Showing posts with label writer's life. Show all posts
Showing posts with label writer's life. Show all posts

Saturday, June 22, 2019

The definition of success

Novel Spaces is celebrating its 10th anniversary! We hope you've enjoyed the popular posts from our archives which we've shared with you over the past months. This one was first published on October 25, 2012. Enjoy! 


By Jewel Amethyst


While watching the local newscast, I heard a reporter introduce a prominent doctor as a successful surgeon, before proceeding to recite a long list of his achievements.  I turned to my husband and asked sarcastically, “So if another surgeon doesn’t accomplish all that he has, does that make him an unsuccessful surgeon?” 

My husband shrugged nonchalantly and responded, “I guess it depends on how you define success.”

I smiled.

When I first decided to publish my stories, my idea of success was getting a traditional publisher to publish my story.  At that time, I was not thinking about self-publishing and (now shamefacedly) like many authors a few years back, I didn’t think of self-publishing as being successful.  But now that I have gotten my work published, and spent three years without another in print, my idea of success has changed.

What makes a successful author?  Is a successful author a prolific author?  I can think of one Pulitzer Prize winning author who only published one book.  Harper Lee is by any measure a successful author.  Not only did she win the Pulitzer Prize in 1961, but her book, “To Kill a Mockingbird”, is considered an American classic and is assigned reading for English Literature in most middle and/or high school classes.  Yet Harper Lee is not prolific.

Is a successful author a rich author?  Well in that case the successful authors are few and far between.

Is a successful author on the NY Times bestseller list?  That is one measure of success.  But does that mean any author who is not on the NY Times bestseller list is unsuccessful?

Is a successful author published by a traditional big publishing house?  I’ve seen many successful authors who have self-published, even some producing bestsellers.  I’ve seen huge publishing houses publish books that tank.

What I’ve concluded is that what defines a successful author is dependent on the definition of success.  And that definition is not only subjective, but is also dynamic.  The definition of success as a writer is constantly changing for me.



Saturday, June 8, 2019

Holding the book you wrote

Novel Spaces is in its 10th year! Over the coming weeks we'll be featuring some of the most popular posts from our archives. This one was first published July 19, 2010.


By Kevin Killiany

Arrived home from work on Friday to find a box from Simon & Schuster on my doorstep. Inside were ten copies of Star Trek Corps of Engineers: Out of the Cocoon -- an omnibus of former e-books that includes my own Honor. I know from my experience with Orphans in Grand Designs that even though Honor has been on the market for half a decade, more people will read it now that it's part of a "real" book than bought the digital version. I anticipate a deluge of one, maybe even two, emails and nearly a dozen first-time visitors to my Livejournal (which is not about writing as much as I meant for it to be).

The book itself is beautiful (though I confess for me the most attractive thing about a book cover is my name) and all pages seem present. I am particularly satisfied to be sharing this volume with three of my favorite compatriots from my brief tour in the Star Trek writing stable. Phaedra Weldon has been a good – though long distance – friend for something like a decade. We met in Trek, and at the Oregon Coast Writers' Workshops, and wandered into BattleTech together. She has gone on to write very successful urban fantasies and keeps threatening to build a young adult urban fantasy series around a trio of psychic sleuths that includes two of my children. William Leisner and I were in Strange New Worlds #s IV and V together. But for me his greatest claim to fame is that he was once willing to collaborate with me on pitching a Star Trek novel to Pocket Books. (As I recall it was a DS9/Powerpuff Girls crossover.) We didn't get the contract, but I enjoyed brainstorming our way through the plot and outline together. Though I've never met him in person, Bob Jeschonek and I used to correspond fairly regularly. He has one of the most interesting minds I've met; his "Whatever You Do, Don't Read This Story" (in Strange New Worlds III) remains one of my top-10 favorites of all time – in any genre.

I will never forget the first time I saw the anthology containing "Personal Log," my first professional sale. It was May of 2001, and I was rounding an endcap in Barnes & Noble, en route to the science fiction section, when I unexpectedly found myself nose-to-nose with Strange New Worlds IV. I let out a falsetto yelp (followed by a big show of looking around as though I could not imagine where the sound had come from) then snatched the book from the shelf. I read my story standing in the aisle, then bought the book so I could take it home to show my wife Valerie.

One thing I noticed then, something that's been a constant every time I've first held one of my books: There is a particular thrill to holding a book you have written – or have had a part in writing – in your hand. Most singular is the fact the volume has no weight; it seems to hold your hand up by the sheer energy of its existence. And that thrill has not diminished. Though I no longer yelp, I still experience a frission at first contact with the physical reality that has sprung, concrete and irrefutable, from weeks and months of thought and effort and creative discipline. Though this spark is not what drives me forward as a writer, as a reward for work well done, it's more than cool.
I cannot imagine ever growing tired of that moment.

So now I have ten – make that nine, since my youngest has appropriated one – copies of Out of the Cocoon. One of them will be awarded randomly to a person who tells me she or he would like it in their comment.


Monday, April 15, 2019

Hurry Up and Wait

Novel Spaces is in its 10th year! Over the coming months we'll be featuring some of the most popular posts from our archives. This one was first published February 9, 2010.


By Liane Spicer

This writing business is hell sometimes. No, not the writing writing, but the waiting that never ends. We wait for agents to get back to us. Agent in the bag, we wait for editors to get back to them. Then we wait for the agent to get back to us with the editors' verdicts.

We wait for the sale. For the galleys. For the advance check. For the release. For reviews, royalty statements, sales stats... It all adds up to years of waiting. During this time we obsess. We wonder if the agent/editor ever received the script, and are convinced that if they did they're using it as a footstool to reach the toner on the high shelf of the office supplies cabinet. No matter what stage of the business you're at, it seems, the waiting just never, ever ends. I've read of writers going through this same waiting, wondering and despairing hell with their thirteenth book.

What's a writer to do? Apart from going crazy checking the inbox 40 times a day, and the Amazon stats 60, that is? Here is a by no means exhaustive list of the things I do in my waiting time:

Twiddle thumbs.
Read blogs.
Compare search rankings for novel #1.
Fiddle with widgets.
Shop online catalogs.
Work, albeit distractedly, at the day job.
Fantasize about the perfect writing life - the one where writing pays the bills.
Create wish lists for every category of consumer item.
Drink wine.
Engage in text message flirty war of words with favorite ex.
Eat chocolate.
Eat almond crunch cookies.
Just eat.
Apply to MFA writing program I swore I'd never start.
Sink hours on social media sites. (Don't look at me like that - at least I don't tweet!)
Paint the bedroom.
Paint the living room.
Paint my nails.
Stare into space.
Wonder, often, whether writing for publication is a form of insanity.

Yes, I'm a neophyte. But what do the real writers advise? They tell you to write, that writing keeps your mind off the waiting. I'm ready to begin listening. Today, for the first time in many moons, I completed almost 2,000 words of a brand new novel in one sitting. It felt good to watch the demons crawl off and lick their wounds for a few hours.

The pros are right. Getting deeply involved in a new world and new characters is the only answer.

So, how do you manage the waiting game? Come on, let's have it, the good and the bad.



Friday, March 1, 2019

How to Not to Anecdote

Novel Spaces is in its 10th year! Over the coming months we'll be featuring some of the most popular posts from our archives. This one was first published February 7, 2015.


By Che Gilson




Friday, February 22, 2019

Two Kinds of Writers

Novel Spaces is in its 10th year! Over the coming months we'll be featuring some of the most popular posts from our archives. This one was first published August 27, 2010.


By Charles Gramlich

At our first faculty meeting of the year, a fellow named Jeff Howard, a social psychologist, spoke to us. Now, I often don’t find such speakers very interesting but I really enjoyed what Dr. Howard had to say. And though he was primarily talking about student types, I think his ideas apply to writing, as well. Of course, I tend to think most everything applies to writing. Below, I’ve extended Howard’s ideas to writing. These are my interpretations, not his, so I hope I got his basics down right.

First, Howard suggested that there are two kinds of people in the world: “Performance Oriented” and “Learning Oriented.” Performance Oriented (PO) folks come into every new situation looking to “prove” something to themselves and others. Generally, that means ‘proving’ that they are smart and capable. Thus, PO writers want to show others and themselves how smart they are in their work. PO individuals also tend to believe that writing is a “talent” rather than a learned craft, and PO folks tend to believe that if something requires a lot of “effort,” then that reveals less “talent.”

Learning Oriented (LO) folks come into new situations looking to improve themselves. Their main goal is to learn “how” to do a particular thing, and they don’t doubt their ability to learn that material. LO folks believe that “effort” controls outcome and is the key to success. They don’t equate less effort with a sign of greater talent.

A key difference between PO and LO folks shows up when a “failure” occurs. Say the writer approaches a major magazine publisher with a story and gets rejected out of hand. PO individuals take the failure as a sign of lack of talent, and often develop a sense of helplessness, which leads them to either quit writing or to lower their sights. The PO writer may think things like: “I just can’t do this.” If the same rejection comes to an LO writer, the response is quite different, something along the lines of: “OK, that didn’t work. What do I have to change to make sure I’ll sell my next story to that magazine?” The LO writer then begins generating ideas and strategies to improve his or her work to the point required for success.

Dr. Howard went on to say that Americans “take in the PO attitude with the water” as we grow up and that the vast majority of us are PO when we need to be LO. He does believe we can move people away from PO toward LO. Here’s my take.

The “two kinds of people” thing is always an oversimplification but it can be a useful one. I believe Howard is definitely onto something here. For his “taking it in with the water,” I suspect what he is getting at is that all children really begin life as PO. Most of childhood seems to be about proving oneself to others, both adults and peers. And children, being small and inexperienced, are going to have quite a few failures and naturally look to someone else to tell them how to do better. The LO attitude itself is a product of education and experience, although certain cognitive (thought) processes need to develop along with the training and experience.

I think I definitely began my writing life as a PO kind of person. I don’t think I was trying to show others how smart I was as much as I was trying to show myself that I was capable of writing material good enough to be published. Then came the failures. I definitely remember thinking, “I just can’t do this.” And if I hadn’t had a few small successes here and there I quite probably would have quit. I did understand, though, that the route to success most often comes through sustained and directed effort. I began putting in that effort, and was rewarded with more successes. I could see that I changed things and they “worked.” Out of that I really developed the LO attitude.

I’m not sure one ever becomes completely LO, though. I will always believe that there is an element of innate talent in many peoples’ successes. That’s the biologist in me talking. I also still suffer at times from self-doubt; I wonder if I really “can” do this. Most of the time, though, I’m going to try anyway. And if I fail, I’m going to study harder and try again.

How about you? PO? LO? SOB? Something else I haven’t thought of?


Friday, February 8, 2019

So, you're a writer? Let me annoy you for a bit...

Novel Spaces is in its 10th year! Over the coming months we'll be featuring some of the most popular posts from our archives. This one was first published May 22, 2015.


By Liane Spicer

Back in April Dayton Ward wrote this post about the things people say to writers, which gave me the idea to do my own version. Every question/remark below has been said to me--by relatives, friends, or total strangers. As you can tell from the responses I wish I had made, this sort of thing brings out the very best in me. I deserve gifts of chocolate for not strangling anyone--yet.

Why don't you try to get your book on Oprah? 
Do you have any idea what I write? Do you have any idea what sort of book Oprah promotes? Do you have any idea how...  Sigh. Never mind.


I need some quick money to cover my bills while I wait for my severance payment to come through, so I'm going to write a book.
ROFL. ROFLMAO. Bwahahahaa! That's a good one... Oh--you're serious?


I'm not much of a reader but I'm writing a book. I'll send you the first draft and you can fix it up and get it out there for me as you know about this stuff.
Sure I will, you lazy SOB. That's what friends do. Because instead of writing my own books, I'd like to spend a couple years polishing your first draft, researching markets, submitting to agents and editors, following up, promoting, etc etc etc. Yeah, that's what I do because, you know, I took about 15 years to learn this stuff so I could do all your work for you.


So--you're writing the great West Indian novel?
No, I'm writing the great Nahuatl erotic sci-fi lesbian vampire novella. I'll let you know when it's out.


Can you get your agent or editor to read my manuscript? [Asked by total strangers]
Of course. Because that is what my agent and editor do--read manuscripts by people their clients do not know, recommended by said clients who have no idea what or how you write. This is the way we build trust in the author-editor-agent relationship.


So how much do you make? Give me a ballpark. [Said with a condescending smile.]
Frankly, it's bad manners to ask people probing questions about their earnings. Even if you know them. Even if you're family. What possible use can this information be to you? Until such time as I ask you for a handout [read: never] what I earn is none of your [expletive] business. Upside: You've given me a great opportunity to practise concealing my anger behind my mild-mannered facade while fantasizing about planting my foot up your smug rear end.
Are you getting a private jet?
I'll let that pass because you're technically still a child. A money-obsessed pest of a child, but a child nonetheless. I doubt I'll ever be into ostentatious status mega-symbols so if I ever strike it rich you'd never know it--unless you sneak into my shoe closet, maybe. Now get out of here before I whup your precocious butt.



Friday, February 1, 2019

Be Aware Who's In the Room!

Novel Spaces is in its 10th year! Over the coming months we'll be featuring some of the most popular posts from our archives. This one was first published February 14, 2015.


By Sunny Frazier

This is my favorite anecdote from my career so far.

There used to be a small writers conference called Bare Bones. The San Diego Sisters in Crime put it on and it was in a church camp in the hills of Julian, CA. The site has since burned down in one of the forest fires.

I was pretty distraught when I walked in to register. My friend J.A. (Judy) Jance was talking to someone and she motioned me over. She wanted to know why I looked so upset.

I told her that a week ago, I'd sent two of the narc detectives I worked with to go check out a chemical drop from a meth lab at one of the Indian rancherios. I was getting phone calls that children were playing in the river where the chemicals were seeping. On the way to the site, another call came from dispatch that a man was chasing his parents around with an ax. My detectives were the closest in the area and they responded. One of the detectives shot and killed the man.

"Today's the day he's coming back to work and I feel I should be there, not here," I explained to Judy. "They said it was a good shoot but what's a good shoot to a young Mormon kid?"

"Honey, sit with us and talk," said her companion.

I really didn't glance at the woman, but I declined. She insisted, patting the seat emphatically. I finally turned to look at her.

"You're Sue Grafton," I exclaimed.

"Yes, I am. Now honey, just sit right down and tell me all about it."

The rest of the conference she kept me close. She wanted to come and visit my narcotics team, but that's not allowed. Not even if you are the #1 female crime writer in the world.  


Tuesday, January 1, 2019

Not another top ten list

Novel Spaces is in its 10th year! Over the coming months we'll be featuring some of the most popular posts from our archives. This one was first published January 11, 2010. 


By Liane Spicer

'Tis that time again when we share our goals for the new year with everyone else. Sick of reading other people's lists? I'll be merciful - after all I could have subjected you to my Top 1000 resolutions that were made to be broken. Instead, I'll just list my Top three writing goals for this year:

Goal #1: Write more.
Phyllis' handy timer gave me the idea of setting my cell phone to alarm when I sit down to write. I've begun by setting it for 30 minutes, and it's amazing how fast those half hours fly by! Invariably, I find myself resetting it to give myself more time. People, this works!

Goal #2. Organize.
It's difficult for me to balance the various compartments of my life so that everything gets the attention it deserves. We all juggle a lot of stuff: day job, school, children, spouse or significant other, writing, household chores, correspondence, reading time, dreaming time. If I have a fairly structured schedule for doing each, there's a much greater chance of managing at least some of it than if I had no plan at all, and writing might not get edged out so easily.

3. Limit Internet time.
I have to confess to 'net addiction. I simply can't rationalize any more the hours I spend flitting around on Amazon, for example. It occurred to me recently that a simple move such as unplugging the modem cable from my laptop when I sit down to write makes a whole lot of sense. (There are benefits to not having wireless access in the house.) At the very least, I won't be distracted by the chime of Google Notifier every time an e-mail drops into my inbox. [Edited to update: Alas, WiFi is now ubiquitous and that Notifier went the way of the dinosaurs many years ago. Everything else is still relevant, though.] Checking e-mail throughout the day has also got to go. Once in the morning and once at night should be sufficient.

There you have it - three small goals (note that I'm avoiding the word 'resolutions') to revolutionize my writing life in 2010. [And again in 2019!] Happy New Year!


Thursday, November 22, 2018

Writer's Crossroads

Novel Spaces is in its 10th year! Over the coming months we'll be featuring some of the most popular posts from our archives. This one was first published November 28, 2011.


By Carol Ottley-Mitchell


Three children had fallen into the crater of a volcano and I had no way to help them get out.

To make matters worse, they were my children, or they had been for the last few weeks and four chapters of my WIP, the fourth book in the Caribbean Adventure Series.

I was as stuck as they were, unable to move the adventure forward. I was suffering from the much discussed writer's block. Finally, after staring at the page for many more days, (dare I say weeks?) than I care to mention, I remembered a bit of advice about overcoming a block. That writer suggested that one solution to writer's block was to rewrite the scene, come at it from a different angle.

So, I, very reluctantly, took the kids back the way they came out of the volcano and took a second shot. It worked. This time they found a solution to that issue and moved forward to the next.

What techniques do you use to kick start your writing if it stalls?


Thursday, November 15, 2018

A Call to Action- Literally

Novel Spaces is in its 10th year! Over the coming months we'll be featuring some of the most popular posts from our archives. This one was first published July 22, 2016.  



By Amy Reade

This week a trifecta of events led me to an unwelcome realization. Ordinarily self-knowledge is a good thing, but not so much in this case.

First, I made an appointment for a physical. You know what that means- I’m going to have to step on the scales. A grim prospect, at best.

Second, the coup attempt in Turkey following closely on the heels of the horrific attack in Nice, France, mesmerized the world, including me.

And third, my Fitbit has been remarkably silent over the past seven days. No buzzing to let me know I’ve hit 10,000 steps, no notification on my phone to congratulate me for achieving some kind of milestone.



I’m sedentary.

There, I said it.

I am a writer, so much (read: all) of my time is spent at my desk or at a table in the kitchen or at the library, tapping away on the keys of a computer. I don’t get nearly as much exercise as I should.

I need to get moving, and not just because it’s good for my physical health (I’m sure you’ve heard the oft-repeated phrase “sitting is the new smoking”). It’s also essential for my mental health. I need to exercise more often in order to get my mind out of my work-in-progress, out of all the bad news permeating the airwaves, and out of the endless lists of marketing assignments I’ve given myself.

I know it works (it’s not as if I never move). I always feel refreshed and ready to get back to work after I walk my dog or go for a bike ride. I just need to do it more often. I need to make exercise a conscious part of my daily routine, and lately my physical movement has been sadly lacking.



So I have an idea. I was brainstorming topics for this post, my first for Novel Spaces, and I hit on something I think might work. I know I’m not alone- there are lots of people, and many writers included, who don’t get enough exercise.

My idea is to start a Facebook group where we share our exercise goals and encourage and inspire each other to get moving by posting what we do for exercise and how long we spend doing it. I’m in a closed Facebook group called “What’s for Dinner?” in which members post photos of the meals they cook each night at dinnertime. It’s a fun group and I would love to participate in an exercise group that operates the same way. Anything you do in motion counts as exercise- weeding the garden, walking the dog, biking, swimming, playing with your kids. Anything.

I’ll even start by telling you my first goal: I want to have more energy and more focus when I write and when I’m marketing. I believe physical exercise is going to help me achieve that.

You’ve heard of writers who sprint? That’s when writers get together in person or virtually or on the phone or in any other way and write together for a specified period of time. In terms of actual sprinting, I only run if I’m being chased (please note, the photo above was taken two years ago). But if anyone is interested in setting up a time to exercise together virtually, I’m up for that, too.

Of course, exercise is more fun when there are built-in rewards, so I want us to share our rewards with each other, too. You want to reward yourself every time you exercise? Cool. Want to reward yourself once a week? Great. After every five workouts? That’s fine, too. The rewards are up to each member and can be anything- dark chocolate is my personal favorite.

If you’re interested in joining the group, mention it in the comments below. I’ll create the group (I’m thinking of calling it “The Write Way to Exercise”) and add you to the list of members.

So what do you say? Are you in?


Thursday, November 8, 2018

Too Old

Novel Spaces is in its 10th year! Over the coming months we'll be featuring some of the most popular posts from our archives. This one was first published February 7, 2012.


By Liane Spicer

Courtesy KXCD.com
There comes a time when you have to look reality in the eye and accept that you're just too old for some things. You're no longer a spring chicken. You don't have the resilience and stamina you once had. You're a writer of 'a certain age' - whether 30, 50 or 70 - and you have to focus on efficiency, on putting your valuable energy where it counts. You're too old...

     ...to take crap lying down. Writers have been groomed to be submissive and accepting, to grovel before all-powerful publishers, editors and literary agents. You're too old for that, and now you don't have to any more.

     ...to listen to the people who say you can't start a company at your age, take up spear-fishing, go back to school, or write and publish a book or ten. Don't allow pessimists, naysayers and scaredy-cats to keep you from realizing your potential.

     ...to keep on trying to save people who don't want to be saved.

     ...to be in love with people who don't value, respect and love you back.

     ...to keep abusing your body by feeding it garbage and starving it of exercise.

     ...to hoard your treasures. Wear the pretty outfit; break out the special lingerie; use your good stuff.

     ...to keep blaming your parents for your failings in life.

     ...to allow people to stomp on your spirit. Excuse yourself from that conversation.

     ...to say yes when you mean no, and no when you mean yes. Say what you mean, and mean what you say.
   
     ...to take people for granted. Show appreciation.

     ...to take life for granted. Count your blessings every day, be happy you woke up, and make good use of your time.

Take a long, hard look in the mirror with all the lights on and tell me: aren't you too old for all of the above? I've discovered that attaining 'a certain age' can sometimes be the most liberating experience of all.


Monday, October 15, 2018

Selling Yourself

Novel Spaces is in its 10th year! Over the coming months we'll be featuring some of the most popular posts from our archives. This one was first published July 17, 2012 . 


By Dayton Ward

In the world of professional publishing, we as writers are both a product and a service, and it’s up to us to present ourselves in this manner. We’re of value to a potential editor and/or publisher; we just have to convince them of what we already know, right?

Oddly enough, I tend to suck at selling myself.

Specifically, I still struggle when it comes to introducing myself to editors, agents, and other publishing professionals. Take this past weekend, for example: Comic-Con International in San Diego. Tens of thousands of people milling about the exhibitor’s hall, and in the midst of that chaos were booths sponsored by publishers big and small. You’d think it’d be easy enough for a guy like me, a reasonably accomplished if not well-known sort, to walk up to one of these booths and feel comfortable talking shop, but as usually seems to be the case, I often was second-guessing myself at the moment of truth. It wasn’t such a problem if I at least knew the person in the booth by name or perhaps even had exchanged earlier e-Mails with them, but a cold introduction?

Awkward.

It’s a lot like when you finish a story and you’re getting up the courage to mail it to the faceless editor you’ve never met, only here you don’t even have the cushion of distance to ease your uncertainty. It’s you and your prospective client, face to face, and everything hinges on the next words to come out of your mouth...assuming you can make your mouth work.

I did have some success, of course. I met several writers in fields outside my own, and we spent a few pleasant minutes here and there swapping war stories before exchanging info. Likewise, a couple of good discussions were enjoyed with friends and colleagues, during which plans of one sort or another were hatched. And I did introduce myself to a few new folks at publishers’ booths where conversations ensued, and I came away with contact information and an agreement to communicate after the mayhem of the con was behind everyone.

Did I take full advantage of the opportunities presented by the con? Honestly? No, owing mostly to my own nervousness with such situations. I always feel out of my depth at these things. Part of me always wonders if the con’s hectic nature just makes attempting any sort of introduction worthwhile. Would the business card I gave the booth person go in a pocket, a box, or the trash? How many other hopeful, hungry writers were selling themselves to editors and publishers just as I was? Quite a few, obviously, and while I imagine most of the people working those booths took such introductions as to be expected in the con environment, I still was wondering if their first reaction as I walked up was something along the lines of, “Oh, great. Another one.”

I suppose it’s worth noting that I’m better at dealing with these scenarios now than I was a few years ago. A little better, anyway. I’ve refined how I present myself and what I do, how to say what I want to convey, and shortening the amount of time it takes to say it while still communicating the appropriate and relevant information. As my resume has grown, so too has my confidence in selling myself, but there’s still that little bit of anxiety taunting me whenever I enter these situations. The rational part of the brain-like thing renting space inside my skull tells me the only way to get over this self-doubt is to keep at it; continue preparing myself as I would for any other job interview, and convincing that other person that I’m a seasoned professional with valuable skills to offer.

From discussions I had over the weekend, I know I’m not the only writer who feels uncomfortable selling themselves. Even some veteran pros—people I’d never having any kind of trouble with this—have confided that they still feel that momentary apprehension in these types of situations. “Just keep working at it,” they tell me.

How about you? Are you a natural seller, or does it come a bit harder for you? Are you a smooth talker, or do you feel like your tongue sometimes wants to fight you over every word? How do you prepare for making these types of introductions, and do you have any particular success (or horror) stories you want to share?

Saturday, September 15, 2018

How to Not Write Novel #2

Novel Spaces is in its 10th year! Over the coming months we'll be featuring some of the most popular posts from our archives. This one was first published September 7, 2014.  


By Che Gilson


There are in fact many, MANY, more reasons NOT to tell people you are writing a novel than there are reasons to tell people what you're up to.

Let's look at a few of them:

1- I don't know if you know these people (I sure do), they are the people who endlessly tell you about their book but never actually write it. Let's face it, it's a lot funner, and easier, to just talk about writing a book. Actually writing it is work. Hard work. Or maybe it's just that the book has been talked to death. Talk about something long enough and it feels like it's already written. Or maybe another, newer idea supplants it before anything on the other book can even get put on paper. 

2- People love nothing more than a parade they can rain on. And you being happy and excited about the book you're working on is BEGGING for a reality check. Don't let them rain you out! When people ask what (if anything) you are writing just say stuff. 

3- People love to tell you all about what you SHOULD be writing, and it generally  involves them and their ideas, which they've never done anything with. People also want to contribute, for I don't know what reason but this one irks me likes no one's business. Often because other people's ideas are so far OFF from what my vision is that I get really annoyed with them for daring to foist their ideas off on my work.

These are only three reasons! The responses to "I'm writing a novel." vary from actively hurtful, to poor advice, to plain discouraging. It's best to keep your work and your ideas close to the vest until you have a  finished product, or a sturdy support system.

So what are some of the choice responses you've gotten?

Wednesday, August 22, 2018

Life Lessons

Novel Spaces is in its 10th year! Over the coming months we'll be featuring some of the most popular posts from our archives. This one was first published July 22, 2010.  Enjoy!


By Terence Taylor


I had an experience the other day that left me filled with so many contradictory emotions that I feel the need to write about it. My writing has always been where I’ve gone when I need clarity. As I explain in print what I’m feeling, I often understand better what it is that I’m actually going through.

My adolescence and even my adult life is littered with lengthy, heartfelt, meticulously typed letters to lovers, friends and family detailing how I felt after fights -- explaining in the overly articulate detail of aftermath why I really won or why I was apologizing -- or as a way to release inner thoughts, positive or negative, that I had trouble expressing in person. There’s even a stack of old journals written to myself from the eighties that I’m almost afraid to re-read, remembering the highs and the lows of those years. Words have the power to bring back both the pleasure and the pain of the past, sometimes more vividly than is comfortable.

This particular event occurred at my local Chase bank, as I entered with my battered bike to get twenty dollars from my account to buy some vegetables at a local farmer’s market to make a salad. The day before I’d grilled some salmon I’d bought on sale, cooked enough for two meals, and realized that I could add it to a cold salad on a hot day, if I just steeled myself for one brief exposure to the heat and humidity to get the fixings.

I was in a good mood. The day was a classically hot and muggy New York summer Sunday, but the idea of eating a cold salad in front of the fan, in front of the computer, pleased me no end and made it worth venturing out.

A black man my age, maybe a little younger, but with a harder history, opened the door with the broad smile of someone who wanted something.

“Come on in, brother!” he said, and ushered me inside, adding that any help to him on my way out would be appreciated. I’m one of those people who will always buy a meal for anyone on the street who says they’re hungry and asks to be fed. I’d like to think I’d clothe the naked as well. But I stopped handing out cash in the nineties, as it got harder to earn and as more people, younger and in better shape than I, were asking me for it, with increasing belligerence, as if somehow it was my duty.

He had a plastic cooler next to him, and as I got my solitary twenty from the cash machine, all I could afford to take out that day, a white woman who‘d walked out as I entered came back to the door and sheepishly handed him a dollar for one of the tiny bottles of water he had on ice for sale, her eyes downcast in guilt. I finished my transaction, and turned to go.

As I approached the door, he began his spiel again, rapidly going from a fake cheerful, “Gonna help a brother out?” to snide derision as it became clear I had no intention of doing so. By the time I hit the door, he was accusing me of letting down the black race by not giving him money, and I felt a flush of embarrassment rise as I exited. Not content, he followed me out the door, and continued his tirade.

I got mad and started responding, yelled back that he was no great representative, and that I had done more for black people than he could imagine, and in return was told, “You don’t even sound black!” spat out as if it was the worst thing he could think of to say. And it was. I launched into a rant that I cut off only because I was heading across a street with my bike and didn’t want to be smeared across Fifth Avenue by traffic.

He stepped back inside the air-conditioned ATM to peddle his wares and his line. I biked down to the Farmer’s Market, angry and ashamed, without knowing why I was reacting so strongly. I understand now, of course, after taking time to process it and talking to several friends of assorted ethnicities about the encounter.

But as I fumed then and came up with all the things I could have said to put him in his place, I came back to one thing. He was a hustler and he’d hustled me. Guilt is the panhandler’s first line of offense, and he’d just clicked into a mode that had worked for him in the past with articulate middle class black folk who may feel some residual guilt that they’re doing better than their less successful fellows.

It wasn’t any great insight he was exercising, or even a truth he was revealing. It was an animal survival reflex. Tearing into him, showing off the high verbal skills he’d mocked, wouldn’t make me the winner, or make me feel any better, even if I made it past his emotional armor to get in a dig.

I was left confronting my real issue. Why do I feel guilty about being educated, being a professional black writer who owns his own home (though still broke at times between jobs), has travelled the world, written and produced hours of television seen across the planet, with two published novels? And why should I?

Of course the obvious answer is that I shouldn’t, but all my life I’ve had to deal with people, both black and white, who have tried, as so many did with Barack Obama, to define my blackness. In my Catholic high school, where my Harlem-raised mother sent me to get a grounded education she felt would be better than public school, I had an argument with two white friends who insisted that, in their words, “You’re not black. You talk like us, you like the things we do. You’re the same as us.”

To them, my manner and cultural tastes were enough to exempt me from blackness, and they meant it as a compliment in their own weird way. In their minds they were accepting me as one of them, despite my skin color, when I wanted to be accepted along with my skin color, not as a faux Caucasian, but as an articulate educated black man like the ones I grew up around.

On a family vacation trip to the Pegleg Bates Resort in the Catskills where there was no one my age to hang with, a group of younger black kids gathered around me one day, going on and on in thick southern accents that I “talked funny. You sound like that Get Smart guy!”

Neither confrontation was meant to be malign. Both were just expressions of astonishment that someone who looked one way should sound and act so differently from others they’d seen that looked like me.

I’ve never wanted to be white -- not that there’s anything wrong with it. If anything, I bemoaned the melting pot past that gave me thin lips and what I saw in profile as a ski jump nose, wanting to be have the full rounded features and dark unblemished sheen of my best friend David from down the street when I lived in Cincinnati. Most of my life I’d grown up on Air Force bases, surrounded by all races, but mostly white. I sounded like very other kid who did the same. We all grew up without a regional accent. “The newscaster voice,” we used to call it as kids. We sounded like the TV shows we watched no matter where we lived, a flat, neutral, slightly nasal accent, like a British actor impersonating an American.

Honey, I can “code switch” with the best of them in a room of black folks at ease, dropping the professional veneer many of us affect at work to be taken seriously. But my default is that nasal Get Smart guy, and on the phone, I’ve had more than one misunderstanding because of the way I sound -- a blessing and a curse, as they say, that has worked both to my advantage and disadvantage. I know I am not alone in any of this, and that we’re all susceptible to having that button pushed. Which brings me to my realization.

Why have we allowed ourselves to culturally support the idea that educated black people are somehow losing their heritage if they rise up the economic ladder into the middle class and above, when for generations we were told to do exactly that by the best and the brightest among us? There’s no reason I should feel guilty for living up to guidelines laid down by Frederick Douglas, W.E.B. DuBois, Zora neale Hurston, Malcolm X, Angela Davis, Martin Luther King and a host of others.

My emotional reaction, the flash of shame and guilt that the panhandler’s hurled abuse raised in me isn’t his fault -- it isn’t the fault of everyone who’s ever told a black kid that doing well in school is somehow a disgrace, that speaking “proper English” well enough to get a good job is turning your back on your people.

It’s my fault for listening, for letting myself diminish the years I spent staying up and studying to get passing grades (not always by as wide a margin as I would have liked), the years I spent working when I could have been partying (not that I didn’t party at all -- oh, I did!), the time I spent becoming the person I am today, a guy I finally appreciate.

That guy is black -- not African-American. My gene pool is far too diffuse for me to claim any one branch of my family tree as my sole origin. Like most of us, I am a Black-American mutt, a wonderful genetic soup cooked up from the races, cultures and widespread geographies that combined to make me. I carry them all proudly, the good and the bad, as we all do in this gumbo called the United States, as divisive as we are.

Short of recent immigrants, no one here is pure anything. That is the chemistry that drives this nation forward -- a distillation process that reduces everything and everyone down to a common goal -- the pursuit of happiness -- without diluting the ingredients it took to make it.

I am resolved not to be embarrassed ever again by who or what I am, or how I am perceived by others. I am a proud black gay man who took decades to find his ethnic identity and self-image in a world and time that offered few choices I could embrace, forcing me to forge my own path. I know my politics, and they are left and liberal. I know my own mind and it is rich and full of ideas that no one has had before, as are all our heads.

That is what the encounter at the ATM has given me -- the right to be me, as I’m finally able to allow everyone else the right to be who they are, as they please, as long as it doesn’t harm others.

To do no harm -- the essence of the Hippocratic Oath -- the heart of any good religion worth believing in and of any good God. I don’t have to hurt the haters. In the end they only hurt themselves by hating. After a lifetime of Catholic education I’m learning again to turn the other cheek, to feel empathy for the man who basically spat on who and what I am, only because I wouldn’t give him what he wanted for doing something I didn’t want done.

In the end we are all only as good as we can be. How well we do is for someone or something greater than us to judge, if we need to be judged at all. I’m just trying to put down my own gavel, and accept the world for what it is, others for who they are, and maybe, just maybe, if anything, trying to leave things here just a little better than they were when I arrived.

If getting from shame and anger to that quiet comfortable place is where writing can take me, then I’m happy to keep doing it. More than anything, that’s why my writing is so important in my life, why I make time for it, and why I open my mind to where it takes me. It tells me who I am.

And if I see that guy in the Chase bank again, I’ll probably give him a dollar this time, without worrying about what he’ll do with it, or passing judgment conjecturing on what brought him there. As far as tuition payments go, it’s pretty reasonable, and I’ve paid far more for lessons far less valuable.

Wednesday, August 8, 2018

Are We Writing Unhealthy Endings?

Novel Spaces is in its 10th year! Over the coming months we'll be featuring some of the most popular posts from our archives. This one was first published July 14, 2010.  Enjoy!


By Stefanie Worth

It’s come across this blog before: the inherent perils of the “butt in chair, fingers on keyboard” action that separates authors from wannabe writers. However, in recent months, findings have been reported that connect this action – or lack thereof – to greater perils than not hitting word counts or finishing manuscripts:

DEATH!

I’m so dramatic, I know. But the reports are unsettling and maybe the supernatural storyteller in me will weave some creepy tale with the facts one day. For now though, I’ve taken their reality to heart. A news piece on National Public Radio a few months ago stated the following:
"The other consequence that we're starting to understand now is that when we're sitting for prolonged times such as, you know, in front of the television or long hours in front of the computer screen at a desk, there's an absence of muscle contractions. And there's extensive evidence that indicates that muscle contractions are so essential for many of the body's regulatory processes - for example, the breaking down and using of glucose. So when we're remaining idle for prolonged periods, we're disrupting those body's typical regulatory processes.”
That summation comes from David Dunstan of the Baker IDI Heart and Diabetes Institute in Melbourne, Australia. The focus of Dr. Dunstan’s report was the dangers of too much TV watching. But as you can see from the paragraph above, the body doesn’t really differentiate between being a soap opera-loving or crime show-addicted couch potato and a dedicated, page-churning writer.

Who knew these great stories we’re penning are setting us up for more than critical acclaim and personal triumph? Heart disease and – according to this report – an increased risk of death from all causes lurks behind every hour we refuse to budge from our tasks.

The part that got me is that – again, according to the study – even those who exercise regularly are at risk. UGH. So what are we to do?

Simple. Get up.

The study recommends rising from sitting every 20 minutes. How do we do this? Stand up and type? Use my blog colleague Phyllis Bourne’s egg timer technique and force ourselves to stand, stretch and walk around the desk at regular intervals?

I suppose we could also find ways to make our muses more efficient. I read blogs by writers who profess to whip out thousands of words in a single hour. I’ve yet to master that technique, but it would certainly cut my sitting time by about 75 percent.

Mind you, I also have a day job that involves a lot of sitting, so I feel like I’m in a double bind. What I’ve done there is to get out of my comfy desk chair when the phone rings and take the call standing up. I also check my email standing up, maybe rocking from one foot to the other. I’m trying to be more conscientious about drinking my 6-8 glasses of water every day, but instead of chugging from a long-lasting 32 ounce bottle, I use a glass. This forces me to get up and walk to the kitchen area to refill my glass every time it’s empty.

And, yes, I’m working on utilizing my Bally’s membership. I actually attended a spinning class a couple of weeks ago and have forced myself onto the elliptical machines several times since.

Weight gain seems to accompany every manuscript I’ve finished and that’s a cycle I know I need to break. But now, I also know I need to fit continuous motion or, at minimum, twenty minute work stoppages into my day job and the job of my heart. In a perfect world this would be my solution at both places. (Video here: http://www.myfoxdc.com/dpp/mornings/verizon-workstations-keep-employees-exercising-062910 )


What’s yours?



Wednesday, August 1, 2018

Anti-writing

Novel Spaces is in its 10th year! Over the coming months we'll be featuring some of the most popular posts from our archives. This one was first published September 10, 2009. Enjoy!

By Liane Spicer

The story has been burning inside of you for a long time. It's like a child waiting to be born and you feel all the excitement, the anticipation of wanting to watch it grow up and go off into the world, maybe even make its mark on the world.

Only, there's another part of you that gets in the way of all this, a part that doesn't want to see you sit down and devote a sizable chunk of your life-time to a creative pursuit like writing a novel. You might never finish it, and even if you do it might never be sold. Or it might sell and drift quietly and quickly into the oblivion that awaits the vast majority of the hundreds of thousands of other novels out there.

The thing to do is to feed this other part, the part that will stop at nothing, and I mean NOTHING, to get you to NOT write. The key to keeping this non-writing part of you alive and well is distractions. Here are a few easily mastered techniques to help you NOT write the book(s) you know you were meant to write.

  • BLOGS. Own multiple blogs. Write posts everyday. Accumulate masses of blog pals and read and respond to their posts every day.
  • WIDGETS. Welcome to the amazing world of widgets, those neat little gadgets that will allow you to place cute stuff on your blog, website or CPU, from live webcam feed of beaches to colored balls that bounce all over your desktop. Weather updates, clocks, maps, slideshows, a cat that sits on your desktop and does absolutely nothing - they're all available and free, thousands of them, enough to keep you happily NOT WRITING for years to come.
  • RESEARCH. Internet research, specifically. You're a writer, right? So everything is possible grist for your mill. Those hours you spent reading every comment on the Rihanna vs. Chris Brown debacle? Research. YouTube? Research. Porn sites? Research. Gossip columns? ...You get the drift.
  • FACEBOOK. Hell, it's networking, right? Writers need to do that. How else will they connect with other writers and readers? Okay, future readers, then, if the book hasn't been written yet. Which it hasn't.
  • SHOPPING. Take Amazon to heart. Embrace it. Accumulate links to every online catalog you can find. There are millions of items for you to peruse, compare and save to wish lists, gift lists, shopping lists, and carts. Then - proceed to checkout. Amazing what you can do with a few clicks these days...
  • PROCRASTINATION. This is tried and true and it works because it allows you to lie to yourself. You're not sayin' you won't write the damned book. You're just sayin' you won't write it RIGHT NOW.
  • HOUSEWORK. This is a great one because it's legitimate - sort of. And since housework is never done you can fall back on it at any time and have sparkling proof that you were too busy doing 'real' work to write.

Writing is done in solitude so there's nothing to prevent us from distracting ourselves
ad infinitum. We're accountable only to ourselves - and accountability can be put off till tomorrow. ;) Please feel free to weigh in with your own tried and true techniques for NOT WRITING that book of yours that's dying to be born.

Liane Spicer