are allowed to pick from.
Your spacing should be 1 inch on all sides of the text. This is the default on most word processors, but double check your settings just to be sure.
Your text should be double spaced.
All of your indentations must be a half inch. Do not press indent. Instead, drag over the top arrow on the ruler to have every new paragraph automatically indent.
The Title Page
The top left-hand corner of your title page will have all your personal information. They want to see your name, address, phone number, e-mail address, the novel’s genre, and word count.
Your novel’s title is allowed to be between 20-24 point font if you want. Bold is also an option, but not necessary.
The title will appear halfway down the title page.
“A novel by [your name]” will be about three quarters of the way down the page.
The Next Pages
If you have a dedication, it will be on its own page.
If you have some sort of verse or quote, those will also need their own pages.
Do not include a page for acknowledgements.
The Chapters
Chapter titles will be 12 point font. No bolding or italics.
Chapters will start from one quarter to halfway down the page.
An easy way to format chapter headings is to press enter five or six times
Make sure you always start your chapters the same way every time.
When you start a new chapter, make sure you use a page break to bump the new chapter onto a new page. This will keep it in place so that it will never budge, no matter how much you cut out or add to the previous chapter.
Page Numbers
Page numbers will start with 1 on Chapter 1 of your manuscript. Page numbers will not appear on the title page or dedication page.
Page 1 will be labeled in the footer of Chapter 1. It should be centered.
Page 2 will be in the header of the next page.
From page 2 onward, your headers will be labeled like this:
If you insert a section break after the title and dedication pages, it will make it easier to insert the page numbers.
For the most part, this is the most important of what you’ll need to know for formatting your manuscript. I used this video as reference, so I’m trusting everything it says is true because it was made by an author who has several novels published, and because it was uploaded this year, it should be up to date.
But just remember, whenever you go to turn in a manuscript, make sure you check the website of the agent or publisher you’re trying to contact. They might have specifications that differ with the ones stated in this video, and you should always do whatever you can to abide by what they want.
The song used for sample “novel” is Captain Albert Alexander by Steam Powered Giraffe.
It’s pretty much the basics, yeah. Although you should always check the individual guidelines of every publishing house/agency as well. Most of them will either outline it on their submissions page, or have a clear and visible link to it. While these things tend to be standardized, some houses/agencies might make their own requests, and it’s always good to check as it shows you’re paying attention.
You’ll also need to write a cover letter, pitching the manuscript. Again, check what they’re looking for. Most of the time they’ll want a brief synopsis of your work, usually 300 words or under. They’ll read that before they even look at the manuscript.
