This weekend I'll be reading at a poetry open mic in my town. As I prepare the poems I'm going to read, I though I'd share with you a few snippets of important info to keep in mind when you do a poetry reading aloud to an audience.
1. Slow Down: It's easy to get caught up in the adrenaline of the moment and race through your poem or short story. But remember, the crowd is gathered to hear your work. They want to be able to absorb and contemplate the beginning, middle, end, and every piece of metaphor and imagery you toss their way. If you speed through your poem, they won't be able to appreciate what you've created. So, take a deep breath and read slowly. You will undoubtedly think that you're reading much too slow for anyone to stay interested. Trust me, this is the correct speed.
2. Make Eye Contact: There's nothing that says amateur like reading your poem, line for line, without ever once making eye contact with the assembled crowd. Not only does it seem awkward, but it bars your listeners from making a connection with you, which means they won't feel connected to your poetry either.
3. Find Your Rhythm: Much like musicians, writers spend hours deciphering the mood of a poem. Read your poetry out loud. Find the correct cadence for each piece (which will be dictated by whether the work is serious, humorous, narrative, lyrical, or a combination of two or more styles). You can even write notes in the margins of your poem to remind yourself when to pause, speed up, and change your tone of voice.
Ready for your own poetry reading? Do a little homework by watching famous poets read their work aloud. Many are readily available on YouTube. Here are a few of my favorites:
Check out Billy Collins reading four poems: https://www.youtube.com/watch?v=tTxpQCY7df8&nohtml5=False
And if you're into slam poetry, this one by Lily Myers is amazing: https://www.youtube.com/watch?v=zQucWXWXp3k&nohtml5=False
Above it all, though, just relax. The people gathered there do indeed want to hear your point of view and your ideas. Stay confident, stick to what you practiced and the performance will be over before you know it!
Showing posts with label Taking the Leap. Show all posts
Showing posts with label Taking the Leap. Show all posts
Wednesday, April 13, 2016
Wednesday, December 30, 2015
Bringing in 2016 with Lofty Goals
Hi all!
2016 is just days away and it's about time we started thinking about goals again. While it's great to have goals year round, there's something really exciting about starting the new year with a plan.
Many of us set personal goals: we want to lose weight, quit sugar, save more money for retirement...so on and so forth. But when was the last time you set a professional goal for yourself?
I surely can't think of it.
So, this New Year, along with my personal goal, I'm also going to set a professional goal. And it's a big one.
Drum roll please.......
Whew, I said it. No, I BLOGGED it, which makes it more real.
Now, this won't be my first novel. In fact, I've written five novels/novel length projects since committing to writing as my profession, but the other day I was thinking about how I haven't written something fun (like fiction, essays, or poems) in a few weeks. My life has simply been too chaotic with everything else going on. I'm sure you can relate.
That also got me thinking about my big novels that I've written in the past and how they really need to be revised.
So, that led me to the conclusion that I MUST write another novel in 2016. I currently have no idea what it will be about, who the characters are, or even where it takes place. I know nothing other than the fact that I will write it sometime this year.
The universe will give me the idea when it's ready and I am too. I'm sure of that. In the meantime, I'm screaming out into the void of everything saying, THIS is my year. Let's get this novel going.
Do you have any writing goals for 2016? Shout them into the aether of the universe by sharing them in the comments section.
2016 is just days away and it's about time we started thinking about goals again. While it's great to have goals year round, there's something really exciting about starting the new year with a plan.
Many of us set personal goals: we want to lose weight, quit sugar, save more money for retirement...so on and so forth. But when was the last time you set a professional goal for yourself?
I surely can't think of it.
So, this New Year, along with my personal goal, I'm also going to set a professional goal. And it's a big one.
Drum roll please.......
I'M GOING TO WRITE A NOVEL THIS YEAR.
Whew, I said it. No, I BLOGGED it, which makes it more real.
Now, this won't be my first novel. In fact, I've written five novels/novel length projects since committing to writing as my profession, but the other day I was thinking about how I haven't written something fun (like fiction, essays, or poems) in a few weeks. My life has simply been too chaotic with everything else going on. I'm sure you can relate.
That also got me thinking about my big novels that I've written in the past and how they really need to be revised.
So, that led me to the conclusion that I MUST write another novel in 2016. I currently have no idea what it will be about, who the characters are, or even where it takes place. I know nothing other than the fact that I will write it sometime this year.
The universe will give me the idea when it's ready and I am too. I'm sure of that. In the meantime, I'm screaming out into the void of everything saying, THIS is my year. Let's get this novel going.
Do you have any writing goals for 2016? Shout them into the aether of the universe by sharing them in the comments section.
Wednesday, December 2, 2015
An Addition to the Books On Writing Series: BIG MAGIC
As you know from my Books On Writing post series, I read a fair share of books by famous writers talking about writing. So, when I visited my local library last week and saw Elizabeth Gilbert's new book BIG MAGIC: CREATIVE LIVING BEYOND FEAR, I just had to check it out.
Image From Amazon (Book also purchasable there): http://www.amazon.com/Big-Magic-Creative-Living-Beyond/dp/1594634718/ref=sr_1_1?ie=UTF8&qid=1449074141&sr=8-1&keywords=big+magic
However, this book wasn't the ABC XYZ step by step book on the craft that I was used to. Instead, Ms. Gilbert focuses on the most basic of building blocks upon which writing is founded - creative living. At first I though, well I don't need this, I already write and paint and draw and craft - I'm creative, dang it! I live it! But as I've read through (I'm about halfway now), I've found some helpful insight into the creative life that I've never thought of before or that I simply skipped over with tightly closed eyes.
In the "Permission" section of the book that I read last night, I found a delightfully put phrasing that applies so readily to writing and other writers.
To paraphrase the overall idea: Ms. Gilbert says that we need to defend our creative lifestyles (mostly to ourselves and our own egos) by first defining ourselves. "I'm a writer." Actually say it, out loud, to the universe. It is your proclamation of intent.
She then goes on to say:
"This proclamation of intent...is not something you can do just once and then expect miracles; it's something you must do daily, forever. I've had to keep defining and defending myself as a writer every single day of my adult life - constantly reminding and re-reminding my soul and the cosmos that I'm very serious about the business of creative living, and that I will never stop creating, no matter what the outcome, and no matter how deep my anxieties and insecurities may be." (Gilbert, pg. 95)
This paragraph is so inspiring to me because it reveals that even an extremely well known and successful author across nonfiction and fiction genres still has doubts. She still feels unsure of herself and her work. It's a feeling I'm not unfamiliar with myself.
So, whether you're just starting out as a writer and unsure you have anything new to bring to the table, or whether you're a seasoned pro unsure whether anyone wants what you've brought to the table all this time - know that your belief in yourself is enough. If you write, then you are a writer, and you deserve to be one. Your voice and your viewpoints deserve to be heard.
And just as you must dutifully work on your craft everyday, you must also affirm to yourself that you are enough in your creative life.
Go on, say it with me now:
Believe it.
PS> I highly recommend checking out BIG MAGIC by Elizabeth Gilbert when you have some time. It's definitely going into my Books On Writing category. Both newbies and vets can relate to the primal info contained in this book.
However, this book wasn't the ABC XYZ step by step book on the craft that I was used to. Instead, Ms. Gilbert focuses on the most basic of building blocks upon which writing is founded - creative living. At first I though, well I don't need this, I already write and paint and draw and craft - I'm creative, dang it! I live it! But as I've read through (I'm about halfway now), I've found some helpful insight into the creative life that I've never thought of before or that I simply skipped over with tightly closed eyes.
In the "Permission" section of the book that I read last night, I found a delightfully put phrasing that applies so readily to writing and other writers.
To paraphrase the overall idea: Ms. Gilbert says that we need to defend our creative lifestyles (mostly to ourselves and our own egos) by first defining ourselves. "I'm a writer." Actually say it, out loud, to the universe. It is your proclamation of intent.
She then goes on to say:
"This proclamation of intent...is not something you can do just once and then expect miracles; it's something you must do daily, forever. I've had to keep defining and defending myself as a writer every single day of my adult life - constantly reminding and re-reminding my soul and the cosmos that I'm very serious about the business of creative living, and that I will never stop creating, no matter what the outcome, and no matter how deep my anxieties and insecurities may be." (Gilbert, pg. 95)
This paragraph is so inspiring to me because it reveals that even an extremely well known and successful author across nonfiction and fiction genres still has doubts. She still feels unsure of herself and her work. It's a feeling I'm not unfamiliar with myself.
So, whether you're just starting out as a writer and unsure you have anything new to bring to the table, or whether you're a seasoned pro unsure whether anyone wants what you've brought to the table all this time - know that your belief in yourself is enough. If you write, then you are a writer, and you deserve to be one. Your voice and your viewpoints deserve to be heard.
And just as you must dutifully work on your craft everyday, you must also affirm to yourself that you are enough in your creative life.
Go on, say it with me now:
I AM A WRITER
Believe it.
PS> I highly recommend checking out BIG MAGIC by Elizabeth Gilbert when you have some time. It's definitely going into my Books On Writing category. Both newbies and vets can relate to the primal info contained in this book.
Monday, October 19, 2015
Why It's Important To Ride Out The Storm
I recently wrote a short story with a pretty great plot (as long as my writing group isn't lying to me) that all stemmed from one simple thing: Brainstorming.
Remember in elementary school when your teacher would set aside ten minutes a day for you to brainstorm new ideas for your writing journal or so you could come up with a slightly more creative approach to your essay on the Underground Railroad? I sure do. A good 80% of the time, it worked, too.
And yet, very few writers brainstorm daily or even when they're out of ideas.
Instead, we wait around for inspiration to strike. We do laundry, we go to the store, we sit and stare at a blank screen at the coffee shop. We think, "It'll happen. I'll just ignore it and it'll come forward like a shy deer." When a smidgen of an idea does finally come, we usually stop it before it grows to its full potential. We outline it and worry about the characters to fill the idea, but we never let the idea grow crazy and wild before trimming it back. We wish it to grow inside our defined little box of "my genre" and "things I write".
But if brainstorming proved to be so beneficial as children, why do we so easily turn our backs on it?
The answer is, because it can be difficult.
It's scary to go unbridled into the lightning and thunder. It's dark most of the time. What if we can't come up with any ideas? What if we come up with a ton and they all suck?
These are questions everyone has asked before brainstorming.
And it's true: sometimes, nothing happens.
However, other times bad ideas turn not so bad. They grow and shift and change with each strike of lightning - illuminating themselves a little more to the writer.
I've personally set a goal to brainstorm at least once per week. Rather than getting stuck on my writing and going off to make cookies, grocery shop, or watch Project Runway (admit it, you've been there), I force my creative muscles to flex. I sit down with a timer, gluing my fingers to the keys and my butt to the seat.
And you know what? It works. Pretty soon ideas come and characters show themselves and plots unravel. Pretty soon my brain stops procrastinating and shrieking like a tired two year-old and it starts to have some fun.
That's why we got into this in the first place - it's why we do what we do - because we find writing intoxicatingly fun and we can't stop.
So, next time you're at your rope's end and you want to throw your hands up in frustration, try brainstorming. It may give you a new idea for a poem or novel, or it may help you riddle through the portion of your work-in-progress that has you at a standstill.
Need a new idea? Brainstorm.
Can't think of a title? Brainstorm.
Have an extra ten minutes while the soup boils? Brainstorm.
Incredible things happen when you give your creativity slack like that. You'll bring up things you never thought imaginable. They're all right there in your head, waiting for you to get out of the way so they can be seen.
Remember in elementary school when your teacher would set aside ten minutes a day for you to brainstorm new ideas for your writing journal or so you could come up with a slightly more creative approach to your essay on the Underground Railroad? I sure do. A good 80% of the time, it worked, too.
And yet, very few writers brainstorm daily or even when they're out of ideas.
Instead, we wait around for inspiration to strike. We do laundry, we go to the store, we sit and stare at a blank screen at the coffee shop. We think, "It'll happen. I'll just ignore it and it'll come forward like a shy deer." When a smidgen of an idea does finally come, we usually stop it before it grows to its full potential. We outline it and worry about the characters to fill the idea, but we never let the idea grow crazy and wild before trimming it back. We wish it to grow inside our defined little box of "my genre" and "things I write".
But if brainstorming proved to be so beneficial as children, why do we so easily turn our backs on it?
The answer is, because it can be difficult.
It's scary to go unbridled into the lightning and thunder. It's dark most of the time. What if we can't come up with any ideas? What if we come up with a ton and they all suck?
These are questions everyone has asked before brainstorming.
And it's true: sometimes, nothing happens.
However, other times bad ideas turn not so bad. They grow and shift and change with each strike of lightning - illuminating themselves a little more to the writer.
I've personally set a goal to brainstorm at least once per week. Rather than getting stuck on my writing and going off to make cookies, grocery shop, or watch Project Runway (admit it, you've been there), I force my creative muscles to flex. I sit down with a timer, gluing my fingers to the keys and my butt to the seat.
And you know what? It works. Pretty soon ideas come and characters show themselves and plots unravel. Pretty soon my brain stops procrastinating and shrieking like a tired two year-old and it starts to have some fun.
That's why we got into this in the first place - it's why we do what we do - because we find writing intoxicatingly fun and we can't stop.
So, next time you're at your rope's end and you want to throw your hands up in frustration, try brainstorming. It may give you a new idea for a poem or novel, or it may help you riddle through the portion of your work-in-progress that has you at a standstill.
Need a new idea? Brainstorm.
Can't think of a title? Brainstorm.
Have an extra ten minutes while the soup boils? Brainstorm.
Incredible things happen when you give your creativity slack like that. You'll bring up things you never thought imaginable. They're all right there in your head, waiting for you to get out of the way so they can be seen.
Tuesday, September 22, 2015
What's In a Cover (Letter)?
The job search continues here in North Carolina as I look for steady employment to pay the bills. It means that most of my day is dedicated to writing. Some of it to stories and poems and (yes) even this blog.
But mostly, I'm writing résumés, applications, not-so-subtle pre-interview 'what would I do?' questionnaires, and above all, cover letters.
Writing these cover letters got me thinking: Is there a difference between writing a cover letter for the job market and writing a cover letter to submit a story to a lit mag?
Answer: Ah, hell yes!
Job market cover letters are longer (though never longer than one page) because they have to dance to the tune of many songs. A job market cover letter must at once hit keywords from the job description so you get picked up by the computer sorting and rejecting people before humans view the possible candidate, as well as convince the hiring manager that though you have no relevant experience or degree in their field, you'd be a great hire because of reasons a,b,c,x,y,z.
Whereas, a cover letter to a lit mag should be a very simple thing. Cover letters for your story should NEVER give a summary or synopsis of the story itself. Instead, follow this simple template:
1. Start your cover letter with a salutation. ("Dear Editor," works if the fiction editor's name is not listed on their site.)
2. Let them know what you've attached (either as a .docx attachment or in the body of the email) including the story title, word count, and genre (if the magazine publishes more than one).
Example: I have pasted my story, "Awesome Apes Five" (4,000 words, Fantasy) in the body of this email for your consideration.
3. List any significant publishing credits. No, that newspaper article you wrote freshman year doesn't count. Only include contest entries you won or placed in, or pieces that appeared in magazines published by people who are not related to you and who you do not know. No favors from your magazine owning uncle, and usually, no self-published material unless it got really really big on Amazon. (Note: if you're a new writer with no significant credits, no problem! Simply skip this step and go straight to #4.)
4. Close the letter.
Example:
Thank you for your time,
Super Writer
999 Publication Way, New York, NY
555-I'm Awesome
superwriter@imthebest.com
The main difference between a cover letter for the job market and a cover letter for a lit mag boils down to this:
To get a job, you want to prove that you're the best candidate for the position by smart talking and sweet talking your way to an interview. Flourish it up.
To get a story considered for publication, you need to not screw up your chances before the editor takes a peek at your story itself. Keep it simple. Don't make them dislike you before they read your first sentence.
Don't get bogged down thinking you need to write a full page. And don't - whatever you do - ever think that you should explain why you're the best person to write this story.
You're the best person to write this story because you wrote it, not anyone else. End of discussion.
So, next time you want to submit, remember that simple is always better. Relay important information in the cover letter and let your story do the heavy lifting. It is, after all, why you created it.
But mostly, I'm writing résumés, applications, not-so-subtle pre-interview 'what would I do?' questionnaires, and above all, cover letters.
Writing these cover letters got me thinking: Is there a difference between writing a cover letter for the job market and writing a cover letter to submit a story to a lit mag?
Answer: Ah, hell yes!
Job market cover letters are longer (though never longer than one page) because they have to dance to the tune of many songs. A job market cover letter must at once hit keywords from the job description so you get picked up by the computer sorting and rejecting people before humans view the possible candidate, as well as convince the hiring manager that though you have no relevant experience or degree in their field, you'd be a great hire because of reasons a,b,c,x,y,z.
Whereas, a cover letter to a lit mag should be a very simple thing. Cover letters for your story should NEVER give a summary or synopsis of the story itself. Instead, follow this simple template:
1. Start your cover letter with a salutation. ("Dear Editor," works if the fiction editor's name is not listed on their site.)
2. Let them know what you've attached (either as a .docx attachment or in the body of the email) including the story title, word count, and genre (if the magazine publishes more than one).
Example: I have pasted my story, "Awesome Apes Five" (4,000 words, Fantasy) in the body of this email for your consideration.
3. List any significant publishing credits. No, that newspaper article you wrote freshman year doesn't count. Only include contest entries you won or placed in, or pieces that appeared in magazines published by people who are not related to you and who you do not know. No favors from your magazine owning uncle, and usually, no self-published material unless it got really really big on Amazon. (Note: if you're a new writer with no significant credits, no problem! Simply skip this step and go straight to #4.)
4. Close the letter.
Example:
Thank you for your time,
Super Writer
999 Publication Way, New York, NY
555-I'm Awesome
superwriter@imthebest.com
The main difference between a cover letter for the job market and a cover letter for a lit mag boils down to this:
To get a job, you want to prove that you're the best candidate for the position by smart talking and sweet talking your way to an interview. Flourish it up.
To get a story considered for publication, you need to not screw up your chances before the editor takes a peek at your story itself. Keep it simple. Don't make them dislike you before they read your first sentence.
Don't get bogged down thinking you need to write a full page. And don't - whatever you do - ever think that you should explain why you're the best person to write this story.
You're the best person to write this story because you wrote it, not anyone else. End of discussion.
So, next time you want to submit, remember that simple is always better. Relay important information in the cover letter and let your story do the heavy lifting. It is, after all, why you created it.
Tuesday, August 4, 2015
Formatting Email Submissions: A Worksheet
Many literary magazines and even some agents are switching to sites like Submittable to handle their submissions. Those sites are great because it allows the author to fill in a form for general information, and then upload their story in a file format (usually .doc or .docx) so that the agent or editor can read it.
It's great for the author, too, because all their formatting stays firmly in place - all italics show up as italics, bolding is visible, and the formatting indentation of paragraphs stays secure.
Best of all, the receiving party doesn't have to worry about unintentionally opening a virus onto their computer because Submittable checks for bad omens like that.
However, a lot of magazines and agents still require that you submit to them through email with your submission in the body of the email. (Also so they don't download any nasty viruses by opening bad files.) This means that you can't attach a handy file. It means you must copy and paste your story (yes, even if it's 14,000 words) into the message box of the email.
Over the years, I've submitted hundreds of stories, poems, and article pitches this way. But even when you've done it a hundred times, it can still be boggling to know exactly how to format a submission for email. So, this week, I'm offering up a worksheet of my tried and true email formatting tips.
Step One: Highlight the text of your submission and right click COPY.
Step Two: Go to your email body and place the cursor where you want the submission to start (this is usually after a query letter or note of introduction to the agent/publisher/editor). Right click and make sure to select PASTE AS PLAIN TEXT.
[Note: Plain Text will remove ALL your formatting. This means no paragraph breaks, no indents, and no italicizing or bolding. Your submission will look like one giant text block. This is normal. Don't Panic. Trust me.]
Step Three: Go through your submission line-by-line. The spacing of text lines should be single spaced, between paragraphs double spaced, and no indentations anywhere in the submission. Basically, you want to format it just like this blog entry is showing up on your screen. See the single space between the line above and this line because they belong to the same paragraph?
And now, when I start a new paragraph, I add an extra space between them. Also notice that I did not indent the new paragraph because most email servers don't recognize indentation and will put funky alien symbols there in front of your words. Not appealing.
Step Four: Once the formatting is complete, go back to find all your stylized text like italics and bolding. They will appear just like normal words in the Plain Text version. You must place _underscores_ around the words like I just did. This translates to the reader that that particular portion of text needs stylization, whether it be italics or bold. So rather than saying that Sadie is such a bore. You must say that Sadie is _such_ a bore.
Make sense?
When all four steps are complete, you can go ahead and hit send with the knowledge that your email will show up in an appealing and legible fashion in any email, regardless of the server service.
It can be a bit time consuming and tedious, but when it's already so difficult to get published, isn't it better to take the half hour to format it correctly, then to have your wonderful story turned down because the editor got fatigued reading: ^#$@I%m in big trouble<%#$&* I said. ?
It's great for the author, too, because all their formatting stays firmly in place - all italics show up as italics, bolding is visible, and the formatting indentation of paragraphs stays secure.
Best of all, the receiving party doesn't have to worry about unintentionally opening a virus onto their computer because Submittable checks for bad omens like that.
However, a lot of magazines and agents still require that you submit to them through email with your submission in the body of the email. (Also so they don't download any nasty viruses by opening bad files.) This means that you can't attach a handy file. It means you must copy and paste your story (yes, even if it's 14,000 words) into the message box of the email.
Over the years, I've submitted hundreds of stories, poems, and article pitches this way. But even when you've done it a hundred times, it can still be boggling to know exactly how to format a submission for email. So, this week, I'm offering up a worksheet of my tried and true email formatting tips.
Step One: Highlight the text of your submission and right click COPY.
Step Two: Go to your email body and place the cursor where you want the submission to start (this is usually after a query letter or note of introduction to the agent/publisher/editor). Right click and make sure to select PASTE AS PLAIN TEXT.
[Note: Plain Text will remove ALL your formatting. This means no paragraph breaks, no indents, and no italicizing or bolding. Your submission will look like one giant text block. This is normal. Don't Panic. Trust me.]
Step Three: Go through your submission line-by-line. The spacing of text lines should be single spaced, between paragraphs double spaced, and no indentations anywhere in the submission. Basically, you want to format it just like this blog entry is showing up on your screen. See the single space between the line above and this line because they belong to the same paragraph?
And now, when I start a new paragraph, I add an extra space between them. Also notice that I did not indent the new paragraph because most email servers don't recognize indentation and will put funky alien symbols there in front of your words. Not appealing.
Step Four: Once the formatting is complete, go back to find all your stylized text like italics and bolding. They will appear just like normal words in the Plain Text version. You must place _underscores_ around the words like I just did. This translates to the reader that that particular portion of text needs stylization, whether it be italics or bold. So rather than saying that Sadie is such a bore. You must say that Sadie is _such_ a bore.
Make sense?
When all four steps are complete, you can go ahead and hit send with the knowledge that your email will show up in an appealing and legible fashion in any email, regardless of the server service.
It can be a bit time consuming and tedious, but when it's already so difficult to get published, isn't it better to take the half hour to format it correctly, then to have your wonderful story turned down because the editor got fatigued reading: ^#$@I%m in big trouble<%#$&* I said. ?
Tuesday, July 28, 2015
More Publishing News (And a Market for You!)
North Carolina must be bringing me good luck because I write to you again this week with more publishing news!
My short story The Eastern Route is being published in the August 1st issue of Vitality magazine.
You can pre-order now on www.readvitality.com for the issue coming out this Saturday, and if that's not exciting enough, my story was used as the Sneak Peek on their homepage.
If you haven't heard of Vitality magazine know that they are entirely online, so your issue will be sent directly to your email if you pre-order or subscribe. Vitality is unique in the fact that they publish stories, poetry, and artwork with casually integrated LGBTQ+ protagonists. This means they publish pieces that are fun and "escape" fiction rather than pieces that deal with the stresses of transition, bullying, homophobia, rape, or the martyrdom or death of LGBTQ peoples.
In their About section on their website, they describe themselves. "[Vitality is] a safe place full of wonder and awesome where the reader can see characters like themselves doing things like battling dragons, solving crimes, acting in a circus, or traveling the world. All genres and styles can be found in Vitality. The only limit is your imagination." from: http://www.readvitality.com/about-vitality/
This is an extremely exciting proposition for writers because you can literally write close to anything. Have a fantastic space opera idea? Send it to Vitality! Want to write about sailors and sirens? Do it! Feel the need to dive into the realm of pixies or ghosts or time-hopping two-headed warriors? Now you can with the knowledge that a market exists. Just like they say, your imagination is the limit.
For me, this meant that I was able to write in one of my favorite genres: Steampunk. I'm really excited to present my transgender airship pilot and his love interest at the start of next month.
I hope you take a look at The Eastern Route if you get a chance, and please research Vitality. Not only is a great market with endless possibilities for creativity, but it also promotes diversity in fiction. What could possibly be better than that?
PS> check out that gorgeous artwork Rebecca Schauer did to bring my story to life! Can't wait to see the whole image!
My short story The Eastern Route is being published in the August 1st issue of Vitality magazine.
You can pre-order now on www.readvitality.com for the issue coming out this Saturday, and if that's not exciting enough, my story was used as the Sneak Peek on their homepage.
If you haven't heard of Vitality magazine know that they are entirely online, so your issue will be sent directly to your email if you pre-order or subscribe. Vitality is unique in the fact that they publish stories, poetry, and artwork with casually integrated LGBTQ+ protagonists. This means they publish pieces that are fun and "escape" fiction rather than pieces that deal with the stresses of transition, bullying, homophobia, rape, or the martyrdom or death of LGBTQ peoples.
In their About section on their website, they describe themselves. "[Vitality is] a safe place full of wonder and awesome where the reader can see characters like themselves doing things like battling dragons, solving crimes, acting in a circus, or traveling the world. All genres and styles can be found in Vitality. The only limit is your imagination." from: http://www.readvitality.com/about-vitality/
This is an extremely exciting proposition for writers because you can literally write close to anything. Have a fantastic space opera idea? Send it to Vitality! Want to write about sailors and sirens? Do it! Feel the need to dive into the realm of pixies or ghosts or time-hopping two-headed warriors? Now you can with the knowledge that a market exists. Just like they say, your imagination is the limit.
For me, this meant that I was able to write in one of my favorite genres: Steampunk. I'm really excited to present my transgender airship pilot and his love interest at the start of next month.
I hope you take a look at The Eastern Route if you get a chance, and please research Vitality. Not only is a great market with endless possibilities for creativity, but it also promotes diversity in fiction. What could possibly be better than that?
PS> check out that gorgeous artwork Rebecca Schauer did to bring my story to life! Can't wait to see the whole image!
Tuesday, May 19, 2015
I Wanna See You Write Brave (Challenge Post)
My schedule has been hectic, to say the least. It seems like everyday I have less and less time to do the essentials like washing dishes and taking care of my buns, let alone fit in adequate time for yoga and writing.
So, this week I want to post a challenge:
No matter who you are, where you are, and what you have going on, I want you to submit something for publication.
Dig out an old poem from your underwear drawer. Uncover a flash fiction file from your hard drive. Or ruffle up the final draft of your novel in progress.
Then, revise and edit it. It should have been sitting long enough by now that you can see it with fresh eyes. Reread, tweak, fix, and polish.
Finally, find a market for your work and submit it. Maybe it's a new startup lit mag. Maybe you decide to go for the magazine of your dreams or the agent you always admired. Maybe you shoot for inclusion in a friend's weekly fiction mailer. Whatever the market, get that manuscript out there.
Because, really, what's the worst that can happen? You get rejected? Pff! It's happened before and it'll happen again. You can take it.
Maybe, just maybe, this will be the time you get constructive feedback. Maybe, just maybe, this will be the time you're accepted.
Whether you take this challenge the week I post this blog entry, two months from now, or three years from now, make the commitment to submit. Because you'll never be a published writer if you don't put yourself out there.
Take the challenge. Be brave. Submit your writing.
So, this week I want to post a challenge:
No matter who you are, where you are, and what you have going on, I want you to submit something for publication.
Dig out an old poem from your underwear drawer. Uncover a flash fiction file from your hard drive. Or ruffle up the final draft of your novel in progress.
Then, revise and edit it. It should have been sitting long enough by now that you can see it with fresh eyes. Reread, tweak, fix, and polish.
Finally, find a market for your work and submit it. Maybe it's a new startup lit mag. Maybe you decide to go for the magazine of your dreams or the agent you always admired. Maybe you shoot for inclusion in a friend's weekly fiction mailer. Whatever the market, get that manuscript out there.
Because, really, what's the worst that can happen? You get rejected? Pff! It's happened before and it'll happen again. You can take it.
Maybe, just maybe, this will be the time you get constructive feedback. Maybe, just maybe, this will be the time you're accepted.
Whether you take this challenge the week I post this blog entry, two months from now, or three years from now, make the commitment to submit. Because you'll never be a published writer if you don't put yourself out there.
Take the challenge. Be brave. Submit your writing.
Tuesday, May 12, 2015
The Modern Pronoun
I've noticed in many online profiles where it is asked you identify your gender, that the options are changing. Gone are the "he" and "she" of the past, replaced with more modern and understanding pronouns.
The one I especially want to talk about today is "they".
Much like the use of alright (if you missed it, check out this post to learn about my alright crusade), I've always had trouble attributing gender specific pronouns to anything.
Maybe it's because I was raised post-modernly. Maybe it's because I want to be politically correct. Maybe I want to respect everyone's life choices and lifestyles.
Maybe I was just never taught proper English. Who knows!
What I do know is this emergence of non-gender-specific pronouns has led me to start another crusade against the modern English language.
In my opinion, "they" should not only be allowed to replace a plural noun (like ducks). It should also be appropriate for "they" to replace a singular noun of unknown gender identity (like writer).
Let me throw out some examples:
In the sentence, "The protagonist has a major flaw", we should not have to choose between assigning "the protagonist" a male or female pronoun (He has a major flaw; She has a major flaw), but rather, it should be acceptable for "the protagonist" to be abbreviated as "They have a major flaw."
It's always bothered me having to choose one gender pronoun over the other, and so many times on this blog I've used the he-slash-she (he/she) cop-out or just gone with "they" as my pronoun, ignoring the previous lectures I've had from professors.
But no longer! Today I can say, "The protagonist has a major flaw. If it isn't corrected they will seem flimsy. The reader will see right through them", not because I don't know that "they" is traditionally only used for plural nouns, but because I simply won't prescribe to this notion anymore.
I'm wholeheartedly embracing the modern pronoun.
From now on, I will not be ashamed to use "they" in my blog posts - especially when talking about protagonists, artists, or writers of unknown gender. I'm taking off my tutu, throwing it to the wind, and running naked and wild through these posts. Who's going to join me?
The one I especially want to talk about today is "they".
Much like the use of alright (if you missed it, check out this post to learn about my alright crusade), I've always had trouble attributing gender specific pronouns to anything.
Maybe it's because I was raised post-modernly. Maybe it's because I want to be politically correct. Maybe I want to respect everyone's life choices and lifestyles.
Maybe I was just never taught proper English. Who knows!
What I do know is this emergence of non-gender-specific pronouns has led me to start another crusade against the modern English language.
In my opinion, "they" should not only be allowed to replace a plural noun (like ducks). It should also be appropriate for "they" to replace a singular noun of unknown gender identity (like writer).
Let me throw out some examples:
In the sentence, "The protagonist has a major flaw", we should not have to choose between assigning "the protagonist" a male or female pronoun (He has a major flaw; She has a major flaw), but rather, it should be acceptable for "the protagonist" to be abbreviated as "They have a major flaw."
It's always bothered me having to choose one gender pronoun over the other, and so many times on this blog I've used the he-slash-she (he/she) cop-out or just gone with "they" as my pronoun, ignoring the previous lectures I've had from professors.
But no longer! Today I can say, "The protagonist has a major flaw. If it isn't corrected they will seem flimsy. The reader will see right through them", not because I don't know that "they" is traditionally only used for plural nouns, but because I simply won't prescribe to this notion anymore.
I'm wholeheartedly embracing the modern pronoun.
From now on, I will not be ashamed to use "they" in my blog posts - especially when talking about protagonists, artists, or writers of unknown gender. I'm taking off my tutu, throwing it to the wind, and running naked and wild through these posts. Who's going to join me?
Tuesday, March 24, 2015
Dialogue Woes
I'm back from my southern vacation. Half of me is glad to be home 1) with my rabbit 2) in my usual routine, and 3) at my job/with my friends again. The other half of me really wishes all these lovely reasons existed in North Carolina right now and I wouldn't have to come back to Wisconsin cold ever again.
It was while contemplating this ambiguity in my own life that I jumped into revising my YA novel and noticed just how convoluted the dialogue in the opening scene was. Yes, that's right - THE MOST IMPORTANT PART OF MY MANUSCRIPT - was confusing.
After quickly thanking my mind for forgetting whatever kind of 'artistic statement' I was previously trying to pull off in that dialogue pre-vacation, I got down to a major overhaul.
Now, it's no secret that I struggle with beginnings. (See this post "Beginnings, The Bane of My Existence" as evidence.) But this time, it was different. I knew I was starting in the right place. My inciting incident was clear and defined and I had a complete grasp on it. I had worked tirelessly pre-vacation to make sure it was not-quite-as-subtle for readers.
But reading it over post-vacation, I noticed just how crappy - yes, downright crappy - the dialogue was. I couldn't even make out what the inciting incident was around all the convoluted dialogue. In the scene, the protagonist is having a conversation with her boss about her performance at work. Seems simple enough, right?
Obviously not for pre-vacation me.
When the protagonist spoke, the response from the other character didn't relate at all to what the protagonist had just said.
If I dramatize it, it looked something like this:
Makes no sense, right?
Then, the stage directions (the things happening around the protagonist, or the action of the characters in the scene) were just as convoluted. Sweat was dripping, noses were being wiped, time and space itself was shifting in the dust motes around the refrigerator between every exchange.
Between the confusing dialogue and the excess amount of direction, I'm surprised any of my beta readers got through it at all.
But here's the lesson I want everyone to get from this:
I first tried to fix the dialogue by replacing and rewriting on the old pre-vacation version. However, I kept looking ahead to see, "what I really needed to keep" and "what passages were really beautiful".
It wasn't until I opened a new computer document and wrote the dialogue from scratch that I had a breakthrough. It wasn't until I let my characters free from their dust mote surroundings and artsy, thesaurus-heavy dialogue that the true magic of dialogue burst free. Suddenly, without me worrying about how I would fit in the burnt coffee metaphor, my dialogue and stage business basically fixed themselves. The characters interacted, the dialogue flowed, what stage business occurred was important and interesting, and most crucially, not distracting.
So, if you're stressed and tired and on the verge of tears over a section of manuscript - take a break, forget your intentions, and when you come back, start fresh. It'll be hard, but remember - that original version will always be there. Where else can you take the story? What other great things can you do?
It was while contemplating this ambiguity in my own life that I jumped into revising my YA novel and noticed just how convoluted the dialogue in the opening scene was. Yes, that's right - THE MOST IMPORTANT PART OF MY MANUSCRIPT - was confusing.
After quickly thanking my mind for forgetting whatever kind of 'artistic statement' I was previously trying to pull off in that dialogue pre-vacation, I got down to a major overhaul.
Now, it's no secret that I struggle with beginnings. (See this post "Beginnings, The Bane of My Existence" as evidence.) But this time, it was different. I knew I was starting in the right place. My inciting incident was clear and defined and I had a complete grasp on it. I had worked tirelessly pre-vacation to make sure it was not-quite-as-subtle for readers.
But reading it over post-vacation, I noticed just how crappy - yes, downright crappy - the dialogue was. I couldn't even make out what the inciting incident was around all the convoluted dialogue. In the scene, the protagonist is having a conversation with her boss about her performance at work. Seems simple enough, right?
Obviously not for pre-vacation me.
When the protagonist spoke, the response from the other character didn't relate at all to what the protagonist had just said.
If I dramatize it, it looked something like this:
"I hate grilled cheese sandwiches," she said.
"Well, if you jumped off cliffs a little more often, maybe you wouldn't have that problem," he said.
Then, the stage directions (the things happening around the protagonist, or the action of the characters in the scene) were just as convoluted. Sweat was dripping, noses were being wiped, time and space itself was shifting in the dust motes around the refrigerator between every exchange.
Between the confusing dialogue and the excess amount of direction, I'm surprised any of my beta readers got through it at all.
But here's the lesson I want everyone to get from this:
I first tried to fix the dialogue by replacing and rewriting on the old pre-vacation version. However, I kept looking ahead to see, "what I really needed to keep" and "what passages were really beautiful".
It wasn't until I opened a new computer document and wrote the dialogue from scratch that I had a breakthrough. It wasn't until I let my characters free from their dust mote surroundings and artsy, thesaurus-heavy dialogue that the true magic of dialogue burst free. Suddenly, without me worrying about how I would fit in the burnt coffee metaphor, my dialogue and stage business basically fixed themselves. The characters interacted, the dialogue flowed, what stage business occurred was important and interesting, and most crucially, not distracting.
So, if you're stressed and tired and on the verge of tears over a section of manuscript - take a break, forget your intentions, and when you come back, start fresh. It'll be hard, but remember - that original version will always be there. Where else can you take the story? What other great things can you do?
Tuesday, November 18, 2014
Revision: focus not on what you're losing, but on what you're bound to gain.
I had one of those moments the other day - you know the ones where you're dealing with two completely different problems and then BAM! they both have surprisingly the same solution. Here were my dilemmas:
1. A friend of mine was told by her writing group that the beginning of her story needs major revision. She had me read the first chapter as well, and I agreed that a change would be for the better. However, she confided that the thought of revising what she already had (and which was, as she pointed out, fine) sent her into hour long bouts of petrified terror. How did I convince her that revision would not ruin her story but make it great?
2. I've been living a vegetarian lifestyle for over a year, and now am making the transition to veganism. We're talking no milk, eggs, butter, cheese, honey, or any beauty or home products that aren't cruelty free. Having grown up in a traditional steak-and-potatoes type of family, I needed a way to counteract their questions as to why this lifestyle was right for me. Especially when my mother looked at me with glossy eyes and said, "But...cheesecake!" How did I convince them that I was passionate about my decision, even though it went against what they had taught me growing up?
Over a bowl of oatmeal, the answer hit me - focus not on what you're losing, but on what you're bound to gain.
That's right. Instead of saying, "I really miss that cheesecake and I can never eat it again," think instead, "I'm going to eat this delicious vegan double chocolate smoothie!"
And for that revision-stuck friend of mine, I told her not to focus on a few beautiful sentences she'll lose by revising chapter one, but on the possibilities of what she could gain. A better insight into her protagonist, a well paced first chapter, a first sentence that kicks the breath right out of the agent that sets eyes on it, etc.
Because if you're too scared to change what you have, you'll never know if something else - even if it's difficult and takes a lot of your time - is infinitely better.
So I urge you this week, take a chance within your writing or your life (both, perhaps?)! See what kinds of wondrous new possibilities are out there that can propel you in the direction you wish to go.
1. A friend of mine was told by her writing group that the beginning of her story needs major revision. She had me read the first chapter as well, and I agreed that a change would be for the better. However, she confided that the thought of revising what she already had (and which was, as she pointed out, fine) sent her into hour long bouts of petrified terror. How did I convince her that revision would not ruin her story but make it great?
2. I've been living a vegetarian lifestyle for over a year, and now am making the transition to veganism. We're talking no milk, eggs, butter, cheese, honey, or any beauty or home products that aren't cruelty free. Having grown up in a traditional steak-and-potatoes type of family, I needed a way to counteract their questions as to why this lifestyle was right for me. Especially when my mother looked at me with glossy eyes and said, "But...cheesecake!" How did I convince them that I was passionate about my decision, even though it went against what they had taught me growing up?
Over a bowl of oatmeal, the answer hit me - focus not on what you're losing, but on what you're bound to gain.
That's right. Instead of saying, "I really miss that cheesecake and I can never eat it again," think instead, "I'm going to eat this delicious vegan double chocolate smoothie!"
And for that revision-stuck friend of mine, I told her not to focus on a few beautiful sentences she'll lose by revising chapter one, but on the possibilities of what she could gain. A better insight into her protagonist, a well paced first chapter, a first sentence that kicks the breath right out of the agent that sets eyes on it, etc.
Because if you're too scared to change what you have, you'll never know if something else - even if it's difficult and takes a lot of your time - is infinitely better.
So I urge you this week, take a chance within your writing or your life (both, perhaps?)! See what kinds of wondrous new possibilities are out there that can propel you in the direction you wish to go.
Tuesday, September 2, 2014
What's Hiding Behind That Beautiful Prose? (Why I Write YA)
When people ask me what my current novel is about and I tell them it's YA, they often look at me sideways. This one's not right in the head. She never grew up. Why would she write for children when she could write for adults?
The criticism is harshest from other writers (especially those who harbor disdain for anything that isn't "artistic" "insightful" or "literary").
They never seem to ask me out loud why I love writing YA (and am considering a new fantasy MG idea - I'll keep you posted). But, I'm going to answer them anyway.
I write YA because as a writer, you can't hide behind beautiful metaphors or long strings of gorgeous prose. You guys know what I'm talking about: Those novels where every stinking sentences is a metaphor (most obscure) and the beautiful prose flows unbounded from overly-long chapter to overly-long chapter. Now, adults will read this. Millions of books like this sell every year. Adults will sit there and think, "There must be some artistic reason this character has done nothing for 150 pages but look at a stain on his favorite coffee mug. It must mean something!" or "I know I've already read 500 pages and nothing has happened other than me following this character to and from work, but in the 548 pages to go, I know this boredom is going to be revealed as something amazing and insightful."
Adults will ponder your philosophy. They'll say it's existential or Darwinian.
Teens don't care. They don't have time for that, and they definitely won't read 500 pages just hoping that eventually they'll figure out the meaning.
Teens want a good story with fast pacing and connectable characters. They want to feel, smell, and taste what your characters are experiencing. And they want it every chapter, every sentence, every word. No where in a YA novel can you hide behind your good writing. No where is there room for brainy dribble. Because teens don't care about it and they definitely don't want to read it.
To write YA you need both great writing and fantastic storytelling ability.
So, my answer to those sideways glances and bulging, judgmental eyes is this: I write YA because it forces me to be a better writer. It forces me to cut the crap and keep only the things that propel the story. I can't keep a paragraph of useless but fantastic writing - I must save that for my journal and my eyes only.
I write YA because everything counts.
Does that make me juvenile?
Maybe. Think what you want, but I still make a wicked frozen pizza.
The criticism is harshest from other writers (especially those who harbor disdain for anything that isn't "artistic" "insightful" or "literary").
They never seem to ask me out loud why I love writing YA (and am considering a new fantasy MG idea - I'll keep you posted). But, I'm going to answer them anyway.
I write YA because as a writer, you can't hide behind beautiful metaphors or long strings of gorgeous prose. You guys know what I'm talking about: Those novels where every stinking sentences is a metaphor (most obscure) and the beautiful prose flows unbounded from overly-long chapter to overly-long chapter. Now, adults will read this. Millions of books like this sell every year. Adults will sit there and think, "There must be some artistic reason this character has done nothing for 150 pages but look at a stain on his favorite coffee mug. It must mean something!" or "I know I've already read 500 pages and nothing has happened other than me following this character to and from work, but in the 548 pages to go, I know this boredom is going to be revealed as something amazing and insightful."
Adults will ponder your philosophy. They'll say it's existential or Darwinian.
Teens don't care. They don't have time for that, and they definitely won't read 500 pages just hoping that eventually they'll figure out the meaning.
Teens want a good story with fast pacing and connectable characters. They want to feel, smell, and taste what your characters are experiencing. And they want it every chapter, every sentence, every word. No where in a YA novel can you hide behind your good writing. No where is there room for brainy dribble. Because teens don't care about it and they definitely don't want to read it.
To write YA you need both great writing and fantastic storytelling ability.
So, my answer to those sideways glances and bulging, judgmental eyes is this: I write YA because it forces me to be a better writer. It forces me to cut the crap and keep only the things that propel the story. I can't keep a paragraph of useless but fantastic writing - I must save that for my journal and my eyes only.
I write YA because everything counts.
Does that make me juvenile?
Maybe. Think what you want, but I still make a wicked frozen pizza.
Tuesday, July 1, 2014
Can you Query me now?
Let's talk about selecting which agents to submit queries to.
Querying may seem daunting and full of rejection (we've talked about this before), but when you think about it, so is applying and interviewing for jobs. So why should we treat it much differently? Only, this is your dream job and it's filled with words and not the expired coffee beans of your last barista job.
Now, think about what's most important in an agent:
1. Someone you connect with, who believes in your work and your career.
2. Someone who's willing to fight to get you the best possible publisher for your book at the best possible price.
3. Someone who can help explain this confusing, inter-galactic process of the publishing world (ie e-Books, novellas, literary, commercial, traditional print...).
It's not all that different from accepting an offer for a traditional 9-5 job. For that you look for:
1. Doing something you like.
2. Having a pay that makes the revocation of your free time worth the job itself.
3. Working with people you like, who understand you, and accept you for your strengths and weaknesses (and, of course, understand you have a life outside of their walls).
So, next time you're scouring that agent search site, try not to panic and send a mass query to everyone who represents sci-fi novels. Research your agents. Make sure they sound like the type of person you'd want to work professionally with. Is the agency in line with what you want for your book and your career? Is this a place you'd like to "work"? If so, submit. If not, you could be entering in to a professional relationship that isn't right for you.
Querying may seem daunting and full of rejection (we've talked about this before), but when you think about it, so is applying and interviewing for jobs. So why should we treat it much differently? Only, this is your dream job and it's filled with words and not the expired coffee beans of your last barista job.
Now, think about what's most important in an agent:
1. Someone you connect with, who believes in your work and your career.
2. Someone who's willing to fight to get you the best possible publisher for your book at the best possible price.
3. Someone who can help explain this confusing, inter-galactic process of the publishing world (ie e-Books, novellas, literary, commercial, traditional print...).
It's not all that different from accepting an offer for a traditional 9-5 job. For that you look for:
1. Doing something you like.
2. Having a pay that makes the revocation of your free time worth the job itself.
3. Working with people you like, who understand you, and accept you for your strengths and weaknesses (and, of course, understand you have a life outside of their walls).
So, next time you're scouring that agent search site, try not to panic and send a mass query to everyone who represents sci-fi novels. Research your agents. Make sure they sound like the type of person you'd want to work professionally with. Is the agency in line with what you want for your book and your career? Is this a place you'd like to "work"? If so, submit. If not, you could be entering in to a professional relationship that isn't right for you.
Tuesday, April 29, 2014
Pondering the Writing Professor
Over the years, I've had a number of writing professors. Some have stayed in my life for years, others lasted only a few days. Recently, I was discussing a writing professor with my friends. I didn't stay long with this professor because I didn't like his teaching style. My friends, on the other hand, all had fantastic experiences and learned a great deal from this professor.
How can four people - dedicated to writing - think so differently about the same teacher?
Here are my thoughts:
Writing professors (and writing degree programs) are subjective. They all teach you mostly the same thing, but in completely different ways. It's much like reading a plethora of different books on writing instruction. Some you'll think are amazing, others are going to suck.
Writing professors are the same. Some you will connect with. They'll tell you about setting and it will make every piece of advice you've ever heard about setting click into comprehension in your mind. Other professors will try to teach you about setting and it's like they're speaking in Ancient Alien Runes.
All in all, you need to do your research and decide for yourself what works best. Sure you can ask the advice of your friends, but if I had accepted that advice three years ago, I wouldn't have taken a class (and then another) with one of the best writing professors who has helped me understand the craft.
So, don't worry about which schools have the highest ranking, and don't worry about the doubt those other professors have sewn in you.
You need to do what's right for you.
How can four people - dedicated to writing - think so differently about the same teacher?
Here are my thoughts:
Writing professors (and writing degree programs) are subjective. They all teach you mostly the same thing, but in completely different ways. It's much like reading a plethora of different books on writing instruction. Some you'll think are amazing, others are going to suck.
Writing professors are the same. Some you will connect with. They'll tell you about setting and it will make every piece of advice you've ever heard about setting click into comprehension in your mind. Other professors will try to teach you about setting and it's like they're speaking in Ancient Alien Runes.
All in all, you need to do your research and decide for yourself what works best. Sure you can ask the advice of your friends, but if I had accepted that advice three years ago, I wouldn't have taken a class (and then another) with one of the best writing professors who has helped me understand the craft.
So, don't worry about which schools have the highest ranking, and don't worry about the doubt those other professors have sewn in you.
You need to do what's right for you.
Tuesday, November 12, 2013
Leave the Door Behind: Writing in Public
Here we are. The third and final week of our three-post series about HOW we write.
Do you have that dream where you're sitting in a Parisian café, penning your literary novel about a pair of doomed lovers over a café au lait? It's a common dream from writers. Paris. The coffee. The leisure. The people passing you by. I shudder at the thought.
Even in Paris, though I've always wanted to go, I would separate my writing time from my out time.
In fact, I've only written in a café or coffee house twice to date. They were both places I was comfortable with and had known for a long time. It still didn't make me feel any better.
I didn't like the constant distractions around me: People having loud conversations and letting their noisy ringtones interrupt the entire café, the waitresses wondering if you're still doing okay, the terrible feeling I harbor when I order a black coffee and sit on their wi-fi for two hours.
Both times, I was so uncomfortable writing in public that I ended up doing little to no writing at all. I didn't want people to see my 50 page Word Document open and infer I was a writer. Then I'd have to converse. It was almost as bad as the time I was working on my poetry for class in the doctor's office waiting room and (though the entire waiting room was empty) an elderly couple sat right next to me. I had to skirt the line between leaning away so they couldn't see my notebook and not looking like a complete jerk.
So, I have a hard time seeing the benefits of writing in public besides complete necessity (like it's the only place you're not ridiculed for writing or can carve enough time to do so).
Here's my list of benefits:
So, I'm going to ask for your help on this one. If you're a writer and you love writing in public spaces. Why? What makes it so beneficial for you? Maybe you can help the solitary writers see the light. Leave a comment please.
Do you have that dream where you're sitting in a Parisian café, penning your literary novel about a pair of doomed lovers over a café au lait? It's a common dream from writers. Paris. The coffee. The leisure. The people passing you by. I shudder at the thought.
Even in Paris, though I've always wanted to go, I would separate my writing time from my out time.
In fact, I've only written in a café or coffee house twice to date. They were both places I was comfortable with and had known for a long time. It still didn't make me feel any better.
I didn't like the constant distractions around me: People having loud conversations and letting their noisy ringtones interrupt the entire café, the waitresses wondering if you're still doing okay, the terrible feeling I harbor when I order a black coffee and sit on their wi-fi for two hours.
Both times, I was so uncomfortable writing in public that I ended up doing little to no writing at all. I didn't want people to see my 50 page Word Document open and infer I was a writer. Then I'd have to converse. It was almost as bad as the time I was working on my poetry for class in the doctor's office waiting room and (though the entire waiting room was empty) an elderly couple sat right next to me. I had to skirt the line between leaning away so they couldn't see my notebook and not looking like a complete jerk.
So, I have a hard time seeing the benefits of writing in public besides complete necessity (like it's the only place you're not ridiculed for writing or can carve enough time to do so).
Here's my list of benefits:
- It allows you to study those around you (which is especially beneficial if your story is set in the same region you write from)
- It has a romantic ring to it: "Being a writer, writing in a café."
So, I'm going to ask for your help on this one. If you're a writer and you love writing in public spaces. Why? What makes it so beneficial for you? Maybe you can help the solitary writers see the light. Leave a comment please.
Tuesday, October 29, 2013
Shut the Door: Writing Alone
Does who you write around make a difference to the outcome of your piece? I'm not talking the stakes or the plot line, but the quality/quantity of the writing you produce. This post starts what I'm expecting to be a 3 post series (my first, squee!) about HOW we write.
Personally, I prefer to write alone. As I told you in this post, I am definitely an introvert. Since you're reading a blog about writing, you most likely are too.
Writing alone offers us the ability to fully get into the character's head without interruption. The quiet of our surroundings allows us to write for however long we want (or have) without the dog wanting a walk, your spouse wanting to talk, or the oven timer going off. It's a solitude most writers enjoy but rarely get. For decades, perhaps even centuries, writers have craved for solitude to write.
I get my solitary writing time in at night. Everyone else is asleep, the rabbit is locked in her cage, the phone rarely rings, and it's me and my story. [Unfortunately, this often leaves me exhausted the next morning before work, but so be it.] The time is often short (one to two hours tops) but the quality and quantity I produce is vastly greater than the writing I do around others or while distracted. The hour flies by, but I get stuff done. It's like having a busy day at work. You're moving constantly and everyone needs something from you when you already have a list of things you need to do yourself, but before you know it, five o'clock is here.
When I write alone, I'm able to focus on the words I put on the page. I flow seamlessly from one sentence to the next; from one dialogue segment to another. Conversations sound better and the scene often feels whole.
I even find editing alone is beneficial to me. Much like writing in solitude, editing alone allows me to immerse myself in the world of the story or scene and not have the distractions that pop me back to real life. In one hour, alone, I can reread/edit/revise 18 pages of double-spaced story. That means new notes, new dialogue, and new metaphors. Much like a devoted reader, I am able to read uninterrupted. I stay "in character" and "in voice" and am able to better assist the scene.
If you always write in a coffee shop around others or in a busy household, try writing in solitude. Lock yourself in the bathroom, go outside, get up to write at 2 a.m., or build yourself a writing shed. Somehow, find alone time and write.
Here are the benefits you stand to reap:
Personally, I prefer to write alone. As I told you in this post, I am definitely an introvert. Since you're reading a blog about writing, you most likely are too.
Writing alone offers us the ability to fully get into the character's head without interruption. The quiet of our surroundings allows us to write for however long we want (or have) without the dog wanting a walk, your spouse wanting to talk, or the oven timer going off. It's a solitude most writers enjoy but rarely get. For decades, perhaps even centuries, writers have craved for solitude to write.
I get my solitary writing time in at night. Everyone else is asleep, the rabbit is locked in her cage, the phone rarely rings, and it's me and my story. [Unfortunately, this often leaves me exhausted the next morning before work, but so be it.] The time is often short (one to two hours tops) but the quality and quantity I produce is vastly greater than the writing I do around others or while distracted. The hour flies by, but I get stuff done. It's like having a busy day at work. You're moving constantly and everyone needs something from you when you already have a list of things you need to do yourself, but before you know it, five o'clock is here.
When I write alone, I'm able to focus on the words I put on the page. I flow seamlessly from one sentence to the next; from one dialogue segment to another. Conversations sound better and the scene often feels whole.
I even find editing alone is beneficial to me. Much like writing in solitude, editing alone allows me to immerse myself in the world of the story or scene and not have the distractions that pop me back to real life. In one hour, alone, I can reread/edit/revise 18 pages of double-spaced story. That means new notes, new dialogue, and new metaphors. Much like a devoted reader, I am able to read uninterrupted. I stay "in character" and "in voice" and am able to better assist the scene.
If you always write in a coffee shop around others or in a busy household, try writing in solitude. Lock yourself in the bathroom, go outside, get up to write at 2 a.m., or build yourself a writing shed. Somehow, find alone time and write.
Here are the benefits you stand to reap:
- Getting more done in a shorter amount of time
- Staying in the story, producing a more cohesive feeling scene
- More aptitude to allow yourself to try new things (and fail) because no one has to know
Tuesday, September 10, 2013
An Update and a Question for You
The back-to-school commercials have aired and a bombardment of first-day-of-school photos clutter the Facebook news feeds. Yes, it's that time of year again - school is in session.
I want you, my loyal blog readers, to know that I will not be joining the fray this year.
Why does this matter to you whether or not I am a student? Well, because a few of you have been there from the beginning when I started this blog out of my college dorm. Others have perused the multiple college class/life posts I wrote at the beginning of this blog's life. But more importantly, I think I can sneak another message out of this one.
Here it goes: You don't need a fancy degree to achieve your goals or get the places you want to be. Especially if you're a writer. (If you want to be, say, a doctor, you may just have to stick it out. Sorry.) But to be a writer you need to...what?...Write! This goes back to the very first post I made in this blog. We're writers not because we have agents or ebooks or publishing deals. We're writers because we write. Plain and simple.
Ask yourself this question - would you rather have the degree you're "supposed to" get, but be no better of a writer than when you started; or, would you rather be degree-less but have worked your way into the writer you always longed to be?
Yeah, that's the question that got me thinking.
Now, I'm not trying to discourage people from going to college, or encourage our current college students to drop out, but I do want to get you thinking. What is going to be most beneficial to you in the long run? If, say, you're in college now and it's strengthening your skills and helping you sort out your weak points - great! You've hit the jackpot. For many of us, this doesn't happen. If, like me, your high school counselors and college professors told you you'd go nowhere without a degree, but the whole process just isn't working for you - this is the time to step back. Think about what you really want.
For me, it was to be the best writer I could possibly be. This meant dropping the student loans, school colors, and cramped living quarters. It meant picking up a job, a writing group, and a few stand-alone writing classes that got me no closer to graduation but a lot closer to publication.
So, in future, expect fewer posts about dorm life, class discussions, and microwave recipes (oh stove, how I've missed you!), and more about the business of writing and art. I hope you join me for the ride.
I want you, my loyal blog readers, to know that I will not be joining the fray this year.
Why does this matter to you whether or not I am a student? Well, because a few of you have been there from the beginning when I started this blog out of my college dorm. Others have perused the multiple college class/life posts I wrote at the beginning of this blog's life. But more importantly, I think I can sneak another message out of this one.
Here it goes: You don't need a fancy degree to achieve your goals or get the places you want to be. Especially if you're a writer. (If you want to be, say, a doctor, you may just have to stick it out. Sorry.) But to be a writer you need to...what?...Write! This goes back to the very first post I made in this blog. We're writers not because we have agents or ebooks or publishing deals. We're writers because we write. Plain and simple.
Ask yourself this question - would you rather have the degree you're "supposed to" get, but be no better of a writer than when you started; or, would you rather be degree-less but have worked your way into the writer you always longed to be?
Yeah, that's the question that got me thinking.
Now, I'm not trying to discourage people from going to college, or encourage our current college students to drop out, but I do want to get you thinking. What is going to be most beneficial to you in the long run? If, say, you're in college now and it's strengthening your skills and helping you sort out your weak points - great! You've hit the jackpot. For many of us, this doesn't happen. If, like me, your high school counselors and college professors told you you'd go nowhere without a degree, but the whole process just isn't working for you - this is the time to step back. Think about what you really want.
For me, it was to be the best writer I could possibly be. This meant dropping the student loans, school colors, and cramped living quarters. It meant picking up a job, a writing group, and a few stand-alone writing classes that got me no closer to graduation but a lot closer to publication.
So, in future, expect fewer posts about dorm life, class discussions, and microwave recipes (oh stove, how I've missed you!), and more about the business of writing and art. I hope you join me for the ride.
Sunday, July 14, 2013
Alyssa Nedbal Studio is OPEN for Business!
You extra savvy blog readers will have noticed that I changed the header of the blog. One tiny yet consequential change happened when I added the word "Artist" onto the banner. You see, I've finally taken one more progression past the block of my Artist Effect and allowed myself to affirm what I've been placing in "about me" sections across the internet: I am an artist.
The reason I add this title now is that the big progression I'm talking about came in the form of the sale of my artwork. Yes, that's right, I'm now officially a starving artist trying to sell some of the artwork lying around her house. I figure, it's just in my hallway, canvases stacked atop each other, so I might as well let other people buy and enjoy them.
My shop is on the ever popular (and one of my personal favorite) sites, Etsy. The shop name is:
AlyssaNedbalStudio
and you can find it here: http://www.etsy.com/shop/AlyssaNedbalStudio
If you're visiting the blog from my profile on Etsy; welcome! Feel free to leave a comment on any post.
For those of you loyal blog readers who are just now sharing in my joy (YAY!); thanks for being so faithful and reading my posts. It means so much that you support my writing and now are entering into the world of art with me. I promise I will still uphold my end of the bargain and talk all I can about writing. But now we get to see more pretty pictures.
Here's a taste of what the Etsy shop has in store for you (and the first round of those pictures I promised).
Original marker illustration on paper. Title: The Blue Chair
The reason I add this title now is that the big progression I'm talking about came in the form of the sale of my artwork. Yes, that's right, I'm now officially a starving artist trying to sell some of the artwork lying around her house. I figure, it's just in my hallway, canvases stacked atop each other, so I might as well let other people buy and enjoy them.
My shop is on the ever popular (and one of my personal favorite) sites, Etsy. The shop name is:
AlyssaNedbalStudio
and you can find it here: http://www.etsy.com/shop/AlyssaNedbalStudio
If you're visiting the blog from my profile on Etsy; welcome! Feel free to leave a comment on any post.
For those of you loyal blog readers who are just now sharing in my joy (YAY!); thanks for being so faithful and reading my posts. It means so much that you support my writing and now are entering into the world of art with me. I promise I will still uphold my end of the bargain and talk all I can about writing. But now we get to see more pretty pictures.
Here's a taste of what the Etsy shop has in store for you (and the first round of those pictures I promised).
Original marker illustration on paper. Title: The Blue Chair
Original acrylic pallet knife on canvas board. Title: we have MEN
If you're one of those extra savvy blog readers I mentioned previously, you'll know that I promised exciting illustration news in the Artist Effect post from March. Well, don't worry, that news is coming soon. A few more months of patience will pay off.....
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