The Rubik's Cube and The Great Gatsby

Practice makes perfect, but versatility spawns greatness.

I became a serious cuber when I finally accepted the truth of this statement.

No single method of solving the Rubik's Cube – no matter how perfect – will give you insight to truly master the cube.

Believe it or not, there are scores of methods for solving the Rubik's Cube.  Some are optimized for speed, others for ease of learning, and yet others to use the fewest possible moves.

It wasn't until I learned a method to solve the Rubik's Cube blindfolded, that I understood things on a more profound level.

Solving the cube sighted is rather reckless.  While you focus on one portion of the cube, you don't really care what happens to the majority of the other pieces.  And you have the freedom to 'wing it' and decide what to do next after each move.

But solving the Rubik's Cube blindfolded is a huge departure.  You are constrained in what you can do because you must keep track of the original position of every piece.  You must take great care to move each piece into its correct location.  This requires meticulous planning.

Many of the lessons I learned from my blindsolving method could be applied to my normal, sighted method.

What about writing lessons?

I'm willing to bet F. Scott Fitzgerald achieved his greatness because of similar lessons he learned along the way.

His first two novels were significantly character-driven and somewhat lengthy.  A stark contrast to his masterpiece, The Great Gatsby.  But if you look at what was happening in his life prior to that you'll see some of his versatility coming through.

He had been struggling financially and began writing short stories to make ends meet.  He later wrote a play called The Vegetable.  Each of these experiences heavily influenced what would become The Great Gatsby.

He no doubt applied some of the lessons he learned writing short stories.  And this produced the concise novel we have come to love.  But also, you can see the influence of having written a structured play.  The Great Gatsby is a very plot-driven novel.

So, if you write novels, try writing short stories.  If you need help writing dialogue, try writing a play.  If you write romance, try writing an action thriller.

There are countless techniques and methods for writing.  Each one has something special to make you a more versatile writer.  And don't worry if any one particular piece doesn't work – just remember Fitzgerald's The Vegetable was a commercial failure.  But it led to his most recognized achievement.

What unexpected writing lessons have you discovered?

Go Ahead, Quit! It's Not Taboo.

Super Square-1

I admit it.  I gave up.

Now, defeat is not really my thing, but sometimes it's just better to tuck your tail between your legs and move on.

To be specific, I gave up on a puzzle.  Yeah, that's the one.

It's not that there was anything wrong with this particular puzzle.  In fact, based on my love for twisty puzzles, like the Rubik's Cube, there's every reason why I should have stuck with it.

But I couldn't.  This one simply wasn't right for me.

Perhaps it was because I could not adapt and apply the same techniques I was already familiar with.  I don't know, but it felt completely foreign to me.  So with scores of other puzzles under my belt, this one stands alone.  Unsolved.  Abandoned.

But why should I dwell on it?  Does it really diminish the value of the other cubes I have solved? Does it really diminish how I perceive myself as The Puzzling Mind?

Who cares?

Our society puts too much emphasis on 'winning' anyway.  Right, Charlie Sheen?

Sometimes 'winning' is just realizing when you've reached your limit.  Or realizing when you are not progressing any further.

Sometimes quitting is the right thing to do.  The smart thing to do.

Take this story I have been working on for six months.  It's been written, edited, and rewritten countless times.  I turn it over in my head and struggle with why it's not working.  I cannot seem to get it right.  I can't get this particular story – done.

Nothing feels right.

The voice doesn't sound like me.  The characters feel uneasy.  The story resolves itself, but not profoundly.  In short, it's a mess.  But something has me clinging to this failure.

Why can't I let it go?  Is it really so wrong to shelf a story?

Well, I'm going to do something taboo!  

I quit.

There, I said it.  I quit.  I'm going to quit this story.

And look, I'm still here!

Society may scorn me, but I don't need its approval, or its permission.  I quit, because if I stay hung up on this futile story, I will never move on to others.  I'm going to accept defeat with this piece and simply move on.  I'm going to learn from this.  This particular story isn't right for me.  And I'm not going to dwell on it.

This feels great!  What a relief!  Life is too short to worry about what people may think.  Get over it!  If you're a writer, write.  If you're a puzzler, solve puzzles.  Not everything is going to work.  Not everything is going to feel quite right.  That's part of the process.

I give you permission.  If it doesn't feel right, give up.  Quit.



Are you hung up on something for the wrong reasons?  Please share your experience in the comments.

Maybe They're Just Not Interested

I'm a show-off.  I can't help it.  But I'm not alone.  Because I know at least once in your childhood you have said, "Hey Mom, look at me!"

Face it.  Everybody likes to be the center of attention.  Unfortunately, not everybody can be your Mom.  Therefore, some people simply won't be impressed.

I learned this lesson the hard way just after I learned to solve the Rubik's Cube.  Every chance I got, I demonstrated my new skill to everybody.  Well, the problem was that I didn't figure out how to solve the Rubik's Cube until adulthood.  Now, if I were still 8 years old, perhaps the story might be different, but most working adults have no interest in seeing another so-called adult playing with a toy.

Even still, I found a small percentage of people who were genuinely fascinated with my Rubik's Cube abilities.  They truly appreciated what I was doing.  They actually cheered me on.  I had found my ideal audience.

Find your target audience.

Now think about your writing for a moment.  At some point you need to accept the fact that you cannot please everybody.  This is a fact.  This is a guarantee.  But don't sweat it!

Some people simply are not going to be interested in your writing.  They are not your target audience.  Try to ignore the naysayers.

The great thing about writing fiction is there are so many different styles, genres, subjects, and lengths to write; you are bound to find readers to please.  When you do find your target audience, they will clamor for your writing.

Remember not every reader out there is going to be like your Mom, but they do exist.  So keep writing!


Have you ever felt discouraged targeting your writing to the wrong audience?

The Boy With Thirteen Toes

Special Thanks to Serenity Photography on Flickr

The Boy With Thirteen Toes

A boy was born with thirteen toes,
No wetting mucus lined his nose.

He never grew to six feet tall,
And learned to walk before he crawled.

He lurched and hitched and dragged his leg,
One special shoe, soft as a beer keg.

Toes ached and bruised, shoved into that shoe,
What in the world do you think you might do?

To curse the sky would make much sense,
Yet this boy wore a bright smile as his defense.

Story Structure and the Rubik's Cube

What can the Rubik's Cube teach you about story structure?  Everything you need to know to create dramatic stories!  Here's how.

Using the rule of threes.

Most people learn a layer-by-layer method when they first learn to solve the Rubik's Cube.  Simply put, you solve the cube like stacking layers of a wedding cake.  Solve the first layer, then the middle layer, and then the last layer.  Poof.  It's solved!  Easy as 1,2,3.

Most stories can also be broken down into three main parts.

You probably know that a story has a beginning, a middle, and an end.  Obviously!  But, what this really means is that a story must have the following three fundamental elements:

1. A conflict
2. Character(s) struggling to overcome the problem
3. The resolution (either won or lost)

That's it.  Include these basic elements and you have the most common story structure.

For example:


What is the conflict?
I must solve this puzzle, but there are 43,000,000,000,000,000,000 possible ways to further mess it up.

What is the struggle?
I plan to solve the puzzle one layer at a time.  Complications arise.  If I try to solve the pieces in the middle layer, I risk messing up the first layer pieces.

What is the resolution?
My actions bring me to a turning point.  I now have two layers solved.  Here, the stakes are highest.  With every move to solve the remaining pieces, I might have to start over from the beginning.  I am fully committed and must risk it all to move forward.  I will reach a final resolution.  


On the one hand, I may achieve my goal and solve the cube successfully.  On the other, I may not, and I chuck it against the wall in frustration.  Either way:  "The End".  The story is resolved.

You'll find these three elements in almost every classic story, from "Romeo and Juliet" to "Cinderella".  The amazing thing about Shakespeare is he didn't even have the Rubik's Cube as a guide and yet he still wrote masterful stories.


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How To Write Fiction

This image originally appeared in my Don't Over Think It post.

If you don't know what you're doing then everything seems impossible.

Take the Rubik's Cube.  When you open the package, an "instructional booklet" will fall out.  It may as well be a booklet on Quantum Theory printed in Aramaic.  Really, it's supposed to be a booklet of hints to make solving the Rubik's Cube achievable.  Fun even.

It won't take long to realize that booklet is useless.  If you persist and don't smash the cube into a million tiny pieces, then you will eventually discover a "Beginner's Method" to solving the Rubik's Cube.  These are all over the Internet.  These methods actually used to appear in books – (you know, those paper thingies).

It may seem awkward at first, but the instructions provide a series of tried and true steps and before you know it, Viola!  You have a solved cube.  But there are many different ways to skin a cat.

I have studied many different methods over the past few years.  This gives me a lot of flexibility to adapt different tricks and techniques for each situation.  I achieve the same end state, a solved cube, but I'm not forced to do it the same way every time.

The same is true for writing.

If you don't know what you're doing, getting published may seem impossible.

When you first become serious about being a "published" author, it's natural to start with the tried and true.  What did Stephen King and Nora Roberts do to get published?  The real question to look at is what did they do to create fascinating stories for their readers?

But don't get too confident too soon.  Learning about character development is one thing, but don't expect to be able to put 20-30 three-dimensional characters into your story right away.  You'll need to focus on the craft at first.

What works for King or Roberts, might not work for you.  And that is just fine.  Don't just try to emulate their processes either.  There's a lot of talk in the writer community about outlining or not outlining.  Writing every day or only on the weekends.  Editing as you go or not looking back until you have a completed draft.

The truth is.  It really doesn't matter how you get there.  You need to allow yourself to understand what works for you.  For any given situation.  You may be experienced writing romance but trying to sell thrillers.  You need flexibility.

So, whether you use a "Beginner's Method" straight out of a writing craft book, or an "Advanced Method" gleaned from the likes of King or Roberts, you will find some basic and universal truths.  These truths are what makes writing worth reading.  That's why Nora Roberts has published more books than I have probably read in my lifetime.

What is the best writing lesson you have learned?