My Current To-Read List

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I’ve started to allow myself about 15 minutes of pleasure reading before I close my eyes for the night most nights. Currently, I’m enjoying Yellowstone Has Teeth, by Marjane Ambler.

I don’t get to read much during the school year (unless, of course, you count the nearly never-ending string of my students’ persuasive essays, journal entries, literary analyses, and research papers). But last month, I spent several hours in the Bozeman airport waiting for my travel companions’ plane to land so we could make the trip to Big Sky together. Though I admit to reading several persuasive essays during my wait (yes, during my vacation…), I also perused the little airport shops.

And I found books. Lots and lots of books.

There were at least a dozen I wanted to buy–and probably would have, if my luggage had not already weighed 52.5 pounds when I left home that morning. I always have a long Summer To-Read List, so this year, though I limited my Bozeman book-buy binge to three books, I decided to get started early. Most nights of the week since I’ve been home from Montana, I’ve been allowing myself 15 minutes before bed to read for pleasure. Currently, I’m about 100 pages in to Yellowstone Has Teeth, and in the beginning chapters of Salt to the Sea, which I’m reading as part of the novel-writing class I’m taking (and loving!) at The Visual Arts Center of Richmond.

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Currently Reading

Yellowstone Has Teeth, by Marjane Ambler

One of the planned activities I was most excited about during my trip was a day-long coach tour of Yellowstone National Park. I couldn’t wait to see the park and its feature in the snow. The last time I visited, it was summer and I was in elementary school. I was looking forward to the spectacular juxtaposition of colorful hot springs with white snow. I bought this book thinking I’d have time to start reading it before our visit to the park,  but all I managed to read during the entire trip were persuasive essays. Still, starting the book once I returned home has been a nice way to savor my memories of our snowy day in the park.

I also bought this book because I love books about people’s lives. I am incredibly nosy about everyone’s routine, right down to the most mundane details, so I’m enjoying reading about how Ambler and her fellow winter residents managed to tote groceries home on snowmobiles, the ways they managed to keep warm, and what their day to day job obligations were.

If that weren’t enough, I always love books about nature. Reading about other peoples’ observations in and connection to nature helps me better appreciate my own time in the out of doors, enhances my own ability to be aware and open and in touch. I enjoy the introspective reverie of one alone in nature.

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Salt to the Sea, by Ruta Sepetys

IMG-1980A fellow writer in my novel-writing class who happens to work as a librarian recommended our class read this book as an excellent example of writing craft. It’s a Young Adult (YA) novel about four teens during World War II. So far, it’s an incredibly fast read. It’s riveting. The book is impressively thick, but the chapters are incredibly short and it’s not hard to read several in one sitting–not only because of their brevity, but also because of their pace. The chapters alternate between the perspectives of each of the four characters. So far, each chapter is a first-person account of the same experience or moment.

My To-Read List

A Modern Dog’s Life: How to Do the Best for Your Dog, by Paul McGreevy

You can probably tell from this blog and my corresponding Instagram account that my dogs are a huge focal point in my life, so it’s no surprise that the title of this book caught me eye. It seems to promise A) that will learn about how my dogs experience life and B) that I will learn how to make their lives the best lives possible. I actually came across this book while I was conducting research for an article I was writing for ScoutKnows.com, and when my brother asked me a few days later what I wanted for my birthday, I asked for this book and he delivered. I can’t wait to learn more about my dogs and how to make their lives better, and I have a feeling the information in this book will also help with my writing for Scout Knows.

What the Robin Knows: How Birds Reveal the Secrets of the Natural World, by Jon Young

I want to know the secrets of the natural world–and I like birds–so this book seemed like a no-brainer purchase. It’s another that I bought at the Yellowstone National Park Store in the Bozeman airport. I’m excited to read about what I can learn from my backyard birds.

I Am I Am I Am: Seventeen Brushes with Death, by Maggie O’Farrell

I haven’t purchase this book yet, but I first heard about it on NPR a few weeks ago, and then read a review of it in the Richmond Times-Dispatch. In both cases, it sounded intriguing and thought-provoking. I have a feeling it will alter my perspective on many things.

Desert Solitaire: A Season in the Wilderness, by Edward Abbey

I think my cousin Katie originally told me about this book, and it’s another my brother bought me for my birthday. As I wrote above, I love introspective writing like I expect to read here.

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Just a small pile of some of the books on my to-read list

Ol Major’s Last Summer: The Story of a Very Special Friend, by Richard Sloan

This is my third Bozeman airport book buy. Each purchase of this book donates money to animal causes, and it’s written by a local writer. Plus–it’s about a dog. How could I resist?

I do expect this book will make me cry, so I have to plan my reading of it wisely.

Les Miserables, by Victor Hugo

One of my best friends bought this book for me for Christmas last year. He hates reading, but this is his favorite book, so it must be good. I’ve actually already read it, but I was a sophomore in high school and remember very little.

The Handmaid’s Tale, by Margaret Atwood

I’m a firm believer in reading the book before seeing the movie (or, in this case, show), but I let my husband talk me into watching Season One of The Handmaid’s Tale before I read the book.

I am also a firm believer that the book is always better than the movie (or the show)–so I have got to read this book. If the show is any indicator, the book must be mind-blowing.

Lastly, the novel I’m currently writing is, according to my instructor, speculative fiction, so I am sure I can also learn something about craft from reading this book.

 

 

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Where to Write: The Best Writing Locations for Every Project

If you enter the front door of my house, mount the stairs, and make a left, you will find yourself in the room my husband and I call “the office.” Despite its mundane name, the office serves a myriad of functions: It’s my husband’s video game room, our catch-all room, and my writing room. It even served a short stint as a guest room at one point.

Opposite a massive television that dominates an entire wall of the office, sits my heavy, wooden desk, its broad surface all but covered with magazines, books, candles, a few photographs and business cards, a mug full of pens, and my laptop. I was pretty proud of this little space–this tiny portion of the room that was mine–when we first set it up. For a while, I even started referring to the office solely as “my writing room.” Truth be told, though, my husband plays far more video games in there than I write articles, poems, essays, or stories. And so, gradually, the room has returned to its original name: the office (though maybe “gaming room” would be more appropriate).

I do write there occasionally. It’s a cozy, quiet spot–and it’s nice to have all my writing materials handy (if not 100% organized). I’ve found, though, that despite my loving the idea of a writing room, I’m a fairly migratory writer. I write at the kitchen table. I write at the table outside on our back deck (a lot). I write on the couch. I write perched on the edge of the brick hearth in front of our fireplace. I write sitting in a gravity-free chair beside the fire pit in our backyard. I write on rocks in the middle of the Jame River. I’ve even been known to write during a float session and in an inflatable, backyard pool. Each of these locations offers its own set of benefits and drawbacks. Each environment contributes to–or, in some cases, detracts from–the creative process in some way.

Writing Outside

One of my favorite places to write is outside–anywhere outside. My back deck, my front porch, my hammock, the river, the beach… I find writing outside in the natural world offers a plethora of benefits. My mind is free to wander through the open space of fresh air, tangled tree branches, birds on the wing. Nature seems to help open up my creative pathways and free my imagination.

The advantages I find to writing outside are many. The natural world offers stimulation for all five senses, and often, unexpected inspiration. My essay, “Out Of Touch,” was inspired in large part by an experience just lounging on my hammock in the backyard. “The moon was late to the party” came of an experience I enjoyed on two consecutive nights of evening walks. I wrote a large portion of Goodbye for Now on my back deck.

The outdoors also offers a way out of ourselves–transcendental experiences that seem to allow us a wider sphere of perception and thoughtfulness, and a broader scope of imagination. Being at one with nature puts me in a meditative state that is more open to ideas than my usual, task-oriented mind.

Writing outside offers a way out of ourselves–transcendental experiences that seem to allow us a wider sphere of perception and thoughtfulness, and a broader scope of imagination.

In addition, if you’re falling victim to writer’s block, one way to overcome it is to step outside and observe nature. Focus on each sense individually, and describe, in detail, what you see, hear, feel, taste, and smell.

Some of my most original and pertinent lines, phrases, ideas, metaphors, and similes find me when I’m outside.

There are, however, a few drawbacks (none of which outweigh the benefits, if you ask me). Kris Spisak, author of Get a Grip on Your Grammar: 250 Writing and Editing Reminders for the Curious or Confusedsays she writes “outside a lot, but I can’t edit there if I’m in fine-tuning mode. The glare on my screen lets imperfections slip through undetected.” Sun glare on a laptop screen can indeed be pretty brutal sometimes, and outdoor situations are not always the most ergonomic. Plus, writing outside is obviously weather-dependent, so it’s not always a feasible option. Finally, sometimes I myself tend to get caught up in my surroundings, and end up doing more observing and appreciating than writing.

Writing in a Coffee Shop

Somehow, writing in a coffee shop has the effect of just magically making me feel like a bona-fide writer. I’m not sure why, exactly–but I feel legitimate when I write in a coffee shop. (Or itwould, I imagine, if I ever wrote in a coffee shop…) Another plus is the people watching you can manage in a bustling coffee shop can help inspire character ideas, and the conversations you can overhear can help inspire dialog.

A coffee shop sometimes offers fewer distractions than writing at home–or at least fewer opportunities for procrastination. You can’t get up and load your dishwasher, fold your laundry, take a nap, or mop your floors when you’re at the coffee shop. But you can write. And you might as well–because there’s not much else to do. Spisak admits that when she writes at home, “sometimes laundry calls; dishes need to be done; or family voices want to disturb my productivity. Those are the occasions I like to support local small businesses by buying their coffee. (Being a writer is a different type of entrepreneurship, after all. We need to support each other where we can.).”

“If I paid for a coffee and scone, it’s like a miniature investment in my project.”

All that said, I myself rarely, if ever, write at a coffee shop, though a Starbucks sits at the main intersection just two miles from my front door. I once took a conference call there, and nearly a decade ago, I graded a stack of research papers there–but I can’t recall having ever actually written anything there.

The drawbacks to the coffee shop writing scene include the fact that, while you can’t get up and start doing chores or paying bills, other distractions exist–like chatting up the barista, talking with other customers, getting up to purchase another snack or drink, people watching more than writing, and the necessity to spend at least a little money. Spisak, however, sees the latter as something of a motivating benefit. “If I paid for a coffee and scone, it’s like a miniature investment in my project.”

Writing in a Comfy Couch or Chair

Who doesn’t like curling up with a good book (whether you’re reading it or writing it is beside the point) on a comfortable couch or chair? I mean, it’s comfy! So comfy, in fact, that you’re not likely to want to get up soon–so you’re likely to stay there a while and keep writing. Charlene Jimenez, a writing instructor and freelance writer, says she likes writing in a comfortable chair or on a cozy couch because “it’s nice to physically relax when you’re working your creative writing muscles.

The main drawback for me? I sometimes get a little too comfortable and end up giving in to the urge to nap.

Writing in a Home Office

According to Jimenez, “The solitude of a home office is the best. I’m surrounded by all my novel notes. It feels like my own space, so I feel comfortable and productive there.” Spisak agrees that there’s something helpful about being surrounded by all your materials and ideas. “At my own desk, I’m surrounded by inspiration and all of the resources I usually need,” she says. “My desk at home is my usual writing habitat. When I have my own desk at home, there’s no excuse for not getting my writing down. It’s there. It’s waiting. I just need to enter my writing space to make it happen.”

Setting up a certain space designed just to help you write can help condition your mind and writing muscles. You know that when you enter that space, you write. Similarly, people know not to disturb you; you’re working.

One drawback, however, is that while a home office may help you focus, it may not be particularly stimulating or inspirational (or it may make writing feel like, well, work).

Writing on a Porch or Balcony

Jimenez wrote most of her NaNoWriMo novel on her back porch, where her husband had just hung some beautiful lights, making the space peaceful and inspirational. Spisak, too, has a balcony she calls her “warm-weather office,” explaining she enjoys “the fresh air during my work time. Something about a nice breeze and birdsong can be inspirational.” I’m with you there, ladies! I love the different perspective offered by an elevated porch or balcony. I can see more, and see it all differently, lending me new ideas, stimulation, and inspiration.

Potential drawbacks include possible distractions, such as people stopping by to chat, traffic sounds, and my own tendency to eavesdrop on the conversations of neighbors or passersby…

Wherever you do most of your writing, I hope it offers the inspiration and motivation for your best work.

 

Writing Goals: Reflecting on 2017 and the “Write” Now

At the end of 2016, I composed a post detailing my 2017 Writing Resolutions. Now that 2017 has given way to 2018, and I have had a little time to reflect on the literary accomplishments of the last year, I admit it seems last year’s goals may have been a bit ambitious for me. But, I mean, that’s sort of the point, right? That whole shoot for the moon and land among the stars thing? Anyway… Here they are, the resolutions and the realities, side by side:

2017 Writing Resolutions

2017 Writing Realities

Write a diary entry at least once a week.

I came close here, writing almost every Friday when my students wrote in their journals, and every other Wednesday when Creative Writing Club wrote. I probably averaged once a week.

Compose and publish a blog post at least twice a month (preferably, once a week).

That was clearly too ambitious…

Read at least one book on craft per quarter.

I failed pretty miserably at this. It’s hard for me to find time to read during the school year (unless the material is student papers), and I traveled a lot this summer. I read the first chapter or so of Mary Karr’s The Art of Memoir, and I’ll finish it eventually.

Submit writing to various publications at least once a month.

I did submit writing to lots of publications—but not once a month; instead, my submission habits were pretty sporadic.

Make a concerted effort to find representation for Goodbye for Now.

I queried about one agent per week from January through March and pitched to someone I thought was an agent, but who turned out to be an editor, at the James River Writers Annual Conference in October.

Research self-publishing.

I didn’t really do this, short of some cursory internet grazing.

Attend conferences, talks, and workshops as schedule allows.

I succeeded here, attending all three days of the James River Writers Annual Conference and two, six-week Life in 10 Minutes workshops.

So, as the chart makes plain, some of my resolutions were very successful, some…not as much–but I wouldn’t call any of them complete failures. Plus, a lot of support for my writing cropped up unexpectedly in 2017, and I was pretty darn good about jumping on those opportunities as they arose. In fact, taking advantage of those unexpected opportunities was sometimes the reason my resolutions went by the wayside.

2017’s Unexpected Writing Adventures and Successes

  1. A deluge of freelance writing jobs, some short-term, some still in effect today.
  2. A surprisingly large amount of work accepted for publication in magazines, newspapers, and anthologies, as well as on websites.
  3. An invitation to become a member of the Virginia Outdoor Writers Association (VOWA).
  4. An invitation to attend the VOWA summer celebration.
  5. Becoming the new chairperson for the VOWA Collegiate Undergraduate Writing/Photo Competition.
  6. Acceptance into Vitality Float Spa‘s Writing Program.

2018: What I’m Doing “Write” Now

The last week or so, I’ve been a little disappointed in myself for not having set any writing goals for 2018, but it occurs to me now that, without necessarily planning on it, I’ve already begun to nurture my writing for this year. Earlier this week, I submitted three short stories to two different literary magazines, wrote a diary entry, and renewed my James River Writers membership. Today, I entered six pieces of my writing in three different categories of the VOWA Excellence-in-Craft Contest and composed this blog post. Next week, I start a year-long novel-writing class at the Visual Arts Center of Richmond. That’s right–every Wednesday for an entire year, I will stay up way past my bedtime, all in the name of writing. Now, if that’s not dedication (you don’t know me after 9:00 pm…), I don’t know what is. In addition, I’m currently judging student writing for the Scholastic Art and Writing Awards, an experience I enjoy every year. I’ve even already spent some time looking for some fresh freelance projects.

Looking Ahead

While I don’t have any specific, measurable goals laid out for my writing in 2018, I do know my novel-writing class begins next week. And I do know I will continue to write at least four articles per month for ScoutKnows.com. I also plan to continue–dare I say finish?–revising Goodbye For Now; write in my diary somewhat regularly; submit my writing to various publications; and attend the 2018 James River Writers Annual Conference. Oh, and I’ll take advantage of any unexpected opportunities that come my way, too!

Happy New Year!

The Risk in Writing: Rejections Galore

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This past weekend, another couple helped my husband and me paint the foyer in our nearly century-old vacation home, leading to a discussion about various art forms, from writing to painting.

Recently, one of my free-spirited, creative friends and her equally creative husband spent the weekend with my husband and me at an old house we purchased and are working to rejuvenate. My friend is a talented and passionate teacher with a penchant for languages and writing. Her husband, though he works in the technology field, is a gifted painter. My own husband builds lamps from

Writing foyer paint
While I don’t have the patience to actually paint the detailed woodwork featured in the foyer, and while the work in the above photo is unfinished, I’m proud of my vision, albeit executed by a more detail-oriented friend.

re-purposed materials and has recently begun creating beautiful stained glass pieces. And I? Well, I identify mainly as a writer, though I dabble in painting and amateur photography from time to time.

As the four of us painted the front foyer of our 1919 farmhouse, my friend gave me candid feedback on my novel, which I recently asked her to read, giving her free rein to rip it apart if necessary. She gave me some really insightful advice, and admitted she felt relieved that I had taken her constructive criticism so well (granted, she did an excellent job tempering her criticisms with compliments, but I digress).

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One of my husband’s latest artistic endeavors includes making stained glass pieces. This one hangs in a friend’s kitchen.

She followed her critique of my novel with the admission that she had decided she was no longer going to identify as a writer, in part because she needed more validation than she felt writing could offer her, and in part because writing simply offers less tangible and fewer results. When you paint a wall, for example, you can see the effect of your efforts almost immediately–as proven by the way our foyer brightened up with every coat of  paint. When you write a story or a novel, the progress is often much slower, and much less noticeable. In addition, while a newly-painted room is sure to get oos and ahhs, a story or novel is likely going to face dozens and dozens of rejections before it ever sees an acceptance (if it ever sees an acceptance).

You can show people a painting, a sculpture, a photograph–and they need only seconds to get at least a cursory appreciation of your work. But someone has to invest a lot of time and energy to read your poem, story, essay, or novel. And lots of activities vie for our time and attention. Writers compete for an audience with TV shows, movies, sports broadcasts, sleeping, errands, etc. We must not only write our story, but then convince people to commit their limited time and energy to reading it. After all, more energy and time are required to read a book  than to look at a piece of artwork or watch a film or play.

 

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Plus, producing a tangible product, like a painting or a sculpture, can be satisfying. You can display it. You can sell it. You can hold it, gaze at it, touch it. All of these things are much more difficult, if not impossible, to do with a poem or novel–not to mention the fact that a written work never feels finished. We feel always like we could find a more perfect word, more effectively structure our chapters, more expertly develop our characters or write our dialog or set our scene or or or…. At a certain point, we just have to decide it’s done, whereas other artistic endeavors we can more definitively finish, and that completion is satisfying and fulfilling.

 

I understand what my friend is saying. I have often questioned my drive to identify as a writer. Is it really necessary? Why do I care so much? Why do I write? It’s really hard, and I enjoy many other forms of creative expression–painting, singing (though I can’t say I’m any good anymore), sketching, design, photography, and even theater at one point in my life–and these open me up to far less criticism and rejection.

 

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As a writer actively seeking publication, rejections have become routine for me. Getting published is like winning the lottery–just as rare, but just as thrilling. I think maybe that’s one reason I keep writing: It’s hard (really, really hard sometimes), but the sense of accomplishment and elation I experience when a publication accepts my pitch, when I see my work in print or on-line, or when I get that long-awaited paycheck for an idea hatched a year before, far outshines the sense of disappointment that accompanies (yet another) rejection. Maybe I have come to accept that rejections are part of writing–at least for someone who seeks publication. I am no less a writer for having become more familiar with a sense of resignation at another thanks-but-no-thanks than with a sense of validation and accomplishment. In fact, another rejection at the very least means I’m producing enough work–enough writing–to send out into the world. The real fear sets in when I haven’t written anything new in a while–when my list of rejection e-mails shrinks because of a dearth of ideas, a sort of writing drought. My fear of having nothing to write far outweighs my fear of rejection. So, really, maybe that’s how I know I’m a writer.

Writing Rejections
Above, you can see the many rejections my desire to write has recently survived. With persistence and resilience, I have manged to find homes for some of these pieces.

My fear of having nothing to write far outweighs my fear of rejection. So, really, maybe that’s how I know I’m a writer.

The Deeper Difference between Metaphor and Simile

Most people have no trouble understanding the simple, surface difference between a simile and a metaphor. They both serve to make comparisons, but similes use comparison words such as “like” or “as,” whereas metaphors do not. Two examples of simile from my second novel-in-progress, The Experiment, are:

Maybe he could make more of the next 23 hours … if he weren’t so aware of the minutes peeling away like sheets on a desk calendar.

Her pen moved slowly, like her morning thoughts.

To help express the character’s sense of time passing too quickly, the first example draws a comparison between minutes passing and the sheets on a desk calendar being ripped away and discarded. The second example compares the pace of the writer’s pen to the pace of her thoughts–both slow in the early morning hours.

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An example of a metaphor from the same work is:

 …the sky had exchanged its vibrant afternoon blue for a pale lavender nightgown.

In the above example, dusk is compared to (almost equated with) a “pale lavender nightgown” the personified sky dons before nightfall.

When a writer employs a simile, she allows for a degree of separation between the items she compares. They are similar, alike–but not the same. By contrast, a metaphor essentially equates the items it compares. When a writer uses a metaphor, she is implying a much closer comparison than if she uses a simile. As a reader, paying attention to this subtle difference can help you ascertain author’s purpose and better comprehend a character, scene, and so forth. As a writer, be aware of the fact that making comparisons through a simile or a metaphor can produce different effects. A metaphor creates a more direct comparison than does a simile. The choice you make as a writer depends on how close a comparison you intend to draw, or how close a relationship you want to create between the two subjects.

When a writer employs a simile, she allows for a degree of separation between the items she compares. They are similar, alike–but not the same. By contrast, a metaphor essentially equates the items it compares. When a writer uses a metaphor, she is implying a much closer comparison than if she uses a simile.

To see a visual representation of the subtle differences between simile and metaphor, please see this Venn Diagram.

 

Are you gonna be famous one day?

“Oh! Look at this!” I said upon receiving an unexpected e-mail from Turtle Island Quarterly this evening. “One of my pieces is going to be published–again!”

“Are you gonna be famous or something someday?” my husband responded. His question probably sounds a little extreme–delusional even, and I’m sure my response sounds equally so:

“Well, it would be kind of lovely, wouldn’t it?”

For a moment, I let myself bask in a little limelight at the kitchen table while I ate my ice cream sundae, imaging all my literary dreams coming true someday.

“I mean, it’s kind of insane,” my husband continued. “It’s never been like this before.”

I don’t really advertise the rejections–not because I am ashamed or embarrassed or disappointed (though I am always disappointed)–but because they are so frequent that telling you–or anyone else–about them would get old. Fast.

By “it’s” he meant my writing. By “like this,” he meant the sudden and recent success of my writing. Over the course of the spring and early summer, I’ve experienced:

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Nine Lives: A Life in Ten Minutes Anthology is available at Chop Suey Books in Richmond, Virginia, or online.

“Well,” I said, “I wasn’t really trying before.” Which is basically true. I was writing. Or not. I was submitting my writing. Or not. Whatevs. There was no concerted effort on my part. I was sporadic, unfocused. It’s only been in the last year or so, inspired by a desire to ultimately see my novel (and novel-in-progress) published and for sale (and selling!), that I really began to put myself and my writing “out there.” I haven’t met with all the success I would have liked, at least not yet–my novel remains unrepresented, my novel-in-progress is still in progress, my submissions spreadsheet was near-decimated when the file somehow got corrupted–but I’m making strides, and that feels really, really good.

Rejections are part of the writer’s life. They just are.

What I haven’t told you yet? I get far more rejection e-mails than acceptance e-mails. But I don’t really advertise the rejections–not because I am ashamed or embarrassed or disappointed (though I am always disappointed)–but because they are so frequent that telling you–or anyone else–about them would get old. Fast. Saying, “Oh, such-and-such agent doesn’t want my manuscript” or “Oh, such-and-such magazine isn’t interested in my poetry” would be kind of like walking around every Monday saying, “Hey, it’s Monday again.” You already know and it’s not fun to hear about. It’s just a fact of life. Like Monday is a fact of the 9-5, five-day workweek life, rejections are part of the writer’s life. They just are. I quickly reached a point at which I read them, and disappointed but unsurprised and more or less unfazed, file them away.

One insult could knock someone’s self-esteem down so far, that that person would need seven different compliments to build her confidence back up. The same is not true of rejection e-mails and acceptance e-mails. It doesn’t matter how many rejection letters I’ve gotten–it only takes one acceptance letter to pick me back up again.

When I was a sixth grader going through the D.A.R.E program at school, the police officer who visited our classroom each week told us it took seven (or some number I can’t exactly recall) compliments to outweigh one insult–that one insult could knock someone’s self-esteem down so far, that that person would need seven different compliments to build her confidence back up. The same is not true of rejection e-mails and acceptance e-mails. It doesn’t matter how many rejection letters I’ve gotten–it only takes one acceptance letter to pick me back up again.

I hope one day to hold in my hands books I have written with them.

So, am I gonna be famous one day? Who knows. It would be kind of lovely, wouldn’t it? In the meantime, I plan to enjoy writing–and seeing my writing published, whenever and wherever it is. And even if I’m never famous, I hope one day at least, writing will provide my main source of income, and I will hold in my hand books I have written with them. Because that would be truly lovely (even lovelier than fame).

 

 

Still a Writer

As a high school teacher, I learn as much from my students as I teach them. For example, several weeks ago, when I was teaching my students about the root “therm,” I got an education on thermite, and the fact that it can burn underwater. More recently, I overheard one of my students, who is getting ready to apply for a specialty arts program, say something really simple, but really profound, to a classmate sitting in her little pod of student desks: “I really hope they [the judges/admissions committee] like my art and that I get in, but at the end of the day, regardless of the results, I am still an artist.”

“I really hope they like my art, but at the end of the day, regardless of the results, I am still an artist.”

This statement resonated with me because, for the last few months, I have been sending query letters for my debut novel, Goodbye for Now, out into the ultra-competitive world of literary agents and publishers in the hopes of following the traditional route to seeing it published. So, far I have queried about fifteen agents (though it feels more like 1500)–some of whom have thanks-but-no-thanksed me the very day they received my query. I won’t lie and tell you that isn’t disheartening, because it is–it really, really is. But not disheartening enough to stop me. Not yet. I intend to query at least one agent a week for the entirety of 2017 before switching my tactic. If December 31, 2017, rolls around, and I still don’t have a single offer of representation, I will either reevaluate my query or attempt a new route altogether.

On those days when maybe the rejection starts to get to me just a little, I will remember the words of my student, and I will remind myself: At the end of the day, regardless of the results, I am still a writer.

And on those days when maybe the rejection starts to get to me just a little, I will remember the words of my student, and I will remind myself: I really hope agents and publishers and readers like my book, but at the end of the day, regardless of the results, I am still a writer. That part of my identity is not reliant on the validation of the mainstream publishing world (though it would be nice, and it is my goal…), nor is it dependent on recognition from critics or reviewers (though that would be nice, too). It relies only on the fact that I continue to do one thing: write. And that, my friends, I most certainly will do.

Your identity as a writer does not rely on the validation of the mainstream publishing world, nor does it depend on recognition from critics or reviewers. It relies only on the fact that you continue to do one thing: write.

 

The Perks of Writing Conferences and Workshops

Still riding high from my positive experience at the James River Writers Annual Conference last weekend, and preparing to participate in NaNoWriMo and attend The Tesseract: A Week of Experiments in Writing next month, it occurs to me to reflect on just why I so love writing conferences and workshops–and why you might want to attend some, too, if you haven’t already. Here are the six reasons I was able to distill from my general enthusiasm.

Exposure to Agents

Because of my attendance at the James River Writers Annual Conference, I have had the opportunity to pitch my novel on two different occasions, to two different agents. I was woefully under-prepared (or perhaps completely unprepared is more accurate) the first time, but this second time I came equipped with a few workshops and practice queries and pitches under my belt, and my pitch went much better. Instead of feeling incurably anxious, I felt hopeful and excited. And those feelings continued when, at the close of my seven minutes with an agent who I had a lot of fun taking with, she asked me to go ahead and send her the first 20 pages of my manuscript. I don’t know where things will go from here, but that was a small step in the right direction, and it would not have been possible without the Annual Conference.

In addition to taking advantage of the chance to talk with an agent one-on-one, I have heard valuable advice from a variety of agents, which can help me improve the marketability of my novel, my writing in general, and my query letter and pitch.

Networking

When you attend conferences and participate in workshops, you meet fellow writers, editors, and bibliophiles who can help guide you on your writing journey. What we can learn from each other is amazing. I feel so fortunate to have met people like Kris Spisak, Valley Haggard, Judy Witt, and Mary-Chris Escobar, who have helped me with writing activities as diverse as author interviews, workshop experiences, advising the high school literary magazine and creative writing club, and participating in a critique group that has been immeasurably helpful.

Inspiration

In 2014,  I attended my first Master Class as part of the James River Writers Annual Conference. I do not recall the name of the two or three classes I attended, but one of them focused on helping writers compose synopses of their novels or memoirs, in preparation for writing query letters or pitching. I am a naturally verbose person, so the task of squeezing something as large as a novel into something as succinct as a synopsis was (is) daunting–made even more daunting by the fact that at the time, I didn’t even have a novel or memoir in the works. The closest thing I had to a novel in the works was a piece I had started (and stopped) writing in a Composition notebook four years prior, in 2010.

After some instruction and examples, the instructor gave us some time to quietly craft our synopses. Because I didn’t have anything about which to write a synopsis, I harkened back to the book I had begun writing four years before, even though I hadn’t added a single word to it in all that time, and truth be told, didn’t even know where the Composition book was.

Because I didn’t have anything about which to write a synopsis, I harkened back to the book I had begun writing four years before, even though I hadn’t added a single word to it in all that time, and truth be told, didn’t even know where the Composition book was.

When most of us were finished–or as finished as we were going to be–the instructor asked for volunteers to read what they had written, opening themselves up for feedback from both her and our fellow writers in the class. I did not volunteer at first, desiring to hear a few examples and learn whether or not I had been on the right track. After listening to maybe three or four volunteers, I raised my hand, and read my synopsis. The response I got was so overwhelmingly positive, that I felt inspired to go home and tear my house apart in search of the Composition book. When, after surprisingly little effort, I found it, I set to typing up what I had already written. From there, I continued the story, and now, two years, three Annual Conferences, and six drafts later, I have something like a finished product.

When we attend a conference, we are surrounded by people who not only share a dream similar to ours, but who also share a love of writing, and who take us seriously as writers. This atmosphere of support and encouragement can remind us first, that we are not alone in our goal, and second, that other people believe in us.

Had I not attended that 2014 Annual Conference, I would never have finished my novel, a source of great pride and pleasure for me.

One more thought on inspiration: We writers (at least, I speak for myself) experience much more rejection of our work than we do acceptance and publication. It can be easy to feel discouraged at times, to ask: Why am I doing this? Am I really good enough? Can I even call myself a writer? But when we attend a conference, we are surrounded by people who not only share a dream similar to ours, but who also share a love of writing, and who take us seriously as writers. This atmosphere of support and encouragement can remind us first, that we are not alone in our goal, and second, that other people believe in us.

Ideas

In addition to feeling inspired to complete works in progress, attending workshops and conferences often inspires new ideas, potentially leading you to write pieces that later develop into submittable work. For weeks after attending The Poetry Society of Virginia‘s 2016 Annual Poetry Festival and Conference in May, I was composing haiku in my head everywhere I went, dictating them into my phone for transcription later on. I have submitted several to various publications. I had a similar experience with the Life in 10 Minutes workshop I participated in during January and February of this year, though in that case, I was writing short slices of life in the form of somewhat sparse, stream-of-consciousness prose.

Opportunities

Every time I attend a writing conference or workshop, I learn about other relevant opportunities. For example, my attendance at an Agile Writers of Richmond meeting is the reason I found out about the Our Virginia poetry project, to which I have submitted two poems. I learned about Life in 10 Minutes through a Masters Class at the James River Writers Annual Conference, and through my participation in a Life in 10 Minutes workshop, I learned about The Tesseract: A Weekend of Experiments in Writing.

Information and Improved Skill

I cannot emphasize enough how much information one can take away from a conference or workshop–about craft, about the field, about publishing, about upcoming opportunities, about submissions, about other local writers, and about oneself. I have learned how to hone my vocabulary; how to write a query letter; how to craft a pitch; how to let go and really write, uninhibited–just to name a few valuable lessons. I have also learned about new tools and technologies, like dictation apps, and programs like Scribner (neither of which I use yet–but both of which I now know about, and knowledge is power). In addition, I have picked up little tips about things I never thought to do, but that prove helpful, such as tracking my daily word count (which was just suggested to me last Friday, and which I admittedly have not yet begun to do–but will). Finally, I have learned about valuable, supportive, and helpful Facebook groups, like For Love or Money (as in, do you write for the love of writing, or to make a living–and how does either impact your writing?).

 

James River Writers Annual Conference 2016

In his essay “Why Soldiers Won’t Talk,” John Steinbeck surmises that one reason a soldier can return to battle despite the traumas of war, and a woman can bear more than one child despite the ravages of labor and delivery, is simply because neither can

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Every October, James River Writers puts on their Annual Conference at the Greater Richmond Convention Center.

remember what the experience was like, rendering both incapable of experiencing the fear that might prevent them from entering into a similar experience again. “Perhaps,” he writes, “all experience which is beyond bearing is that way–the system provides the shield and removes the memory.” I think there is some validity to Steinbeck’s hypothesis. I see it evidenced in my own life, in at least two areas. The first is my husband’s willingness–eagerness, even–to engage in DIY home projects over and over again, despite the stress and anxiety they inevitably cause him. Not long after completing one painful project, he starts to get antsy for another–to the extent that we just purchased a second home, in part to help satisfy his craving for projects (and he is now completely embroiled in the pangs of a plethora of home projects). The second is my own experience with writing conferences, my favorite and the most accessible one to me being the James River Writers Annual Conference. I look forward to this three-day event with an enthusiasm approaching that of a young child’s at Christmas. But some years, I leave feeling defeated and discouraged: There are so many writers out there with so many stellar ideas, and we are all in competition for an agent, a publisher, a paycheck. I look around at the sheer number of writers in attendance at the conference and think: How can I possibly stand a chance against so many competitors? Frankly, it’s deflating.

 We come together as a community of writers to support each other, encourage each other, help each other. We have not gathered in the spirit of competition; we have gathered in the spirit of community.

But at Friday’s pre-conference Master Class, “How to Hook an Agent–From the Query Letter Through the Opening Pages,” literary agent Michael Carr said something that helped me realize at least one reason (there are many) I look forward to the conference every year: “It’s important to get motivation from events like this.” He went on to explain that so much of a writer’s work is done in isolation. And when we finish a piece we are really proud of, we send it off–most of the time only to face rejection after rejection. And yes, of course, that is a very defeating experience. But at a writing conference, we crawl out of our writing caves and come together. We are among people who take us seriously as writers. We convene as a community of writers to support each other, encourage each other, help each other. We have not gathered in the spirit of competition; we have gathered in the spirit of community. And it is in that spirit of the writer’s community that I share with you just a handful of highlights and takeaways from this weekend’s James River Writers Annual Conference.

For reference and in an effort to give credit where credit is due, here is a list of the sessions I attended:

Friday

Saturday

Sunday

On Revising

Sentence Structure

Be sure to vary your sentence structure. Reusing the same sentence structure can pull the reader out of your narrative, or, as Michael Carr explains it, can “wake him up from the fictive dream.” Two structures that Carr says are frequently overused, particularly by amateur writers are: 1) “Doing this, she did this” or 2) its inverse: “She did this, doing this.”

So much of a writer’s work is done in isolation. And when we finish a piece we are really proud of, we send it off–most of the time only to face rejection after rejection. And yes, of course, that is a very defeating experience. But at a writing conference, we crawl out of our writing caves and come together.

Tension

Each scene of a novel needs tension to hold a reader’s interest. Some ways to introduce tension can include giving the character a goal–and creating a character who actively engages in reaching this goal, as opposed to passively waiting for things to happen to him. Secondly, there must be some opposition regarding the goal. Something must impede the character’s achieving the goal he has set. Another tool in the writer’s belt is dramatic irony. The reader’s experience of knowing more than the characters about which she is reading is a powerful means of creating tension. Finally, be sure to ask yourself if there is enough at stake. What will the consequences be if the character achieves his goal versus if he does not achieve his goal?

The Opening Lines

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Bill Blume moderated the First Page panel Sunday morning. During this session, several writers’ page-ones are read allowed and critiqued by three literary agents.

At least three different experts at the conference exaggerated the importance of starting in the right place, which could be as simple as deleting the first line or first paragraph, or as complicated as rearranging the order in which your chapters appear–as was the case with my novel. Initially, Goodbye For Now opened with Marissa Donnoway working at The Beanery, serving a difficult customer. Several people mentioned that the book started a bit too slowly. In response, I wrote a new scene, one in which two brothers are looking out over Lake Huron. Still too slow. I deleted that scene, and opened the book with the emergency room scene. That didn’t work logistically, and the book currently begins with Scott Wilder’s suicide.

Feedback

If your published book receives a bad review, it’s not because your book was bad; it’s because the reader expected one thing, but got another.

Keep in mind that when beta readers, critique partners, critique groups, or other readers offer feedback, you are not obligated to take it–but deciding when and if you should follow someone’s advice can be tricky, and sometimes, so can not getting our feelings hurt. I thought Michael Carr’s comments regarding this issue were an insightful reframing of how to look at criticism. He essentially suggested that when someone responds critically to your work, it simply means he woke up from the fictive dream and didn’t “believe you.” It is not personal. It means you might want to revisit that part of your piece and consider how you can strengthen it. Sometimes, a reader might suggest a specific change to improve a piece–a change you disagree with. It’s important to keep in mind that you do not have to act on specific advice, but you would likely be wise to address the issue in some way, even if it is not the way your critic suggested. Carr also advised, “If the feedback resonates with you, address it. If it doesn’t, don’t.” Specific feedback itself might not be worth following, but reexamining each part about which a reader makes suggestions is worthwhile. In my case, the people who told me my book started too slowly only confirmed what I had suspected all along–so I addressed that issue (many times…).

I also appreciated what Natasha Sass of Busstop Press said about feedback: If your published book receives a bad review, it’s not because your book was bad; it’s because the reader expected one thing, but got another. More on this, in the context of tropes, below.

On Writing to Market and Finding Your Audience

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Master Class “Writing Smarter, Faster, and to Market,” led by Natasha Sass, delivered on its promise, living up to its title. 

Perhaps I should be embarrassed to admit it, but until attending Friday’s Master Class,
“Writing Smarter, Faster, and to Market: Game-Changing Tips for Indie Authors (and Writers who Want to Up Their Game NOW!”, I was unfamiliar with the term “trope.” Now I know a trope is essentially an expected element of a genre or subgenre. Tropes can include point of view, format, character types, themes, settings, plot devices, pacing, etc. In order to engage your audience, your writing has to deliver the promised tropes of your genre. The tricky part is that tropes change over time, so reading within your genre and subgenre can be an important way to keep up with what tropes are currently desirable in your area.
What does your audience want? What do they expect?

A trope is essentially an expected element of a genre or subgenre. Tropes can include point of view, format, character types, themes, settings, plot devices, pacing, etc. In order to engage your audience, your writing has to deliver the promised tropes of your genre.

On Inspiration

Two important notions occurred to me as I sat in a session today, the final day of this year’s Annual Conference. The first was that this year was quite possibly my favorite Annual Conference thus far (though they have all been wonderful). The second was that I would likely have never finished my novel, Goodbye For Now, had it not been for the 2014 James River Writers Annual Conference. The idea for my novel was born in 2006, when I was studying abroad in Germany–an ocean away from my then-fiance (now, husband). I began actually writing the novel in 2010 (I think) in a black-and-white Composition book. After a few weeks, I got busy and just stopped writing. I even lost the Composition book. Four years later, at a Master Class that was part of the 2014 Annual Conference, I read aloud the synopsis I composed in the workshop that day. The response I got from the instructor and my fellow attendees was so supportive, I came home and dug through my attic space until I found the Composition book. My desire to write the novel was reinvigorated, but it would likely have remained dormant, safely stored away in my mental attic, had I never attended the conference. Now, two years later, the sixth draft of my novel is complete, and I feel equally excited, motivated, inspired, and encouraged. And I already can’t wait until next year’s conference.

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When I returned home from the third and final day of the conference this afternoon, I spent over an hour nestled in my backyard hammock, snuggling with my whippet and reflecting on all I had learned–only the tiniest fraction of which I had the time to relate in this blog post.

My Writing Dreams

A few days ago, fellow W.O.W blogger and friend, Charlene Jimenez, and I decided we could boost our writing morale by composing posts detailing our wildest (but hopefully not out of reach) writing dreams. Charlene posted hers yesterday, so check out her writing goals, too!

Recently I’ve realized that I would get more sleep if I had less ambition and, ironically enough, fewer dreams–at least of the variety that I want to turn into reality. In an attempt to maintain my motivation, and remind myself why I keep trading sleep for writing, here are my writing dreams, no holds barred!

November, 2018

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My whippet balls up close as I work on my novel late last fall. In my writing dreams, I get to do this every day. And someone pays me for it.

After a long morning walk with my dogs followed by a three-ish mile jog and a hot shower, I settle in under a plush blanket with some loose leaf hot tea. My beagle is snuggled into her lush dog bed on the floor. My whippet’s warm little body leans into my thigh. My laptop whirs quietly on my lap. I open it and log onto my blog, where I spend thirty minutes to an hour responding to the dozens (maybe hundreds!) of comments a handful of my several thousand followers have left on my last few posts. My tea cooling and my legs growing stiff, I ask my dogs if they “wanna go for a walk.” Tails wagging, they are all too eager. We take a brisk stroll through the neighborhood, and return to the couch, where I read and comment on a few of my favorite blogs before checking my social media for a few minutes. Before I have time to see how much revenue my blog has generated this month, my cell phone rings. It’s my agent.

“I’ve got the best news for you since finding a publisher for Goodbye For Now last year.”

Sitting up a little straighter, I anxiously scratch behind my whippet’s ear. That was pretty good news, and I am not really sure she can top it.

“I’m listening,” I tell her.

“It’s gonna be a movie!” She is practically screaming. I can almost see her now, both hands flailing, smile broad and toothy, eyes squeezed shut, muscles tense with excitement–and I wonder where she is, who can actually see her, and how, with all the hand flailing, she has managed not to drop her cell phone yet.

“What? What is?” Surely she isn’t telling me my debut novel, Goodbye For Now, published roughly one year ago, is going to appear on the big screen.

But she is. That is exactly what she’s telling me.

“And there’s more,” she breathes.

What could be more? My blog has gone viral. My recreational writing classes are always well-attended. My novel is published. My novel is going to become a movie. And there’s more?

Terry Gross wants to schedule an interview with you on NPR‘s Fresh Air!”

It takes an inhuman effort for me to control myself, and I can’t wait to get off the phone so I can stop trying, and start dancing around the family room and kitchen, both dogs hovering around my feet, the sound of their little talons on the hardwood and tile floors musical and festive.

January, 2020

(Note: I have no idea how long making a movie actually takes…)

Yesterday was my 36th birthday. Today, I will walk down the red carpet, my husband and dogs (I insisted they be allowed to come–family, after all) by my side, to see the movie premier of the book I wrote. I don’t know how to confirm this is my reality–this is my life. For so long it was a sometimes elusive-seeming dream. But it was a dream I never stopped believing in, never stopped working for, never stopped loving to dream. And maybe all that is what has made today–has made this life of mine–possible.

And the best part? It’s not over. I have a new novel in the works; an anthology of poetry due out in the spring, when I will spend several weeks in Florida with my sister’s family; a collection of personal narratives about to come out; a few articles set to run in The New York Times and The Atlantic, along with some other, smaller publications; and book signings, writing conferences, and lectures at schools and libraries pepper my calendar. And of course there will be those quiet days of peaceful writing, the dogs cuddling beside me, the candles burning, and maybe, on a really special day, a few flakes of snow drifting down in a sort of choreographed chaos outside my window.

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The sunrise over Lake Huron, as viewed from the breakwater in Lexington, Michigan, in August 2015. In my writing dreams, I get to spend a couple weeks each summer writing and reading along these shores.
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A view of the sound in the Outer Banks of North Carolina, where I often walk my dogs. If my writing dreams come true, this is another place I would spend days at a time reading and writing–and getting paid for both.
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The Potomac River in the Northern Neck of Virginia, just before it opens up into the Chesapeake Bay, as photographed this July. In my writing dreams, I get to spend weeks on this beach, or nearby, reading and writing and walking my dogs.

Come summer, I will take a break from formal appearances and teaching classes I designed to take my writing on the road, spending a few weeks writing on the shores of Lake Huron in Lexington, Michigan, taking sunrise and sunset strolls on the breakwater with my dogs. Then, we’ll head to the sound side of the Outer Banks, where I will read and write from the screened porch overlooking the sound, the sun dipping into its waters just before disappearing, the frogs and bugs ushering in the moonlight. And of course I will spend countless days indulging my literary habits on my back deck at home in the sunshine, and in the rural Northern Neck of Virginia, home to farmers and fishermen alike.

April, 2034

My niece sits on a train somewhere in Europe, a few weeks into her study abroad adventure. Across the train car from her, a woman is reading a novel, Auf Wiedersehen fuer jetzt. My niece smiles, the homesickness she had been feeling just a few minutes before assuaged, at least for now. The woman glances up and their eyes meet. My niece smiles warmly, and the woman smiles back, over the top of her book.

“My aunt wrote that book,” my niece tells her over the clamor of the train, the landscape outside the window behind the woman a blur of green fields and gray skies, just brush strokes of color speeding by.

The woman sets the book down on her lap, keeping her place with a finger.

“Wirklich? Deine Tante?” Her eyes glimmer with star-struck disbelief.

“Ja. Meine Tante.” My niece nods, the warmth of pride and a sense of never being alone swelling up in her chest.

July, 2090

A great grandnephew I have never met browses a used bookstore in downtown Richmond. He and his girlfriend pull books off the shelf, smelling the pages and flipping curiously through them. His girlfriend pulls a book off the shelf, its pages yellowed, its cover well worn. She flips the pages  with her thumb, holds the book in front of her face, and takes a deep breath. The cover catches my great grandnephew’s eyes.

“Hey,” he says, gently taking the book from her hands. He turns the front cover towards her. “Look at this.” He points to the name of the author at the bottom.

“Amanda Sue Creasey,” his girlfriend slowly reads. “Creasey like you. Do you know her?”

“No. She died right before I was born, but she’s my great aunt.”

“Wow…” His girlfriend takes the book back. “That’s really cool.”

“It was made into a movie and everything.”

“Really? We need to buy this book–and we should watch that movie tonight.”

My great grandnephew smiles.

“Okay,” he says.

As they wait in the checkout line, the book held tightly against my great grandnephew’s chest, his girlfriend turns to him.

“Hey,” she says, “don’t you like to write, too?”

May all our writing dreams come true!