Writers’ Olympics

stadiumSilk’s Post #160 — It’s the middle of the summer, the silly season. All eyes are glued to the Olympics, a welcome relief from political campaigns. The days are hot (at least here on the left coast), the beer is cold, the burgers are on the barbie, and a bit of light-hearted blogging is in order.

Every four years the Summer Olympics reminds the world what dreams, discipline and dedication can get you. Oh, and dollars – did I forget to mention dollars?

As the spectacle of the Games gets ever more entertainingly (even gaudily) ambitious, as the athletic clothing and gear gets slicker (thanks to sponsors), and as the monumental task of hosting this behemoth of a show gets more daunting (thanks Brazil, and good luck with your post-games hangover), the soul of the Olympics endures at the very simplest level, the level where all the rah-rah and glitz doesn’t count.

At its heart, what counts is the stories of the hopeful young competitors. They rock.

Maybe others tune in to indulge their fan patriotism, or to vicariously party on. For me, the draw is the inspiring – sometimes unnervingly perfectionistic – display of physical, mental and emotional grit played out at every sports venue. People putting themselves on the line, holding nothing back, totally exposed to an audience of millions.

The degree of dedication in Olympic athletes is absolutely stunning. There are few other human endeavours, if any, that demand so much, and reward the majority of participants with nothing but personal satisfaction. These may be called games, but they are not play.

At the same time, the Olympics are at the pinnacle of a worldwide sports development system that produces the most superb athletes in history, and they keep getting better. Every Games sees new records set and a higher level of performance achieved.

Ask yourself: in what other fields are human beings progressively getting better at what they do, eclipsing the achievements of their progenitors? Go ahead. Take your time. Dah da dum de dum. No rush. I’m sure you’ll think of something people do better now than they ever have before. People, mind you. Individuals. No ideas yet?

Okay, time’s up. If you did think of something, I’ll bet you the Brooklyn Bridge that it’s some form of technological (or maybe social) progress rather than individual human achievement.

Oh, sure, there are constant advances in technology, and it’s easy to confuse an improvement in the performance of things with an improvement in the performance of people. After all, it’s people who invent these newfangled things. But, sorry, no. The people who invented computers and air conditioning and charter schools and AR-15 rifles and Facebook were very clever, but they weren’t smarter than Aristotle or Galileo or Newton or Tesla or Einstein.

But imagine applying the whole Olympic idea to other kinds of endeavour … writing for instance. Could writers, through lifelong training and obsessive striving, reach literary achievements never before imagined? God knows most of us don’t do nearly enough obsessive striving or disciplined training on our own. No wonder many writers find themselves stumbling over everyday hurdles.

(Oh, I can’t commit to writing 2,000 words a day, I … have a job, have a family, have a vacation coming up, have a headache. So do Olympic athletes. See what I mean?)

Yes, I think this is just what we all need. An Olympic system for developing awesome writers. We need to get into training, people. No more butts on the couch. Get up and put those butts to work, uh, in a chair. Build those vocabulary muscles. Work on your plot spins and twists. And stick those landings at the end.

My modest proposal is to develop an Olympic style system to measure writing performance, because, well you know, what gets measured gets done or something like that. Just for starters, here are some top-of-my-head suggestions for events in the Writers’ Olympics. Please feel free to add your own!

Speedwriting Events
This is a series of sprint and long-distance race events in which writers must sit in a room full of desks and produce a fixed number of words – for example, a 100 word sprint, a 5,000 word marathon, and so on. Points for speed are then adjusted by making deductions for grammatical and syntax errors, as judged by editors. Further deductions are also made for quality deficits, as judged by critics. Note: the writing might be fast, but the judging will be slow, just as in real life.

Vocabulary Weightlifting Events
Giving new meaning to “weighing your words,” these events challenge writers to lift the efficiency and creativity of their work through the power of language. Various exercises, such as short fiction, poetry and essay, are judged on technical points and artistic merit. Originality earns extra credits, but competitors who push too far will receive gibberish deductions.

Storynastics
Writers perform plotting routines in a variety of fiction genres, such as mystery/suspense, thriller, romance, action and sci-fi/fantasy, meeting strict requirements for inclusion of a beginning, a middle and an ending. Technical points are awarded for story structure, plot twists, pacing, reversals and climax. Points for artistic merit are given for originality; story flow; balance of description, action and dialogue; and characters. Deductions are made for awkward transitions, intrusive backstory and unresolved subplots.

Rewrite Hurdles
First draft short fiction manuscripts are submitted in time trials, then edited by an eliminations judging team, with each minor edit deducting one point off a perfect score of 100, and each major edit deducting 5 points. The 10 top-scoring writers continue on to the finals, where they do a time-limited, blind rewrite, and are ranked by their ability to anticipate and clear the original editorial hurdles assessed by the judges, earning points for every correction of an identified fault. This is not only a deadline competition, but also a mind-reading contest.

Unpublished (and even published) writers often bemoan the difficulty of getting published, getting recognized, breaking through, dealing with the emotional trauma of rejection slips. Yes, it’s daunting. And it does sometimes seem like a lottery. I’m as guilty as the next person of thinking this way.

But, seriously, it’s a highly competitive field, just like sports. How many of us can truly say we put the time into training and learning, do the grinding work of writing and rewriting and re-rewriting, build up our strengths and relentlessly work on our flaws the way Olympians do? How much do we sacrifice in anonymity for our craft? What mental toughness do we cultivate to give ourselves the resilience needed to face inevitable failures and rejections – and then carry on anyway?

So, friends and writers, the next time you find yourself struggling with this ambitious goal of writing – a goal you chose for yourself – try thinking a bit more like an Olympic hopeful.

The part-timers, the short-cutters and the half-hearted are – let’s face it – probably not going to get to the big show. They can still enjoy writing recreationally, kind of like the way I enjoy the odd sailboat race. It’s all good. Even if an expectations adjustment may be required.

But really big success – like becoming a bestseller in a highly competitive marketplace – takes really big effort. “Overnight success” is mythical. Yet hard work does pay off: we’re watching it on our screens in Rio right now. Even for the also-rans, pride in the achievement of getting to the elite level of Olympic sports is the reward of a lifetime.

And here’s the good news for writers: in Olympic competitions, there are no do-overs. But in writing, there are. And there’s no age limit.

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