Hello writers!
I've plunged into creating a Facebook page for The Lit Coach. I find all kinds of interesting, enlightening, educational and just fun info, clips, blogs, etc. throughout the week I want to share with you all, but don't want to burden your inbox, or this blog. So now, if you'd like recent news (and more) centered around publishing, writing and the writer's life in general, search for The Lit Coach on Facebook and start following. And of course, share with your friends!
Thanks for joining me! Have a great weekend.
Don't forget, Monday we're back with Chuck Palahniuk, Chelsea Cain, Suzy Vitello Soule and Diana Page Jordan. Clarity through Workshopping.
TLC
Join me each week for blogshops that will inspire creativity, boost productivity and remove challenging obstacles from your path. Here's to your publishing success!
Saturday, August 28, 2010
Wednesday, August 25, 2010
Clarity Through Workshopping: A Blogshop with Portland's Bestselling Writing Group
Welcome back to part two of Clarity Through Workshopping with New York Times bestselling authors Chelsea Cain and Chuck Palahniuk; award winning broadcast journalist and multi-media maven Diana Page Jordan and author Suzy Vitello Soule.
If you didn't read last week's blogshop about the distinction between MFA workshop programs and those outside the MFA structure, please do so for a quick refresher on the ground we covered as well as The Group's responses to my questions regarding the value of a good writer's workshop and their role within. Lots of great perspective.
This week, Suzy, Chelsea, Chuck and Diana share their perspectives on the benefits of a multi-genre workshop and the importance of balancing your passionate artistic side with your focused, disciplined and productive side - a challenge we all face because let's face it...it's a lot of fun letting our expressive side flow, but to be a productive writer, we need balance and we'll discuss that. As we experienced last week, everyone has a unique perspective.
I asked the group:
You all have such distinct and different literary voices. What are the benefits of working with a group with such broad range?
Suzy: When the core group of us began, we were more closely aligned in this regard. Over time, we’ve purposefully invited diverse voices to our table, broadening our range and inviting us to apply our, let’s call them preferences, in new and exciting ways. Employing some of the tenets of minimalism to the thriller, for instance, and exploring how they might be useful in bringing readers closer to the page, is only possible because we HAVE a thriller writer or two among us.
Chelsea: Huge. Everyone brings such a range of gifts to the table. Plot. Character. Voice. Objects. Senses. It’s like Super Friends, where all the heroes had powers that complimented one another. (Suzy, I’m pretty sure, has X-ray vision. Don’t tell her I know.) When you build a house the city doesn’t send just one inspector to look over things. They send an electrical guy, and a pipe guy, and a structural guy. They’ve got all sorts of guys. And all those guys have their little kingdoms of knowledge, and if any one of those segments doesn’t stand up to scrutiny, you’re going to have real problems with your house.
Chelsea: Huge. Everyone brings such a range of gifts to the table. Plot. Character. Voice. Objects. Senses. It’s like Super Friends, where all the heroes had powers that complimented one another. (Suzy, I’m pretty sure, has X-ray vision. Don’t tell her I know.) When you build a house the city doesn’t send just one inspector to look over things. They send an electrical guy, and a pipe guy, and a structural guy. They’ve got all sorts of guys. And all those guys have their little kingdoms of knowledge, and if any one of those segments doesn’t stand up to scrutiny, you’re going to have real problems with your house.
Diana: We are different spokes on one well-functioning wheel. Usually, opinions meld and build on each other. I can’t recall any dissension in Workshop. Even when writers disagree, new viewpoints, opinions, ideas spring from the differences. It’s actually very cool how it works. Maybe it’s because we all put the work above all else, including ego.
Chuck: A well rounded writing workshop ought to feel like karaoke night, singing in front of friends, but you've written your own song. It really does help train you to present your work publicly.
TLC: I like the picture Chelsea draws with a good workshop being like a thorough house inspection. A good writer knows the rules within their chosen genre. A well rounded writer knows good craftsmanship, appreciates language, knows good storytelling and effective information dissemination. Think of yourself as a Renaissance writer - multi-talented.
Meanwhile, Suzy can bring a taut writing style effective within the thriller genre to her own work, making her crafting and storytelling more effectively precise...and maybe a thriller writer can learn a few things from how writers like Suzy and Diana may linger over just the right string of words that will exquisitely capture a sentiment, feeling or thought.
Chuck hits on an interesting and important point...presenting your work to a multi-genre group of writers can do nothing but make you sharper and more confident as a writer who will one day be reading your work aloud to a group of strangers. You grow as a writer only when you step outside your comfort zone - in the context of this blogshop that means not only stepping outside your genre comfort zone but presenting your work to those outside that genre as well.
You don't have to like thrillers if they aren't for you; likewise with more literary prose - but it's important to appreciate their structure. Open your mind. The best writers spend their lives reading cross-genre.
TLC: Your passion for writing is evident in your storytelling. I coach my writers to use passion not only as a creative force but as a fuel that will propel them forward to take action in achieving the level of success they desire. This takes a good amount of artistic and personal clarity. What is your best tip for writers struggling to find a balance between their passionate, artistic self and the productive, disciplined, professional writer?
Suzy: Interestingly enough Monica Drake and I used to co-teach a workshop called Fueled by Distraction where we explored this very thing. The danger, I suppose, is when a creative person begins to feel dead, or gets overwhelmed by the demands of the normative life we all need in order to be productive human beings who engage in a range of things from feeding children to keeping up with the bills to helping loved ones cope with illness, etc… Being aware of the mind-body connection is essential. Understanding that various emotions pass, that being human is a dynamic process, these realizations are paramount in the self-definition of the functional artist. Taking some time to develop a formula that works for you is my advice here. A long walk in the woods helps me. Always. Here’s a little verse that imposed itself on me today during my traipse through Forest Park:
Sleep more, drink less. Say no three times more than you say yes.
TLC: I agree and I love the mantra. Creative types tend toward the more emotional end of the "feeling" spectrum, be it passionate love, bold confidence, red hot anger, gut wrenching self-loathing and everything in-between. The best writers are able to process those feelings, harness that power as fuel and put that drama on the page in a way that is relevent to their characters and the story or for nonfiction writers, your message.
Chelsea: You can’t make a living as a writer until you learn to write when you don’t want to. And you can’t be a good writer, until you learn how to edit.
TLC: Well said, Chelsea. When you routinely schedule time in your day to either write, research or connect, then you know you're on a new level creatively and professionally. You're moving forward one way or another.
Diana: Listen. Listen carefully to others’ opinions. Ask questions. Allow the information to swim inside, until intuitively, your work finds its own balance. One big idea I’ve picked up, is to honor your work by giving it a top priority on the calendar and the clock.
TLC: That's a great way of looking at it, Diana. It's pro-you time, which is what Suzy meant with her mantra. Writers, well not just writers, a lot of people, tell me about their "crazy" day or their "insane" morning. It's only crazy or insane if you choose it to be so. How you react to daily events is up to you. A great way to start being pro-you is to value your time. Don't let others jeopardize your time and clarity of mind by imposing their "craziness" into your life.
Chuck: Not to sound coarse, but... screw the "productive, disciplined, professional writer." As a weak person with poor impulse control I know that I'll do the activity which brings me the greatest pleasure. If I can continually find ways to make writing fun, then I'll write. And workshop functions as a weekly party where members can test their work to see if it elicits laughter or sympathy or moans; there's no more honest feedback than those spontaneous exclamations from others. We all want to attend more parties, and the ticket for entry is written work. Preferably, double-spaced and stapled.
TLC: Ahh, but Chuck, you've written several New York Times bestsellers, a few which have been made into successful movies and more that are in production. You've written 13 books in 14 years and countless articles for myriad publications. If that's not a product of a discipline or productivity, I don't know what else to call it...addiction to a successful writing career? At least it's a good one!
So, what else do we need to keep in mind when it comes to your workshop/party/karaoke night, Chuck?
Chuck: We seem to have an unspoken rule to never comment on the content of a story or scene; instead, we always brainstorm about the successful execution of that content. This seems crucial to not alienating eachother. For example, if a writer wants to depict a chainsaw murder no one will question the value of that subject, but we will debate how to depict it effectively. Group members are encouraged to write about anything -- but to do so with skill and craft.
TLC: Respecting the craft, skill and the artist - a great foundation for a successful workshop.
Many thanks to this wonderfully talented and diverse group of writers who took time to share their perspective and good advice with us!
Your exercise this week, writers: Like I said, the best writers read EVERYTHING. Take a fieldtrip to your book store, library or e-reader of choice and buy/download something you wouldn't ordinarily read but would be open to. Leave your book snobbery at the door and explore the sci-fi aisle, maybe romance or take a look at something in spirituality or travel.
Also, continue to explore joining a writing workshop or start your own! I want to hear how it goes, so share your news!
Have a fruitful week, writers!
Have any workshopping tips to share? Tell us all about it. Post your comments below.
About the Contributors:
Suzy Vitello Soule writes for a living. Her work has been published in various journals, including Mississippi Review, Better Homes & Gardens and Willamette Week. Her personal essay, "Dancing With the Paper Rose", was included in the anthology The Spirit of Pregnancy, by NTC Press. Suzy has won several awards for fiction and poetry, including The Atlantic Monthly’s Student Writing Award, STORY Magazine’s Famous Fiction Competition, and Willamette Week’s Short Fiction Award.
Chelsea Cain is the author of The New York Times Bestselling thrillers EVIL AT HEART, SWEETHEART and HEARTSICK. Her next book THE NIGHT SEASON will be out in March 2011. All take place in Portland, Oregon, and focus on Det. Archie Sheridan, rainbow-haired journalist Susan Ward, and Sheridan’s lovely nemesis, the serial killer Gretchen Lowell.Chelsea’s books have been published in over 20 languages, recommended on “The Today Show,” appeared in episodes of HBO’s “True Blood” and ABC’s “Castle,” and named among Stephen King’s top ten favorite books of the year. NPR included her book HEARTSICK in their list of the top 100 thrillers ever written. According to Booklist, “Popular entertainment just doesn’t get much better than this.” Entertainment Weekly adds, “In addition to spiky characters, Cain has a crisp voice, a wicked sense of humor, and an imagination for all the horrors that can unfold in a locked basement.” Chelsea lives in Portland with her husband and remarkably well-adjusted five-year-old daughter.
Diana Page Jordan is an award winning broadcast journalist, initially drawn to that industry as she wanted to be as close to the truth as possible. Her mission is to inspire, entertain, educate and enlighten.She is a news anchor, reporter and talk show host, based in Portland, Oregon, originally from New York City. Diana has interviewed hundreds of best-selling authors of all genre for her own show on AP Radio, for an audio segment of her creation on Barnes and Noble dot com for XM Satellite, Westwood One TV and radio in Portland. She has also reviewed books on Martha Stewart Living and Sirius and the local ABC-TV affiliate. Diana has written about authors for The Costco Connection and had three cover stories in the 2009/10 for The Writer's Digest. Her nonfiction is published in four anthologies. She's also written a memoir, screenplay and novel.Diana writes BookBlog and hosts a weekly show, Open Book with Diana Page Jordan at PDX.FM.
Chuck Palahniuk is the author of several New York Times bestselling books including CHOKE, DIARY, FIGHT CLUB as well as a contributor to myriad publications. Often shocking, sometimes controversial but always unique, Palahniuk's body of work has earned a world-wide devout following and a solid place in American fiction.
Next Up On The Lit Coach's Guide
Join us next Monday as bestselling authors Chelsea Cain and Chuck Palahniuk, along with freelance writer, Suzy Vitello Soule and award-winning broadcast journalist, Diana Page Jordan continue part two of our blogshop, Gaining Clarity Through Workshopping.
We're wrapping up Clarity as a theme for the month and these members of a successful Portland based writing group will be ready to share more tips and perspective on gaining creative and professional clarity through the role of a writer's workshop.
See you there. Bring a friend!
TLC
We're wrapping up Clarity as a theme for the month and these members of a successful Portland based writing group will be ready to share more tips and perspective on gaining creative and professional clarity through the role of a writer's workshop.
See you there. Bring a friend!
TLC
Monday, August 23, 2010
Killer Boots: Getting Clear about Workshopping with Suzy, Chelsea, Diana and Chuck
There are two kinds of writer’s workshops – those within the confines of an MFA program and those outside.
An MFA program will teach you the art of writing – the process of outlining, drafting and crafting with a fierce passion. Along the way, you’ll learn all kinds of technical jargon about plot structure and character development and so on. You’ll learn how to give and receive feedback constructively, (ahem, well, maybe). You’ll most likely learn a thing or two about publishing in literary journals, chapbooks, and other literary type magazines, but rarely will you hear much talk of mainstream publishing….anything outside the university or academic press system.
Then there are the writer’s workshops outside the MFA club. These range from a few like-minded friends getting together once a month to read and respond to each-other’s work to a group of well seasoned, published writers getting together weekly to read, critique and discuss their work in progress…with firm deadlines to meet from their editors.
Many writers come to me with questions about workshops from how to start one to what level of writer should be included to frequency of meeting, etc. To answer the first question, “How to start a workshop,” do your research. Start with the universities…I’m sure there’s a creative writing or English comp professor out there who’s in a writer’s workshop outside university walls. Ask your local indie bookseller, who typically knows the who’s who of your local literary scene, if they know of any workshops open to new writers. Ask your local librarian who might know of some workshops…they may be meeting there, you never know. The point is, get out of the house and ask! If you come up dry despite your best efforts, take the initiative to start your own. Ask writers you feel would contribute a certain educated voice to your group no matter their professional background…and don’t feel you need to only invite genre specific writers. Learn and explore outside your artistic comfort zone.
We’re kicking off a two week blogshop featuring members from one of the most dedicated, successful workshops in the country. You won’t find these folks in Iowa City or Irvine. And if you’re invited to join, you’d better come prepared and get over the fact you’re sharing your work with several of Portland’s bestselling authors and an award-winning journalist. They’ll come to the group with pages in hand, ready to talk shop – and so had you. Check your starry eyes at the door.
With us is New York Times bestselling thriller author Chelsea Cain (Heartsick; Sweetheart and more); freelance author Suzy Vitello Soule (a veteran of the group who’s working on a major book series right now that I can’t wait to read!); New York Times bestselling author Chuck Palahniuk (another veteran of the group and author of Fight Club; Invisible Monsters; Choke and more); and award-winning journalist, radio host and all around multi-media maven, Diana Page Jordan. For more background info, read this great article by Jeff Baker in The Oregonian.
This is going to be a longer post than usual, so get cozy.
I asked the group:
How has workshopping your material helped you grow as a writer?
Suzy: Often, a writer has a hard time separating the story in her head from the story on the page. A good workshop points out the difference.
Chelsea: I really owe every bit of my success as a thriller writer to my writing workshop. I came to workshop four or five years ago with a whole lot of training in non-fiction writing and no clue how to write fiction. I mean, no clue. I had never taken a fiction writing class. I had a draft of my first thriller HEARTSICK, and we went through the thing chunk-by-chunk week after week. Along the way, I got a master class in fiction from some of the finest writers out there. Writers with MFAs. Who know stuff. I use those lessons every single time I sit down to write.
Diana: Absolutely, totally, without a doubt, it has. Having “grown up” in radio – where I would go to a site, interview several people, break down the audio, write the script, four scripts usually, and then deliver the story on the air within an hour – I had no clue what second drafts were all about. I also learned the concept of unpacking – which, when I joined Workshop – seemed to be the favored comment from Chuck, Chelsea, and Suzy for my writing. Our group was that small when I joined, which helped, too, in the midwifing of a traumatic memoir. I didn’t even know what a workshop was until Chuck serendipitously invited me into Workshop. That invitation is a magical story, which made it into my memoir.
Chuck: Being among talented, dedicated writers, people who value the same artistic passions I value and have been trained by a wide assortment of brilliant past teachers, this gives me continued access to a far greater variety of recreational drugs.
TLC: Very funny, Chuck. Suzy touches on a good point – a good workshop is not only about art appreciation and being passionate about your story but translating that story that’s been mulling around upstairs, the one that’s been keeping you up at night, to the page through careful crafting. Good writing is equal parts craft and art.
How has it helped you gain clarity about where your story is going and who your characters are?
Suzy: Again, the creative process can give a writer a false sense of what has been conveyed—how strongly a character has been drawn, or how well the writing handles transitions. Objective, intelligent feedback is like having a second, more removed brain. It’s a great starting point for revision.
Chelsea: That’s not really the job of the workshop. That’s the writer’s job. If you don’t know where your story is going and who your characters are, all the writing workshops in the world can’t help you. This is one of the other things that the writing group has taught me – if you, as the writer, don’t do the work before you bring the piece in to workshop, it just wastes everyone’s time. Ideally, to get the full benefit of feedback, any work you bring in should be as good as you can possibly make it.
Diana: My BS in Journalism and Communications (University of Florida) can get me only so far. Being in Workshop is like borrowing an honorary MFA – these writers are brilliant people. Among other things, I gained clarity about POV, arc, and other key concepts. In most cases, I didn’t even know these things had names until I stumbled over them, and the writers pointed them out.
Chuck: Not so much. Workshop serves me better by reminding me where my characters have been: other writers will recall plot points or themes I've forgotten and allow me to bring them to the fore. "Bring them to the fore" that's some fancy talk'n. If other people can see where the story is going -- I'm not doing my job well.
TLC: So, clearly this process means something different to all of you. While I totally agree with Chelsea (because I don’t wanna see your work until it’s darn near perfect), Suzy and Chuck have great points, too. Sometimes you need that reaction…that feedback to see if you’re headed in the right direction creatively and adjust if you’re not. But it all boils down to you being in control of your work and your characters.
Do you ask each other for specific feedback about what is or isn't working or are you more laid back about how the feedback comes to you?
Suzy: Completely depends on what stage the draft is at when being critiqued. With early drafts, one often wants a general, overall reaction. Once an agent or editor has asked for specific changes, our members are not shy about being very detailed regarding the feedback they’re looking for.
Chelsea: It depends on the piece. Again, in a perfect world, we only bring in pieces that we’ve done all the work on that we can – pieces that are, in our mind, finished first drafts that are in our minds, doing what they’re supposed to do. Because if we bring in stuff that isn’t “finished” and give feedback that we could have given ourselves, then what’s the point of that? But it’s not a perfect world, and sometimes we bring in stuff before it’s cooked. And sometimes we get stuck and just need help to free the ship from the iceberg. So occasionally someone will preface workshop with a particular concern, so the group can focus on that. “I don’t think the end is working here,” or “I’m looking for more ways to show who this character is.” I try not to do that because I’d rather see if any of this stuff shows up organically in conversation afterward. Maybe the end is working better than I thought, but if I plant the idea that it isn’t working then we spend the next forty-five minutes talking about it. If the trouble area doesn’t come up during conversation, then I’ll toss it around at the end of comments. “Did anyone else think the end sucked?” And I’ll see what people said then. But honestly, the group is so sharp, that if they don’t smell something foul then there’s probably not a dead body under the floorboards.
Diana: Yes, we ask each other for specific feedback, and this is true, of us all, to an individual. We each seem to feel free to follow up until we are content that we’ve “got it.”
Chuck: First, everyone in the group tells Chelsea how fabulous her boots look -- pinkie-swear, Chelsea wears a different pair to workshop every week. Second, before reading our work each of us might give a vague, technical description along the lines of, "This scene comes as the First Act Climax, but it Sets Up some big events in the Second Act and Buries A Gun I'll need for the Reveal in the Third Act." We adore Writer Plotting Jargon because it makes us feel less like writing nerds and more like International Spies.
TLC: So, like Suzy said, if you’ve got something specific you need feedback on due to an agent or editor’s comments, bring it up. While it’s important to be mindful of the feedback you’re given from your agent or editor, there will be times when the feedback you’re given from your workshop group differs...and you may see eye to eye with your group rather than your agent/editor. If this is the case, discuss it with your agent and/or editor.
And like Chelsea said, sometimes it’s not worth it to shine a spotlight on something you’re feeling insecure about when it’s a non-issue. Sometimes it’s best to not say anything at all, unless you’re really stuck, and see if your group spots it. If you’re really stuck, speak up.
Diana points to the backbone of what a workshop is all about – support and growth. To get good feedback, you’ve got to be willing to give it. A good workshop will be an almost harmonic balance of give and take between its authors.
It might not hurt to brush up on the writing jargon Chuck talks about if you, like Chelsea and Diana, haven’t had much experience with this language. And invest in some killer boots. Every international spy needs a pair.
Ok, my dears, that’s all for this week. Part two of this blogshop with The Portland Group, as I’m calling them, will return next Monday.
Your exercise this week:
If you’re already in a workshop, think of how it’s working for you and in what ways it could improve…don’t forget to examine your role in workshop. If you find there are areas that could be better…like everyone being totally prepared, address it diplomatically with the group…or the leader, if you have one. Maybe it’s an issue of feedback…are you learning from the kind of feedback you’re getting? If not, be more specific about the kind of feedback you need to get you on the right track.
For those of you NOT in a workshop, please consider joining or starting one! Try to join one that is not only focused on the art and craft of storytelling but on HOW to bring your work to an audience, if that’s your goal.
Thanks for joining us.
Have a fruitful week, writers!
Have any good workshopping tips to share? Do tell!
About the Contributors:
Suzy Vitello Soule writes for a living. Her work has been published in various journals, including Mississippi Review, Better Homes & Gardens and Willamette Week. Her personal essay, "Dancing With the Paper Rose", was included in the anthology The Spirit of Pregnancy, by NTC Press. Suzy has won several awards for fiction and poetry, including The Atlantic Monthly’s Student Writing Award, STORY Magazine’s Famous Fiction Competition, and Willamette Week’s Short Fiction Award.
Chelsea Cain is the author of The New York Times Bestselling thrillers EVIL AT HEART, SWEETHEART and HEARTSICK. Her next book THE NIGHT SEASON will be out in March 2011. All take place in Portland, Oregon, and focus on Det. Archie Sheridan, rainbow-haired journalist Susan Ward, and Sheridan’s lovely nemesis, the serial killer Gretchen Lowell.
Chelsea’s books have been published in over 20 languages, recommended on “The Today Show,” appeared in episodes of HBO’s “True Blood” and ABC’s “Castle,” and named among Stephen King’s top ten favorite books of the year. NPR included her book HEARTSICK in their list of the top 100 thrillers ever written. According to Booklist, “Popular entertainment just doesn’t get much better than this.” Entertainment Weekly adds, “In addition to spiky characters, Cain has a crisp voice, a wicked sense of humor, and an imagination for all the horrors that can unfold in a locked basement.” Chelsea lives in Portland with her husband and remarkably well-adjusted five-year-old daughter.
Diana Page Jordan is an award winning broadcast journalist, initially drawn to that industry as she wanted to be as close to the truth as possible. Her mission is to inspire, entertain, educate and enlighten.
She is a news anchor, reporter and talk show host, based in Portland, Oregon, originally from New York City. Diana has interviewed hundreds of best-selling authors of all genre for her own show on AP Radio, for an audio segment of her creation on Barnes and Noble dot com for XM Satellite, Westwood One TV and radio in Portland. She has also reviewed books on Martha Stewart Living and Sirius and the local ABC-TV affiliate. Diana has written about authors for The Costco Connection and had three cover stories in the 2009/10 for The Writer's Digest. Her nonfiction is published in four anthologies. She's also written a memoir, screenplay and novel.
Diana writes BookBlog and hosts a weekly show, Open Book with Diana Page Jordan at PDX.FM.
Chuck Palahniuk is the author of several New York Times bestselling books including CHOKE, DIARY, FIGHT CLUB. Often shocking, sometimes controversial but always unique, Palahniuk's body of work has earned a world-wide devout following and a solid place in American fiction.
An MFA program will teach you the art of writing – the process of outlining, drafting and crafting with a fierce passion. Along the way, you’ll learn all kinds of technical jargon about plot structure and character development and so on. You’ll learn how to give and receive feedback constructively, (ahem, well, maybe). You’ll most likely learn a thing or two about publishing in literary journals, chapbooks, and other literary type magazines, but rarely will you hear much talk of mainstream publishing….anything outside the university or academic press system.
Then there are the writer’s workshops outside the MFA club. These range from a few like-minded friends getting together once a month to read and respond to each-other’s work to a group of well seasoned, published writers getting together weekly to read, critique and discuss their work in progress…with firm deadlines to meet from their editors.
Many writers come to me with questions about workshops from how to start one to what level of writer should be included to frequency of meeting, etc. To answer the first question, “How to start a workshop,” do your research. Start with the universities…I’m sure there’s a creative writing or English comp professor out there who’s in a writer’s workshop outside university walls. Ask your local indie bookseller, who typically knows the who’s who of your local literary scene, if they know of any workshops open to new writers. Ask your local librarian who might know of some workshops…they may be meeting there, you never know. The point is, get out of the house and ask! If you come up dry despite your best efforts, take the initiative to start your own. Ask writers you feel would contribute a certain educated voice to your group no matter their professional background…and don’t feel you need to only invite genre specific writers. Learn and explore outside your artistic comfort zone.
We’re kicking off a two week blogshop featuring members from one of the most dedicated, successful workshops in the country. You won’t find these folks in Iowa City or Irvine. And if you’re invited to join, you’d better come prepared and get over the fact you’re sharing your work with several of Portland’s bestselling authors and an award-winning journalist. They’ll come to the group with pages in hand, ready to talk shop – and so had you. Check your starry eyes at the door.
With us is New York Times bestselling thriller author Chelsea Cain (Heartsick; Sweetheart and more); freelance author Suzy Vitello Soule (a veteran of the group who’s working on a major book series right now that I can’t wait to read!); New York Times bestselling author Chuck Palahniuk (another veteran of the group and author of Fight Club; Invisible Monsters; Choke and more); and award-winning journalist, radio host and all around multi-media maven, Diana Page Jordan. For more background info, read this great article by Jeff Baker in The Oregonian.
This is going to be a longer post than usual, so get cozy.
I asked the group:
How has workshopping your material helped you grow as a writer?
Suzy: Often, a writer has a hard time separating the story in her head from the story on the page. A good workshop points out the difference.
Chelsea: I really owe every bit of my success as a thriller writer to my writing workshop. I came to workshop four or five years ago with a whole lot of training in non-fiction writing and no clue how to write fiction. I mean, no clue. I had never taken a fiction writing class. I had a draft of my first thriller HEARTSICK, and we went through the thing chunk-by-chunk week after week. Along the way, I got a master class in fiction from some of the finest writers out there. Writers with MFAs. Who know stuff. I use those lessons every single time I sit down to write.
Diana: Absolutely, totally, without a doubt, it has. Having “grown up” in radio – where I would go to a site, interview several people, break down the audio, write the script, four scripts usually, and then deliver the story on the air within an hour – I had no clue what second drafts were all about. I also learned the concept of unpacking – which, when I joined Workshop – seemed to be the favored comment from Chuck, Chelsea, and Suzy for my writing. Our group was that small when I joined, which helped, too, in the midwifing of a traumatic memoir. I didn’t even know what a workshop was until Chuck serendipitously invited me into Workshop. That invitation is a magical story, which made it into my memoir.
Chuck: Being among talented, dedicated writers, people who value the same artistic passions I value and have been trained by a wide assortment of brilliant past teachers, this gives me continued access to a far greater variety of recreational drugs.
TLC: Very funny, Chuck. Suzy touches on a good point – a good workshop is not only about art appreciation and being passionate about your story but translating that story that’s been mulling around upstairs, the one that’s been keeping you up at night, to the page through careful crafting. Good writing is equal parts craft and art.
How has it helped you gain clarity about where your story is going and who your characters are?
Suzy: Again, the creative process can give a writer a false sense of what has been conveyed—how strongly a character has been drawn, or how well the writing handles transitions. Objective, intelligent feedback is like having a second, more removed brain. It’s a great starting point for revision.
Chelsea: That’s not really the job of the workshop. That’s the writer’s job. If you don’t know where your story is going and who your characters are, all the writing workshops in the world can’t help you. This is one of the other things that the writing group has taught me – if you, as the writer, don’t do the work before you bring the piece in to workshop, it just wastes everyone’s time. Ideally, to get the full benefit of feedback, any work you bring in should be as good as you can possibly make it.
Diana: My BS in Journalism and Communications (University of Florida) can get me only so far. Being in Workshop is like borrowing an honorary MFA – these writers are brilliant people. Among other things, I gained clarity about POV, arc, and other key concepts. In most cases, I didn’t even know these things had names until I stumbled over them, and the writers pointed them out.
Chuck: Not so much. Workshop serves me better by reminding me where my characters have been: other writers will recall plot points or themes I've forgotten and allow me to bring them to the fore. "Bring them to the fore" that's some fancy talk'n. If other people can see where the story is going -- I'm not doing my job well.
TLC: So, clearly this process means something different to all of you. While I totally agree with Chelsea (because I don’t wanna see your work until it’s darn near perfect), Suzy and Chuck have great points, too. Sometimes you need that reaction…that feedback to see if you’re headed in the right direction creatively and adjust if you’re not. But it all boils down to you being in control of your work and your characters.
Do you ask each other for specific feedback about what is or isn't working or are you more laid back about how the feedback comes to you?
Suzy: Completely depends on what stage the draft is at when being critiqued. With early drafts, one often wants a general, overall reaction. Once an agent or editor has asked for specific changes, our members are not shy about being very detailed regarding the feedback they’re looking for.
Chelsea: It depends on the piece. Again, in a perfect world, we only bring in pieces that we’ve done all the work on that we can – pieces that are, in our mind, finished first drafts that are in our minds, doing what they’re supposed to do. Because if we bring in stuff that isn’t “finished” and give feedback that we could have given ourselves, then what’s the point of that? But it’s not a perfect world, and sometimes we bring in stuff before it’s cooked. And sometimes we get stuck and just need help to free the ship from the iceberg. So occasionally someone will preface workshop with a particular concern, so the group can focus on that. “I don’t think the end is working here,” or “I’m looking for more ways to show who this character is.” I try not to do that because I’d rather see if any of this stuff shows up organically in conversation afterward. Maybe the end is working better than I thought, but if I plant the idea that it isn’t working then we spend the next forty-five minutes talking about it. If the trouble area doesn’t come up during conversation, then I’ll toss it around at the end of comments. “Did anyone else think the end sucked?” And I’ll see what people said then. But honestly, the group is so sharp, that if they don’t smell something foul then there’s probably not a dead body under the floorboards.
Diana: Yes, we ask each other for specific feedback, and this is true, of us all, to an individual. We each seem to feel free to follow up until we are content that we’ve “got it.”
Chuck: First, everyone in the group tells Chelsea how fabulous her boots look -- pinkie-swear, Chelsea wears a different pair to workshop every week. Second, before reading our work each of us might give a vague, technical description along the lines of, "This scene comes as the First Act Climax, but it Sets Up some big events in the Second Act and Buries A Gun I'll need for the Reveal in the Third Act." We adore Writer Plotting Jargon because it makes us feel less like writing nerds and more like International Spies.
TLC: So, like Suzy said, if you’ve got something specific you need feedback on due to an agent or editor’s comments, bring it up. While it’s important to be mindful of the feedback you’re given from your agent or editor, there will be times when the feedback you’re given from your workshop group differs...and you may see eye to eye with your group rather than your agent/editor. If this is the case, discuss it with your agent and/or editor.
And like Chelsea said, sometimes it’s not worth it to shine a spotlight on something you’re feeling insecure about when it’s a non-issue. Sometimes it’s best to not say anything at all, unless you’re really stuck, and see if your group spots it. If you’re really stuck, speak up.
Diana points to the backbone of what a workshop is all about – support and growth. To get good feedback, you’ve got to be willing to give it. A good workshop will be an almost harmonic balance of give and take between its authors.
It might not hurt to brush up on the writing jargon Chuck talks about if you, like Chelsea and Diana, haven’t had much experience with this language. And invest in some killer boots. Every international spy needs a pair.
Ok, my dears, that’s all for this week. Part two of this blogshop with The Portland Group, as I’m calling them, will return next Monday.
Your exercise this week:
If you’re already in a workshop, think of how it’s working for you and in what ways it could improve…don’t forget to examine your role in workshop. If you find there are areas that could be better…like everyone being totally prepared, address it diplomatically with the group…or the leader, if you have one. Maybe it’s an issue of feedback…are you learning from the kind of feedback you’re getting? If not, be more specific about the kind of feedback you need to get you on the right track.
For those of you NOT in a workshop, please consider joining or starting one! Try to join one that is not only focused on the art and craft of storytelling but on HOW to bring your work to an audience, if that’s your goal.
Thanks for joining us.
Have a fruitful week, writers!
Have any good workshopping tips to share? Do tell!
About the Contributors:
Suzy Vitello Soule writes for a living. Her work has been published in various journals, including Mississippi Review, Better Homes & Gardens and Willamette Week. Her personal essay, "Dancing With the Paper Rose", was included in the anthology The Spirit of Pregnancy, by NTC Press. Suzy has won several awards for fiction and poetry, including The Atlantic Monthly’s Student Writing Award, STORY Magazine’s Famous Fiction Competition, and Willamette Week’s Short Fiction Award.
Chelsea Cain is the author of The New York Times Bestselling thrillers EVIL AT HEART, SWEETHEART and HEARTSICK. Her next book THE NIGHT SEASON will be out in March 2011. All take place in Portland, Oregon, and focus on Det. Archie Sheridan, rainbow-haired journalist Susan Ward, and Sheridan’s lovely nemesis, the serial killer Gretchen Lowell.
Chelsea’s books have been published in over 20 languages, recommended on “The Today Show,” appeared in episodes of HBO’s “True Blood” and ABC’s “Castle,” and named among Stephen King’s top ten favorite books of the year. NPR included her book HEARTSICK in their list of the top 100 thrillers ever written. According to Booklist, “Popular entertainment just doesn’t get much better than this.” Entertainment Weekly adds, “In addition to spiky characters, Cain has a crisp voice, a wicked sense of humor, and an imagination for all the horrors that can unfold in a locked basement.” Chelsea lives in Portland with her husband and remarkably well-adjusted five-year-old daughter.
Diana Page Jordan is an award winning broadcast journalist, initially drawn to that industry as she wanted to be as close to the truth as possible. Her mission is to inspire, entertain, educate and enlighten.
She is a news anchor, reporter and talk show host, based in Portland, Oregon, originally from New York City. Diana has interviewed hundreds of best-selling authors of all genre for her own show on AP Radio, for an audio segment of her creation on Barnes and Noble dot com for XM Satellite, Westwood One TV and radio in Portland. She has also reviewed books on Martha Stewart Living and Sirius and the local ABC-TV affiliate. Diana has written about authors for The Costco Connection and had three cover stories in the 2009/10 for The Writer's Digest. Her nonfiction is published in four anthologies. She's also written a memoir, screenplay and novel.
Diana writes BookBlog and hosts a weekly show, Open Book with Diana Page Jordan at PDX.FM.
Chuck Palahniuk is the author of several New York Times bestselling books including CHOKE, DIARY, FIGHT CLUB. Often shocking, sometimes controversial but always unique, Palahniuk's body of work has earned a world-wide devout following and a solid place in American fiction.
Friday, August 20, 2010
...and then there were four!
Ok, now it's official! Monday kicks off a two part (at least) blogshop featuring award winning journalist, radio host, and all around multi-media maven, Diana Page Jordan; New York Times bestselling shock author, Chuck Palahniuk; Portland's best kept secret, Suzy Vitello Soule and NYT bestselling thriller author, Chelsea Cain.
In their own distinct voices, they'll be sharing their thoughts (rather) freely on the power of their unique Portland based workshop group, what to do with feedback and how to get it and how they balance their passionate, creative self with the disciplined, professional self...or not (but I don't buy that). You won't want to miss it! Grab a friend and join us Monday!
Have a great weekend, all!
TLC
In their own distinct voices, they'll be sharing their thoughts (rather) freely on the power of their unique Portland based workshop group, what to do with feedback and how to get it and how they balance their passionate, creative self with the disciplined, professional self...or not (but I don't buy that). You won't want to miss it! Grab a friend and join us Monday!
Have a great weekend, all!
TLC
Thursday, August 19, 2010
Next up On The Lit Coach's Guide
Join us Monday for a special blogshopping session with members from Portland's most unique writing group. New York Times bestselling author Chelsea Cain, freelance author, Suzy Vitello Soule and award winning journalist, radio host, speaker and author Diana Page Jordan will be joing us to share their perspective and tips about workshopping. More from the group may hop in on the blogshop as well...stay tuned!
Have a great weekend, writers!
TLC
Have a great weekend, writers!
TLC
Monday, August 16, 2010
Q&A with The Lit Coach
Last week I posted I'd be answering your questions to help you gain clarity with where you are in your process. Based on the volume of questions, I think Q&A with The Lit Coach will now be a monthly feature on the blog.
"I'm in the middle of writing a proposal for my first nonfiction book. Should I send a query to agents/publishers or should I go ahead with sending the proposal instead? If I have not published anything before, what kind of information should I include in my author bio?"
Ameena D.
TLC: I'm going to focus on your last question first because I have a feeling you may have more work to do before you start searching for the right agent or editor. "Every author starts somewhere" is something I hear often. While this is true, your prospective agent or editor is going to want to see some kind of publishing track record. Even if it's a blog with a strong following, put it down and don't forget to tell them how many subscribers you have (to impress an agent, your subscription list should be over 100, minimum).
If you have yet to publish anything, yet to secure a strong following...all of which goes into a sturdy platform (for more info on this read my former blogshop with publisher, Glenn Yeffeth), take a step back and assess the readiness of yourself as an author and your proposal as a saleable product. Agents rarely acquire an author with just "a neat idea." You must have some kind of publishing track record...articles, your own blog or blog contributions, contributions to e-zines...you publishing material that's akin to the general message of your proposal...something with your signature voice. Then you'll really have something impressive to show an agent!
That said, your "About the Author" section isn't just about what you've published...it's about YOU! While there's no need to give them your resume, an agent or publisher will want to know what kind of person you are...a little about what makes you tick. Many authors are uncomfortable talking about themselves. You don't need to fill your bio with hyperbole, just the facts with a little flavor. Imagine your life as a book...what would your book jacket read?
Now, to answer your first question: Once you've developed a stronger platform, I would strongly suggest you first research agents who have a track record of getting work like yours published. Query them and only send them the proposal if they request it. Most agents will have strict guidelines of how they like to receive your work - stick to these guidelines. Most editors don't take submissions from unagented writers, so save yourself the postage and time. Focus on finding the right agent first. E-queries seem to be the best way to communicate, but don't send attachments. Send a simple, one page query letting the agent know who you are, what your book is about and what unique qualities you have that make you the perfect person to write this book. There are several great books on the market that show you how to do this; check out Making the Perfect Pitch: How to Catch a Literary Agent's Eye by Katharine Sands and Bestselling Secrets from Top Agents by Rick Frishman to help get you started. Another great resource is Chuck Sambuchino's blog Guide to Literary Agents.
Good luck, Ameena!
"I've just this summer really made a commitment to myself to write everyday and take my work seriously with the intent of publishing. I know I have to wait until I have a completed work to submit it to publishers and agents, but is there anything I can be doing in the meantime to make contacts or otherwise make that process go more smoothly?"
Emily W.
TLC: Great question, Emily! Once you decide to make a career out of what you're passionate about, it seems like you just can't move fast enough to make it happen....today! When I carried my first child, I couldn't wait for him to arrive and start bonding! I couldn't wait to be a mother. But I needed to grow into motherhood by learning everything there was to learn about my baby's first year - thank God for the classic book, What To Expect When You're Expecting! Had I not done my research about everything from taking an infant's temperature to what to do when a baby chokes, I wouldn't have handled those situations with the clarity and confidence I did. Speaking to other mothers also shed a light on the first year, removing much of the anxiety new mothers sometimes feel. Plus, I needed those 9 months to prepare myself emotionally for this new adventure, not to mention savoring the experience of forming a child! (I was fortunate to have three very easy pregnancies - thank you genetics!)
Consider this time your gestational period as an author. You need this time to develop your craft by writing as often as possible, researching what you don't know and connecting to other writers in your area or online. Scout out your local paper for literary events in your city and plan on attending. Many educational events are happening online! SheWrites, a quickly growing writer's collective website, offers educational forums (for a fee), where you can learn about the process of publishing and get your questions answered from agents and other writers. If you haven't already, find some writers you can learn from and propose starting a writer's workshop, where you come together a few times a month to read and critique each other's work.
While it's too soon to formally introduce your work to an agent or editor, connect with authors who are open to sharing what they know about the business. You'll learn a lot from their path to publication. Keep all this info in mind as you're completing your work. When the time is right for you to reach out to agents, you'll be so well prepared you may impress a few! Agents like to work with authors who are at least familiar with how the process works. I highly suggest you read Putting Your Passion Into Print - the What to Expect for authors!
And finally, remember, writing and the whole process of finding an agent or publisher takes time. You'll get there as long as you remain patient, persistent and professional.
Thanks for your question and good luck, Emily!
"I am writing a book with a friend and the research shows the angle of the book's topic is quite original. The topic itself, personalities, has been written about numerous times though. We are writing our book in a humorous and conversational way and do not want it to get bogged down in psychology babble.
Should we include some notable books on personalities in our competitive analysis?"
Anna St. George
TLC: You want your Competitive Analysis to contain a healthy amount of titles (at least 5) that your book would be shelved next to on the book shelf (or pop up on Amazon). If the titles you're thinking about have been published currently (within the last 20 years), definitely include them. If after thorough research your CA is still light on titles, you may want to include those "psycho babble" books and be clear how your book is different and ultimately more compelling in its own way. Always shine a light on the need for your book by showing how other books fail to offer your unique take. Helpful hint: Always mind your manners when writing your Competitive Analysis and never put down another author's work as inferior to yours.
Thanks, Anna. I wish you lots of success!
I hope this Q&A session offers some clarity for you. If you have questions you'd like answered on Q&A with The Lit Coach, email me at erin.reel@gmail.com.
Have a fruitful day, writers!
"I'm in the middle of writing a proposal for my first nonfiction book. Should I send a query to agents/publishers or should I go ahead with sending the proposal instead? If I have not published anything before, what kind of information should I include in my author bio?"
Ameena D.
TLC: I'm going to focus on your last question first because I have a feeling you may have more work to do before you start searching for the right agent or editor. "Every author starts somewhere" is something I hear often. While this is true, your prospective agent or editor is going to want to see some kind of publishing track record. Even if it's a blog with a strong following, put it down and don't forget to tell them how many subscribers you have (to impress an agent, your subscription list should be over 100, minimum).
If you have yet to publish anything, yet to secure a strong following...all of which goes into a sturdy platform (for more info on this read my former blogshop with publisher, Glenn Yeffeth), take a step back and assess the readiness of yourself as an author and your proposal as a saleable product. Agents rarely acquire an author with just "a neat idea." You must have some kind of publishing track record...articles, your own blog or blog contributions, contributions to e-zines...you publishing material that's akin to the general message of your proposal...something with your signature voice. Then you'll really have something impressive to show an agent!
That said, your "About the Author" section isn't just about what you've published...it's about YOU! While there's no need to give them your resume, an agent or publisher will want to know what kind of person you are...a little about what makes you tick. Many authors are uncomfortable talking about themselves. You don't need to fill your bio with hyperbole, just the facts with a little flavor. Imagine your life as a book...what would your book jacket read?
Now, to answer your first question: Once you've developed a stronger platform, I would strongly suggest you first research agents who have a track record of getting work like yours published. Query them and only send them the proposal if they request it. Most agents will have strict guidelines of how they like to receive your work - stick to these guidelines. Most editors don't take submissions from unagented writers, so save yourself the postage and time. Focus on finding the right agent first. E-queries seem to be the best way to communicate, but don't send attachments. Send a simple, one page query letting the agent know who you are, what your book is about and what unique qualities you have that make you the perfect person to write this book. There are several great books on the market that show you how to do this; check out Making the Perfect Pitch: How to Catch a Literary Agent's Eye by Katharine Sands and Bestselling Secrets from Top Agents by Rick Frishman to help get you started. Another great resource is Chuck Sambuchino's blog Guide to Literary Agents.
Good luck, Ameena!
"I've just this summer really made a commitment to myself to write everyday and take my work seriously with the intent of publishing. I know I have to wait until I have a completed work to submit it to publishers and agents, but is there anything I can be doing in the meantime to make contacts or otherwise make that process go more smoothly?"
Emily W.
TLC: Great question, Emily! Once you decide to make a career out of what you're passionate about, it seems like you just can't move fast enough to make it happen....today! When I carried my first child, I couldn't wait for him to arrive and start bonding! I couldn't wait to be a mother. But I needed to grow into motherhood by learning everything there was to learn about my baby's first year - thank God for the classic book, What To Expect When You're Expecting! Had I not done my research about everything from taking an infant's temperature to what to do when a baby chokes, I wouldn't have handled those situations with the clarity and confidence I did. Speaking to other mothers also shed a light on the first year, removing much of the anxiety new mothers sometimes feel. Plus, I needed those 9 months to prepare myself emotionally for this new adventure, not to mention savoring the experience of forming a child! (I was fortunate to have three very easy pregnancies - thank you genetics!)
Consider this time your gestational period as an author. You need this time to develop your craft by writing as often as possible, researching what you don't know and connecting to other writers in your area or online. Scout out your local paper for literary events in your city and plan on attending. Many educational events are happening online! SheWrites, a quickly growing writer's collective website, offers educational forums (for a fee), where you can learn about the process of publishing and get your questions answered from agents and other writers. If you haven't already, find some writers you can learn from and propose starting a writer's workshop, where you come together a few times a month to read and critique each other's work.
While it's too soon to formally introduce your work to an agent or editor, connect with authors who are open to sharing what they know about the business. You'll learn a lot from their path to publication. Keep all this info in mind as you're completing your work. When the time is right for you to reach out to agents, you'll be so well prepared you may impress a few! Agents like to work with authors who are at least familiar with how the process works. I highly suggest you read Putting Your Passion Into Print - the What to Expect for authors!
And finally, remember, writing and the whole process of finding an agent or publisher takes time. You'll get there as long as you remain patient, persistent and professional.
Thanks for your question and good luck, Emily!
"I am writing a book with a friend and the research shows the angle of the book's topic is quite original. The topic itself, personalities, has been written about numerous times though. We are writing our book in a humorous and conversational way and do not want it to get bogged down in psychology babble.
Should we include some notable books on personalities in our competitive analysis?"
Anna St. George
TLC: You want your Competitive Analysis to contain a healthy amount of titles (at least 5) that your book would be shelved next to on the book shelf (or pop up on Amazon). If the titles you're thinking about have been published currently (within the last 20 years), definitely include them. If after thorough research your CA is still light on titles, you may want to include those "psycho babble" books and be clear how your book is different and ultimately more compelling in its own way. Always shine a light on the need for your book by showing how other books fail to offer your unique take. Helpful hint: Always mind your manners when writing your Competitive Analysis and never put down another author's work as inferior to yours.
Thanks, Anna. I wish you lots of success!
I hope this Q&A session offers some clarity for you. If you have questions you'd like answered on Q&A with The Lit Coach, email me at erin.reel@gmail.com.
Have a fruitful day, writers!
Sunday, August 15, 2010
Clarity Through Goals: Building Your Castle
If you have built castles in the air, your work need not be lost; that is where they should be. Now put the foundations under them. Henry David Thoreau, Walden
Ever get ‘the look’ when you tell people you’re a writer? I’ve spent half my life in Los Angeles and the other half smack in the middle of the country. When you tell people you’re a writer in L.A., they respond as though you told them you were a banker – c’est normal. In the great Heartland, however, telling people you’re a writer will get you myriad bizarre responses ranging from quizzical looks to an intense session of 20 questions about how the heck you support yourself by your arts and crafts. Oops! Looks like Johnny is dreaming again!
Dream your heart out, my dears! Dream it out loud! Dream in brilliant, vibrant color! Dream with the sound turned up! Dream with all your senses until you’re totally exhausted, spent and satisfied!
Ever get ‘the look’ when you tell people you’re a writer? I’ve spent half my life in Los Angeles and the other half smack in the middle of the country. When you tell people you’re a writer in L.A., they respond as though you told them you were a banker – c’est normal. In the great Heartland, however, telling people you’re a writer will get you myriad bizarre responses ranging from quizzical looks to an intense session of 20 questions about how the heck you support yourself by your arts and crafts. Oops! Looks like Johnny is dreaming again!
Dream your heart out, my dears! Dream it out loud! Dream in brilliant, vibrant color! Dream with the sound turned up! Dream with all your senses until you’re totally exhausted, spent and satisfied!
Then plan.
As a writer, you have an abundance of imagination. It’s your gift. But when it comes time to consider how you can turn your gift into a source of income, suddenly your heart starts racing, you don’t know which way to go and some good old self doubt creeps its way into your consciousness. Or, you’re totally confident you can make a go of it as a writer but have no idea where to start. Either way, you need direction. Let your dreams reveal your end point; let your imagination direct you there.
Diana Scharf Hunt said, “Goals are dreams with deadlines.” Becoming a successful author takes a great deal of planning, it doesn’t just happen. And it doesn’t happen at all if you don’t set deadlines for yourself. Here’s where your imagination is your best asset (aside from your writing, of course).
Imagine you’re living your dream – you’re a successful writer. What does your professional and artistic success look like? What do YOU look like? Are you happy? Feeling good? Do you have your office/creative space just the way you’ve always wanted it? Do you have all the techno goodies you’ve ever wanted to help you connect faster (in my dream land, there’s always someone there to hook it all up and bottom line the user’s manual for me). How widely published are you? Are you writing for magazines in print and online along with your books? Are you invited to speak around the country and are you paid well? Have you been a guest on Ellen, Jay Leno or The Today Show? Have you had numerous radio interviews? Do hundreds or thousands of people show up at your events? Now’s your chance to dream big so don’t hold back! What does it all look like? What does it feel like? Be clear about what you want. This is your big picture goal – the level of success you want to achieve from all your hard work. Anything is possible.
Now, work back. Let your big picture goal be your starting point. Sounds backwards, doesn’t it? We’ve been trained to start at beginning, but sometimes to know how a thing works, you have to start at the end point and work your way to the beginning. Imagine what steps you took that got yourself to your big picture goal. These steps will become the many mini-goals you’ll achieve on your way to the big picture goal. If you’re getting multiple book deals, you no doubt have a good agent. If you don’t have an agent or don’t feel you have one that’s working in your best interest, finding the right agent will one day become a goal. If you’re publishing regularly in magazines, you’ve developed good connections with various editors from these magazines, which will become another goal. If you’re speaking around the country, you have a fabulous publicist or speaking agent who is keeping you on the road – yet another goal. The prospect of achieving these goals is totally doable but it all boils down to your work, your craft and you as an author. It starts with the work you produce (or on this side of the looking glass, ends with the work.)
This exercise is meant to help you gain clarity in your writer's life. Many writers have a clear picture of where they want to be as the already thriving author but have considerable difficulty choosing their path. I’ve run into many green writers who want to publish across several genres or break out with their Great American Novel without really honing their craft (see lit agent Nathan Bransford’s take on this). If you see yourself as a modern day Mark Twain or the next Candace Bushnell yet have a great idea for a children’s book, choose the path with more…path! If the majority of your work (and heart) lies within a certain genre, that’s where you need to be. Many writers, once they’re well established, get a chance to break out and do something different – publish a collection of short stories or narrative nonfiction, but it won’t happen when the publisher is trying to develop a devout audience for their shiny new author. Likewise, if you feel you have the next best novel since To Kill A Mockingbird but have yet to develop a readership other than your parents and a few close friends, it’s time to connect your work to others beyond your inner circle by publishing in journals, magazines and newspapers, be they physical or online. Even a blog with a strong following is a great step in the right direction! (Note, the editor of To Kill a Mockingbird took months off her editing job to solely edit Harper Lee’s one and only classic. What does this tell you?)
So where do you want to go as a writer? How successful do you want to be? You know the answer – you visualized it. Writing isn’t a dream; it really is something you do in the real world. And to achieve real world success, you’ve got to set your course by setting goals as your landmarks. You’ve imagined your castle – now it’s time to build your foundation.
And the next time somebody asks you the what do you do question, don’t be afraid to confidently tell them you’re a writer, damn it! Sadly, not everyone has accessed their imagination. But you have! And bravo to you, my dears!
Your Exercise This Week: Spend several days dreaming of your ideal author’s life. Be clear about what you want down to the thread count of your sheets! This is YOUR life. YOUR career. Make it what you want. Write it out, if it helps – make this your next short story! Then, work backward. How did you get there? What steps did you take? If you find yourself guessing or are unsure of how to take that step in the right direction, start surfing Amazon’s great selection of How to Get Published books or head to your local bookseller or library. Like I said in earlier posts, writing is 1/3rd writing, 1/3rd researching and 1/3rd connecting. Start researching and asking questions.
Next, start setting goals with firm deadlines. If you have yet to finish your first draft, commit to an end date and mark it on your calendar. If you’re finished with your first draft, commit to getting the right people to read your work so you can consider their feedback. Set a date on the calendar of when you’ll have sent at least 5 copies of your manuscript or nonfiction proposal to readers you trust will give you useful feedback. And don’t forget to give them a kindly deadline of when you need the feedback. Do you already have your work polished and ready to go? It’s time to start seeking the right agent for your work. While it’s nearly impossible to set a date of when you’ll be acquired by an agent, you can set a date of when you’ll have sent out your first run of submissions. Most importantly, let people know you’ve set these goals. Ask them to check in on your progress from time to time to help you stay on track and keep you motivated.
Whether it’s finishing your book, finding an agent or securing a great publicist, you’ve announced that you’re going to make it happen. Now you're accountable for your own progress or lack thereof. So get started and make it happen!
As a writer, you have an abundance of imagination. It’s your gift. But when it comes time to consider how you can turn your gift into a source of income, suddenly your heart starts racing, you don’t know which way to go and some good old self doubt creeps its way into your consciousness. Or, you’re totally confident you can make a go of it as a writer but have no idea where to start. Either way, you need direction. Let your dreams reveal your end point; let your imagination direct you there.
Diana Scharf Hunt said, “Goals are dreams with deadlines.” Becoming a successful author takes a great deal of planning, it doesn’t just happen. And it doesn’t happen at all if you don’t set deadlines for yourself. Here’s where your imagination is your best asset (aside from your writing, of course).
Imagine you’re living your dream – you’re a successful writer. What does your professional and artistic success look like? What do YOU look like? Are you happy? Feeling good? Do you have your office/creative space just the way you’ve always wanted it? Do you have all the techno goodies you’ve ever wanted to help you connect faster (in my dream land, there’s always someone there to hook it all up and bottom line the user’s manual for me). How widely published are you? Are you writing for magazines in print and online along with your books? Are you invited to speak around the country and are you paid well? Have you been a guest on Ellen, Jay Leno or The Today Show? Have you had numerous radio interviews? Do hundreds or thousands of people show up at your events? Now’s your chance to dream big so don’t hold back! What does it all look like? What does it feel like? Be clear about what you want. This is your big picture goal – the level of success you want to achieve from all your hard work. Anything is possible.
Now, work back. Let your big picture goal be your starting point. Sounds backwards, doesn’t it? We’ve been trained to start at beginning, but sometimes to know how a thing works, you have to start at the end point and work your way to the beginning. Imagine what steps you took that got yourself to your big picture goal. These steps will become the many mini-goals you’ll achieve on your way to the big picture goal. If you’re getting multiple book deals, you no doubt have a good agent. If you don’t have an agent or don’t feel you have one that’s working in your best interest, finding the right agent will one day become a goal. If you’re publishing regularly in magazines, you’ve developed good connections with various editors from these magazines, which will become another goal. If you’re speaking around the country, you have a fabulous publicist or speaking agent who is keeping you on the road – yet another goal. The prospect of achieving these goals is totally doable but it all boils down to your work, your craft and you as an author. It starts with the work you produce (or on this side of the looking glass, ends with the work.)
This exercise is meant to help you gain clarity in your writer's life. Many writers have a clear picture of where they want to be as the already thriving author but have considerable difficulty choosing their path. I’ve run into many green writers who want to publish across several genres or break out with their Great American Novel without really honing their craft (see lit agent Nathan Bransford’s take on this). If you see yourself as a modern day Mark Twain or the next Candace Bushnell yet have a great idea for a children’s book, choose the path with more…path! If the majority of your work (and heart) lies within a certain genre, that’s where you need to be. Many writers, once they’re well established, get a chance to break out and do something different – publish a collection of short stories or narrative nonfiction, but it won’t happen when the publisher is trying to develop a devout audience for their shiny new author. Likewise, if you feel you have the next best novel since To Kill A Mockingbird but have yet to develop a readership other than your parents and a few close friends, it’s time to connect your work to others beyond your inner circle by publishing in journals, magazines and newspapers, be they physical or online. Even a blog with a strong following is a great step in the right direction! (Note, the editor of To Kill a Mockingbird took months off her editing job to solely edit Harper Lee’s one and only classic. What does this tell you?)
So where do you want to go as a writer? How successful do you want to be? You know the answer – you visualized it. Writing isn’t a dream; it really is something you do in the real world. And to achieve real world success, you’ve got to set your course by setting goals as your landmarks. You’ve imagined your castle – now it’s time to build your foundation.
And the next time somebody asks you the what do you do question, don’t be afraid to confidently tell them you’re a writer, damn it! Sadly, not everyone has accessed their imagination. But you have! And bravo to you, my dears!
Your Exercise This Week: Spend several days dreaming of your ideal author’s life. Be clear about what you want down to the thread count of your sheets! This is YOUR life. YOUR career. Make it what you want. Write it out, if it helps – make this your next short story! Then, work backward. How did you get there? What steps did you take? If you find yourself guessing or are unsure of how to take that step in the right direction, start surfing Amazon’s great selection of How to Get Published books or head to your local bookseller or library. Like I said in earlier posts, writing is 1/3rd writing, 1/3rd researching and 1/3rd connecting. Start researching and asking questions.
Next, start setting goals with firm deadlines. If you have yet to finish your first draft, commit to an end date and mark it on your calendar. If you’re finished with your first draft, commit to getting the right people to read your work so you can consider their feedback. Set a date on the calendar of when you’ll have sent at least 5 copies of your manuscript or nonfiction proposal to readers you trust will give you useful feedback. And don’t forget to give them a kindly deadline of when you need the feedback. Do you already have your work polished and ready to go? It’s time to start seeking the right agent for your work. While it’s nearly impossible to set a date of when you’ll be acquired by an agent, you can set a date of when you’ll have sent out your first run of submissions. Most importantly, let people know you’ve set these goals. Ask them to check in on your progress from time to time to help you stay on track and keep you motivated.
Whether it’s finishing your book, finding an agent or securing a great publicist, you’ve announced that you’re going to make it happen. Now you're accountable for your own progress or lack thereof. So get started and make it happen!
Have a fantastic week, writers! Dream and Plan!
Later on Monday...Q&A with The Lit Coach.
The above print is "Morning" by Maxfield Parrish.
Tuesday, August 10, 2010
Call Out for Your Questions!
Next week we'll focus on why you should set clear goals in your writing career and how to get started.
I'm also opening up the blog next week for your questions on anything publishing, writing, literary agents, creative direction related, to help you gain clarity with where you are right now in your publishing and creative process.
Email your questions to me at erin.reel@gmail.com.
Be well-
TLC
I'm also opening up the blog next week for your questions on anything publishing, writing, literary agents, creative direction related, to help you gain clarity with where you are right now in your publishing and creative process.
Email your questions to me at erin.reel@gmail.com.
Be well-
TLC
Sunday, August 8, 2010
Let's Get Clear: The Business of Writing
First off, a warm welcome and hello to those who’re newly joining us internationally from the U.K., Australia, Belgium, Mexico and Portugal! I’m thrilled you’ve stopped by – thanks for reading! I’d love to hear about what you’re working on.
Ok, back to why we’re here…
Clarity in a writer’s life is a multi-faceted and precious commodity. Last week I discussed with you why that is and gave you action steps toward gaining Clarity – in body, mind, soul and creative space, for the best possible writer’s life. If you haven’t yet read last week’s blogshop, please do so and commit to at least one Clarity Action Step. You’ll see and feel the difference!
This week, we’re focusing on being clear about the business of writing – what you’re really getting into and how to best prepare yourself for your own success.
This week’s blogshop isn’t going to cover the nuts and bolts about how to get a book published – there are plenty of books on the market that cover the topic thoroughly. What I'm going to share with you is publishing world reality – the stuff they don’t teach you in MFA programs (and I have absolutely nothing against MFA programs). The reality of publishing today is one where the writer must wear many hats – not to mention handle all their daily responsibilities as well as raise a family, hold down a job, etc. Today’s writer can’t afford to just write and let their publisher handle the rest. It just doesn’t happen anymore. They research, write, edit, negotiate deals, promote, and let’s not forget, sell! It’s a lot of work – but FUN work! What else would you rather do with all that talent?!
Let’s begin with the three pillars of the most successful writing career possible: Researching, Writing and Connecting, which all take time, energy and effort. Literary Agent, Arielle Eckstut, writes about these three pillars in her book, Putting Your Passion Into Print: Get Your Book Published Successfully – an absolute must read. To thrive in today’s super competitive and quickly changing publishing climate, plan on spending most of your time on these three things:
Research. Research can mean anything from looking into subject matter you’re not well versed in to looking up facts that will back up the message of your nonfiction how-to book. Research in this context means searching for and finding the right facts and material you need to beef up your book. Research also means learning about the literary agent you want to represent your work; start with the books you love that have been recently published – read the acknowledgement section to see if the author thanked their agent. If you loved the book and found it similar to the one you’re working on, put that agent’s name down on your “Agents to Research” list and start doing your homework. You can also find out more about agents on several websites: Publishers Marketplace; Chuck Sambuchinos’s Guide to Literary Agents; Publishers Weekly and many books at your local bookseller, library or I’m sure, now downloadable on your e-reader of choice.
Research also means knowing which publisher would be right for your book. Which publisher’s stamp do you see branded on your book’s spine? This is helpful information to share with the agent you’re pitching. Also, you must research your rights as a writer – yes, you have them! Don’t forget this step, my dears. Check out AAR, the industry standard in outlining ethical agent/author relationships and contractual agreements. While many good agents are not paid members of AAR, most agents are aware of AAR and follow their guidelines. Don’t miss this step. Did you know it’s unethical for an agent to charge reading fees or other a la carte services, such as editing or proposal crafting? If you didn’t, spend some good quality time on the AAR site.
Without research in all areas, you’re building your writing career on sand. Know your craft, know who you’re dealing with and know your rights.
Writing. It’s what you do best – this is the easy, no-brainer pillar to build, right? Writing is like exercise, though; you’ve got to work the craft regularly in order to grow stronger as a writer. But you’re not just working on what you love to write, you need to practice writing one page synopses and one page cover letters as well. These one page wonders are just as important as your book – executed well, it’s what gets you in the agent or editor’s door. I can’t stress this enough – learning how to craft a killer one page cover letter and synopsis is an art form in and of itself. Think of these as the best commercial ad you've ever seen. Consider this skill just as important as writing the book itself. Even if you’ve already landed an agent, keep working on your synopsis…because you’ll still have to write one even once you’re with a great agent.
Connecting. This seems to be a tough step for some writers, but a very necessary one. While one writer may have several hundred friends on their various social networking sites, another may have a hard time putting him or herself out there to meet others. While this may be just an education issue – knowing where and how to start reaching out to other writers, your audience, experts who could help, agents and editors, lack of confidence is usually the root of the problem. You don’t want to put yourself in a place where you may be rejected because rejection equals failure and that hurts. It’s never fun to be turned down and it’s totally frustrating to just not hear back from the person you contacted, which makes you think all kinds of silly things are happening that aren’t. But you must learn not to take it personally. As a writer you MUST connect with others to workshop, research, seek guidance, find opportunities, promote, sell and thrive. Consider this all a part of making new friends.
When in doubt, email. I confess, I didn’t particularly like to hear from writers just calling out of the blue when I was in the middle of putting a proposal together or pitching to editors. As long as your approach is polished, professional and concise, you’ll be in great shape! Here’s where writing outside your genre comes in handy – learn how to write a stellar can’t-refuse-to-get-to-know-me email. Start putting yourself out there. Start connecting, if you haven’t already. Consider rejection or lack of communication as just another part of the business. After all, if you plan on sending your work out to agents and/or editors, chances are your work will be turned down and you know what? You’ll be fine! Just say, "Next!" and move on. You're too busy to get caught up in a pity party. If you’ve already begun connecting like a literary pro, excellent work! Keep going! You can never have enough friends who know about your book and what else you’ve got cooking. Plus, you may learn a thing or two. Know a writer who could use a little help connecting? Reach out to THEM and invite them to join an event or workshop.
If you’re still stumped with how to get out of your shell and connect, let me know. I’m happy to offer more tips that suit your situation.
If you’re in this career for the long haul, you need an abundance energy and effort. Time is limited, so manage it well. Agents look for writers who will put in the extra effort and go the extra mile to make their book and their career a success. Leave your excuses at the door. Know this dream can’t succeed without your muscle. I spoke with a writer this weekend who self-published his book several months ago and is in the middle of his self-funded and promoted book tour. While he’s not attracting a John Grisham crowd just yet, he’s selling an average of 20 books per signing – to strangers – did I mention it’s a novel?! He’s got a goal in mind – he wants to sell 5,000 copies of his novel in the next six months and he’ll stop at nothing. He knows what he wants – he’s clear about his goal. Bravo! I have no doubt he’ll reach it.
Are you ready to start building your pillars?
Your exercise this week: Take out a sheet of paper and make three columns. Write Research, Writing and Connecting across the top of the paper, over the columns. Think of several ways you can take action in all three areas and write them down. Highlight one in each column you plan to do this week and get started building your pillars for a successful writing career. Let me know how it goes!
Have any Research, Writing or Connecting tips or stories you’d like to share? Post them here!
Have a fruitful week, writers!
TLC
Ok, back to why we’re here…
Clarity in a writer’s life is a multi-faceted and precious commodity. Last week I discussed with you why that is and gave you action steps toward gaining Clarity – in body, mind, soul and creative space, for the best possible writer’s life. If you haven’t yet read last week’s blogshop, please do so and commit to at least one Clarity Action Step. You’ll see and feel the difference!
This week, we’re focusing on being clear about the business of writing – what you’re really getting into and how to best prepare yourself for your own success.
This week’s blogshop isn’t going to cover the nuts and bolts about how to get a book published – there are plenty of books on the market that cover the topic thoroughly. What I'm going to share with you is publishing world reality – the stuff they don’t teach you in MFA programs (and I have absolutely nothing against MFA programs). The reality of publishing today is one where the writer must wear many hats – not to mention handle all their daily responsibilities as well as raise a family, hold down a job, etc. Today’s writer can’t afford to just write and let their publisher handle the rest. It just doesn’t happen anymore. They research, write, edit, negotiate deals, promote, and let’s not forget, sell! It’s a lot of work – but FUN work! What else would you rather do with all that talent?!
Let’s begin with the three pillars of the most successful writing career possible: Researching, Writing and Connecting, which all take time, energy and effort. Literary Agent, Arielle Eckstut, writes about these three pillars in her book, Putting Your Passion Into Print: Get Your Book Published Successfully – an absolute must read. To thrive in today’s super competitive and quickly changing publishing climate, plan on spending most of your time on these three things:
Research. Research can mean anything from looking into subject matter you’re not well versed in to looking up facts that will back up the message of your nonfiction how-to book. Research in this context means searching for and finding the right facts and material you need to beef up your book. Research also means learning about the literary agent you want to represent your work; start with the books you love that have been recently published – read the acknowledgement section to see if the author thanked their agent. If you loved the book and found it similar to the one you’re working on, put that agent’s name down on your “Agents to Research” list and start doing your homework. You can also find out more about agents on several websites: Publishers Marketplace; Chuck Sambuchinos’s Guide to Literary Agents; Publishers Weekly and many books at your local bookseller, library or I’m sure, now downloadable on your e-reader of choice.
Research also means knowing which publisher would be right for your book. Which publisher’s stamp do you see branded on your book’s spine? This is helpful information to share with the agent you’re pitching. Also, you must research your rights as a writer – yes, you have them! Don’t forget this step, my dears. Check out AAR, the industry standard in outlining ethical agent/author relationships and contractual agreements. While many good agents are not paid members of AAR, most agents are aware of AAR and follow their guidelines. Don’t miss this step. Did you know it’s unethical for an agent to charge reading fees or other a la carte services, such as editing or proposal crafting? If you didn’t, spend some good quality time on the AAR site.
Without research in all areas, you’re building your writing career on sand. Know your craft, know who you’re dealing with and know your rights.
Writing. It’s what you do best – this is the easy, no-brainer pillar to build, right? Writing is like exercise, though; you’ve got to work the craft regularly in order to grow stronger as a writer. But you’re not just working on what you love to write, you need to practice writing one page synopses and one page cover letters as well. These one page wonders are just as important as your book – executed well, it’s what gets you in the agent or editor’s door. I can’t stress this enough – learning how to craft a killer one page cover letter and synopsis is an art form in and of itself. Think of these as the best commercial ad you've ever seen. Consider this skill just as important as writing the book itself. Even if you’ve already landed an agent, keep working on your synopsis…because you’ll still have to write one even once you’re with a great agent.
Connecting. This seems to be a tough step for some writers, but a very necessary one. While one writer may have several hundred friends on their various social networking sites, another may have a hard time putting him or herself out there to meet others. While this may be just an education issue – knowing where and how to start reaching out to other writers, your audience, experts who could help, agents and editors, lack of confidence is usually the root of the problem. You don’t want to put yourself in a place where you may be rejected because rejection equals failure and that hurts. It’s never fun to be turned down and it’s totally frustrating to just not hear back from the person you contacted, which makes you think all kinds of silly things are happening that aren’t. But you must learn not to take it personally. As a writer you MUST connect with others to workshop, research, seek guidance, find opportunities, promote, sell and thrive. Consider this all a part of making new friends.
When in doubt, email. I confess, I didn’t particularly like to hear from writers just calling out of the blue when I was in the middle of putting a proposal together or pitching to editors. As long as your approach is polished, professional and concise, you’ll be in great shape! Here’s where writing outside your genre comes in handy – learn how to write a stellar can’t-refuse-to-get-to-know-me email. Start putting yourself out there. Start connecting, if you haven’t already. Consider rejection or lack of communication as just another part of the business. After all, if you plan on sending your work out to agents and/or editors, chances are your work will be turned down and you know what? You’ll be fine! Just say, "Next!" and move on. You're too busy to get caught up in a pity party. If you’ve already begun connecting like a literary pro, excellent work! Keep going! You can never have enough friends who know about your book and what else you’ve got cooking. Plus, you may learn a thing or two. Know a writer who could use a little help connecting? Reach out to THEM and invite them to join an event or workshop.
If you’re still stumped with how to get out of your shell and connect, let me know. I’m happy to offer more tips that suit your situation.
If you’re in this career for the long haul, you need an abundance energy and effort. Time is limited, so manage it well. Agents look for writers who will put in the extra effort and go the extra mile to make their book and their career a success. Leave your excuses at the door. Know this dream can’t succeed without your muscle. I spoke with a writer this weekend who self-published his book several months ago and is in the middle of his self-funded and promoted book tour. While he’s not attracting a John Grisham crowd just yet, he’s selling an average of 20 books per signing – to strangers – did I mention it’s a novel?! He’s got a goal in mind – he wants to sell 5,000 copies of his novel in the next six months and he’ll stop at nothing. He knows what he wants – he’s clear about his goal. Bravo! I have no doubt he’ll reach it.
Are you ready to start building your pillars?
Your exercise this week: Take out a sheet of paper and make three columns. Write Research, Writing and Connecting across the top of the paper, over the columns. Think of several ways you can take action in all three areas and write them down. Highlight one in each column you plan to do this week and get started building your pillars for a successful writing career. Let me know how it goes!
Have any Research, Writing or Connecting tips or stories you’d like to share? Post them here!
Have a fruitful week, writers!
TLC
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