Earlier this month, I had the privilege of acting as a juror for the Scholastic Art and Writing Award. In my reading of the dozens and dozens of phenomenal short stories and essays produced by students across the country, I came across an unfamiliar word: etiolated. Not only, then, did I have the pleasure of reading so many thought-provoking, hope-inspiring stories and essays–but I also learned a new word.
“Etiolated” falls in the bottom 40% of word popularity, and, according to Merriam-Webster, is basically an old-fashioned term for “blanched,” as in blanching vegetables (deliberately growing them to be pale by depriving them of light). Figuratively, the word can be applied to people who are weak, pale, or ill.
Dictionary.com provides some examples of “etiolated” used in various works of literature, reproduced below.
His voice was hollow, etiolated like a flower grown in darkness. — The Jewels of Aptor, Samuel R. Delany
And he had a kind of sickness very repulsive to a sensitive girl, something cunning and etiolated and degenerate. — The Rainbow, D. H. (David Herbert) Lawrence
Pauline surrendered, and they went across the etiolated lawn toward the entrance. — Guy and Pauline, Compton Mackenzie
Now, go forth! You have been linguistically empowered!
After I graduated from Michigan State University and began my teaching career in 2006, I could not imagine a single circumstance that would induce me to go back to school, especially while working full-time, but in 2009, I found myself itching to be a student again. I had noticed that since entering “the real world,” I was significantly less prolific in terms of the writing I was churning out, which had dwindled to the occasional diary entry. Before my entrance into the world of adulthood, I could usually fill an entire diary in a matter of just a few months, and would fill notebook after notebook with essays, poems, and stories. What had happened to me? Could I even call myself a writer anymore? I didn’t know. But I did know this: I missed writing, and I wanted to do it again. So I did what any rational person would: Put together a comprehensive writing portfolio and apply for admission to a master’s program for creative writing. I knew that with my demanding schedule, just wanting to write more would not result in actually writing more. But if I were part of a master’s program, and my grade depended on my carving out time for writing, and my reimbursement (a perk at work) for the costly classes depended on my grade, I would write. No matter how little time I had, I would write.
Before my entrance into the world of adulthood, I could usually fill an entire diary in a matter of just a few months, and would fill notebook after notebook with essays, poems, and stories. What had happened to me? Could I even call myself a writer anymore? I didn’t know. But I did know this: I missed writing, and I wanted to do it again.
My participation in a master’s degree program did indeed increase my writing motivation, inspiration, and productivity. It also benefited me in many other ways. If you are considering earning your MFA (Master of Fine Arts) or MALS (Master of Liberal Studies) in creative writing, I highly recommend it for the reasons that follow.
1. Exposure to Literature
Through the assigned readings in various graduate classes, you will be exposed to writers and literature you might not be inclined to pick up on your own, and you will grow as a writer and a reader from exposure to and study of every single one of them. I was enthralled with and enlightened by Tim O’Brien’s The Things They Carried, for example, and to this day would likely not have read a single page of it had it not been for the capstone project I completed in my degree program, which centered on the emotional truth as evidenced by both O’Brien’s and Ernest Hemingway’s works. I can guarantee I would not have read nearly as much flash fiction or prose poetry, and I certainly wouldn’t have attempted to write any. I owe those experiences and more to my graduate degree program.
Assigned readings in various graduate classes will expose you to writers and literature you might not pick up on your own, and you will grow as a writer and a reader from this exposure.
2. Exploration of Craft
During my time in my degree program, I wrote so many pieces I never would have written in so many genres I never would have tried. A graduate degree in creative writing will require you to write in various genres; utilize a myriad of techniques employed by some of the greats; apply literary devices you might not have thought to use; and study devices, writers, and perspectives. For example, you might have a tendency, however unconscious, to write predominantly in first-person. An assignment in a class might require you to explore writing in second- or third-person. Similarly, you might write mainly personal
narrative essays, but your degree program is inevitably going to expand your grasp of the craft as it demands you experiment with fictional short stories, poetry, creative nonfiction, etc. Working towards a master’s degree in creative writing will open you up to types of writing you may not have even considered before–or been aware of.
During my degree program, I wrote so many pieces I never would have written in so many genres I never would have tried.
3. Community Building
One of the most beneficial aspects of a degree program in writing is the supportive network the experience can help create. I began my program in 2009 and completed it in 2013, and now, as many as seven years later, I still communicate with several of my former classmates, even having recently embarked upon the creation of a blogging network with one of them.
4. Teaching Opportunities
Most community colleges, colleges, and universities require their instructors to hold at least a master’s degree. In the world of writing instruction, a master’s degree and published works can sometimes be enough to at least get you noticed.
5. Increased Pay
If you don’t desire to teach at the college level, but do want to teach secondary school, for example, a master’s degree in a field related to your subject area equals a pay raise at most public schools. As an English teacher, I was granted a partial pay increase after I had completed a certain number of credits in my program, and was given the remainder of the increase after I earned the degree, which also qualified me to teach a college level dual enrollment composition class consisting of motivated and intelligent college-bound high school students.
I looked forward to my writing homework each day after work much the way one looks forward to feeling the warmth of the sun on one’s skin after a cold winter. It was a welcomed escape, a peaceful release. And because it was, indeed, also homework, no one–including myself–could argue that it wasn’t important–that I was “only writing.”
6. Resume Building
Although no agent or publishing house is going to require you to hold a master’s degree before they will consider working with you or reading your work, it does lend you credibility on your resume and in your query letter. One element of a query letter is accolades–published works, involvement in writing organizations, writing awards and recognition, etc. A master’s degree in writing is something else that bodes well for you here. It shows you take your craft seriously, are dedicated to your writing, and have a solid background in the field.
7. Craft Improvement
This one is probably a bit obvious: The more you write, the better you write. For this reason, enrolling in a master’s program in creative writing will no doubt help you improve your craft. You will have the benefit of feedback from published authors, fellow students, seasoned writing instructors, etc. Not only will you be writing on a regular basis, but you will be revising and polishing your writing on a regular basis, becoming more self-aware as a writer and as a reader.
The more you write, the better you write–and a master’s program that requires you to write can’t hurt your cause.
8. Mandatory Writing Time
I mentioned above that my initial motivation for applying for admission to a master’s program in creative writing was to make sure I would build time into my schedule to write. It worked. During my four years studying creative writing, I was prolific. How could I not be, with writing assignments due seemingly constantly and reading assignments inspiring me with each page? But the process wasn’t arduous. No, quite the opposite. I looked forward to my writing homework each day after work much the way one looks forward to feeling the warmth of the sun on one’s skin after a cold winter. It was a welcomed escape, a peaceful release. And because it was, indeed, also homework, no one–including myself–could argue that it wasn’t important–that I was “only writing.”
If you don’t have the desire to enroll in a degree program, but still need help finding time to write, check this out.
Though Jill Breugem works full-time as a Learning Specialist, finding training solutions for internal business partners and facilitating and designing training, and is the mother of two children, she somehow manages to find time to write books on the side. Her debut novel, Read Between the Lines, launches on January 24, followed by a February 11 launch party at Blue Heron Books. What follows is my interview with this delightful debut indie novelist.
Jill Breugem: I always wanted to write a book and the inspiration came while having a chat with a friend. He talked about making sure that beyond our families, careers, and regular day to day, we find time every day to do something that we really love. If we are lucky, that is also our career. I do love my career; I also love writing. Once I started, I couldn’t stop.
The idea for my first novel literally woke me up in the middle of the night. I got out of bed, walked across the room and wrote some notes down.
I squeeze writing in when I can. Sometimes with everyone running around the house around me, sometimes in the late hours of the day when everyone was in bed and other times very early on the weekend before anyone got up. My favorite time is at 6am on a Sunday when everyone is fast asleep, the house is dark, and I have a hot cup of tea beside me.
MTD: How long did it take you to write it? What was your process like?
JB: It took me 15 months to write the book and an additional four months to complete edits, book cover, etc.
There were times I went weeks and didn’t touch it–I wanted to; I wanted to write so badly, but I just couldn’t. There were times I would write several chapters in only a couple hours and then other times that I would stare at the same sentence for hours, only to delete it. I created an outline of the story and mapped out the chapters. I set up goals in the program Nozbe to stay on track and organized.
MTD: What made you decide to self-publish as opposed to going the traditional route?
JB: Once I set out to write the book, it became a goal of mine to finish it. Many times I had started to write something and would stop. So, just the fact I finished the book was a major accomplishment for me. I always thought I would self-publish and admired a couple authors who self-published and were very successful. Bella Andre and Marie Force are two that quickly come to mind. They have been extremely successful with self-publishing ebooks in the last five years. Marie Force’s first novel, Maid for Love, was originally turned down by ALL publishers. She went on to sell 2.5 million books of her Gansett Island Series.
Getting published the traditional way was something that if it happened and the timing was right, the royalties reasonable, then that would be a cherry on top.
JB: I squeeze it in when I can. I work full-time and am a busy mom of two kids, a dog, a husband… Sometimes I write with everyone running around the house around me, sometimes in the late hours of the day when everyone was in bed and other times very early on the weekend before anyone got up. My favorite time is at 6am on a Sunday when everyone is fast asleep, the house is dark, and I have a hot cup of tea beside me.
Write because you want to, because you need to, because you have to – – for you, and for you alone.
MTD: What do you wish I would have asked you that I haven’t asked you yet?
I have a soft spot for romance. I love the anticipation and the happy ending. Like books, my movie choice is always a romantic comedy, too.
MTD: What advice would you give to aspiring novelists?
JB: Go for it! Write because you want to, because you need to, because you have to – – for you, and for you alone. Think positive and whatever happens from there…happens.
Social media is very important. Most authors will tell you that connecting with fans and other writers on social media has been key to their success.
Surround yourself with like-minded people. Follow (through social media!) authors that inspire you, authors you aspire to be, and people you can connect with.
Inventory is key. You need to have the next book ready for the readers. Once you have several published, offer the first for free or major discount through something like Book Bub. This will build up your fan base and hopefully inspire fans to buy your other books.
MTD: Have you already begun your second book, The Distance Between Us?
JB: YES! So excited! It is coming together so nicely. It is about two characters that you meet in the first book, Read Between the Lines. These will turn into a series. I have the next four books planned.
JB: My daughter designed my covers – I absolutely love them. You will see branding of the stripes on the next four books, as well–in different colors.
MTD: You mention that a portion of the profits from Read Between the Lines will benefit families touched by Autism. Tell me a little more about that.
JB: My amazing eight-year-old son lives with Autism. He has developmental delays and is non-verbal. Therapy, although VERY expensive, has been VERY important to his progress and growth. His learning center has been very good to us, and I want to make sure that I pay it forward and help other children like my son get the therapy they need.
MTD: What can attendees at your book launch party on February 11 at Blue Heron Books expect?
JB: My book launches on January 24th, but the launch party is on Feb 11th at Blue Heron Books. The party is for friends, family, and readers/potential fans to come and celebrate the launch of the book with me! I will sign books and there will be cake!
MTD: How did you go about setting up your book launch?
JB: I approached the bookstore and told them all about my book and asked if I could have the party there. They were happy to! It’s a quaint bookstore that draws you in; it’s an older building, with beautiful wood floors and shelves. It is a bookstore that just makes you want to stay…
If you’re reading this blog, it’s probably because A) you want to improve your writing skills or B) you really enjoy writing. Maybe it’s both. Either way, you’re here, investing your valuable and fleeting time, so I thank you–and I hope it will be worth your while. In a recent post, I detailed my Writing Resolutions for 2017, all of which involve (duh!) taking time out to write–which can be a pretty difficult feat to accomplish with our busy schedules.
Now, most of us (and by “us,” I mean writers) harbor some kind of literary ambition. We want to write The Great American Novel. We want to see our book-turned-Hollywood-blockbuster play out on the big screen. We want to sign autographs and be interviewed on NPR’sFresh Air. But the truth is, unless and until we hit it big, we all have to keep our day jobs, and fitting writing into our busy, normal-people, pre-fame lives can be, well, really, really hard sometimes.
Here are some tips for fitting it in:
Try for Ten
While we’d all love to have hours on end to pen our literary masterpieces, the real world we live in doesn’t often allow that kind of luxury. I’ve been to many talks hosted by many authors who recount days when they would wake up at 5 o’clock in the morning to write for an hour or two before they left for work. For someone like me, who gets up before 5 o’clock in the morning just to make it to work on time, even that seems impossible (I’m dedicated to my craft, but getting up at 3 in the morning is really just not going to happen). Ideally, yes, we would all find a way to carve an hour or two into every day and reserve it for our writing, but that won’t always happen. We have jobs and errands and chores and children and calendars full of obligations.
Make yourself this promise: On the days when it seems all your time has been squeezed into anything but writing, write for ten minutes. That’s all.
Make yourself this promise: On the days when it seems all your time has been squeezed into anything but writing, write for ten minutes. That’s all. It doesn’t matter what you write. It doesn’t matter how much you write. Just set a timer and write until time’s up. You could get up ten minutes earlier (well, maybe you could…I’m not going to), stay up ten minutes later, cram it into the first or last ten minutes of your lunch break. I’d love to claim this idea as mine, but truthfully, I read about in Valley Haggard’s book The Halfway House for Writers, and lived it when I took one of her writing workshops last winter (I relive it on busy days when I otherwise would’ve skipped writing).
Most writers harbor some kind of literary ambition. We want to write The Great American Novel. We want to see our book-turned-Hollywood-blockbuster play out on the big screen. We want to sign autographs and be interviewed on NPR’sFresh Air. But the truth is, unless and until we hit it big, we all have to keep our day jobs, and fitting writing into our busy, normal-people, pre-fame lives can be, well, really, really hard sometimes.
Plan On It
Many studies show that we are more likely to act on something–an idea, a goal–when we write it down. If you know you want to write, include writing on your daily schedule. Write it down on your to-do list or in your planner or on your calendar–wherever you keep track of your daily responsibilities, tasks, and obligations. If you want to write on a regular basis, you have to make it a priority. Including it–in writing–on your list of other priorities lends it the urgency and respect it deserves.
Talk to Text
Some days, finding time for the physical act of writing can be difficult. These are the days when you are overflowing with ideas, inspiration, motivation, and desire, but you simply can’t build the seat time into your day, for whatever reason. Often, my most impressive ideas come to me while I am driving, walking my dogs, or running. I can’t very well plop down and start writing in these situations; doing so would be logistically impossible, if not life-threatening. When this happens, I dictate a text message to my own phone number. Then, I send the dictated text to myself. At a later juncture, when I have more time or find myself in a situation more conducive to actually writing, I can leisurely write, type, and revise the “writing” I sent myself earlier in the day.
Remember, Every Word Counts
I used to live under the impression that unless I wrote something substantial on a given day, I had not lived up to the title of writer on said day. What would entail something substantial? I didn’t have any set criteria, really–an entire essay, a complete poem, a chapter of a book, a full diary entry relating the happenings of my day and how I felt about each of them. You know–a comprehensive piece.
This is unrealistic.
As I have grown as a writer, I have decided that anything I do today that helps support my writing habit counts. Every word counts. Even if the only thing I did today was find time to write out a list of topics to explore, I wrote. Would having finished the restructuring of my novel have been more productive and exciting? Probably. Would writing a poem and submitting it to a literary magazine have been more satisfying? Probably. Would publishing a blog post and a new story for mytrendingstories.com have made me feel like more of a writer? Probably. But I am not less of a writer on any given day simply because I didn’t write as much on that day. If on a busy day I completed even one activity–writing for ten minutes, attending a writing class, writing just one paragraph of a blog post–that supports my overall writing, I wrote.
And after all that, I’ll say it: You are not going to be able to write every day. You might not even be able to write every week. Even the most acclaimed authors and poets probably don’t write every day. Always keep in mind that writing is, after all, something you love to do. Avoid making it a chore by mandating you write X amount of days per week for X amount of hours each day. Don’t beat yourself up if your goal today was 1,000 words and you only churned out 726. If you wrote, that is good. If you didn’t write, that is good, too. You can write tomorrow. Or the next day. In addition to a writer, I am a runner–but I don’t run every day. And on my rest days, I don’t beat myself up, wondering if I’m a real runner. I need to rest,too. I will run again tomorrow, or the next day. The same goes for writing. You are not going to be able to write an entire short story every single day. You might not even be able to write an entire three-line poem every single day. You might not write every single day. That’s okay. You’re still a writer. Writing is a release, an escape, a pleasure. Do not make it a prison or a burden.
Always keep in mind that writing is, after all, something you love to do. Avoid making it a chore. Writing is a release, an escape, a pleasure. Do not make it a prison or a burden.
For the last three days, the school where I teach has been closed due to snow. While I have indeed gone sledding, made snow angels, napped, taken my dogs for snowy walks, and even taken two snowy runs, I have also spent the last three days crafting a letter to the Virginia Department of Education regarding an insidious policy up for discussion later this month–a policy similar to legislation already vetoed by our governor, but that pro-censorship groups are attempting to push through the VDOE as a sort of backdoor approach. Below, read my take on the issue, and if you live in Virginia, please join me in writing to:
Emily Webb, Director for Board Relations
P.O. Box 2120
Richmond, VA 23218-2120.
Better yet, if you are free at 9:00 on the morning of Thursday, January 26, attend the public hearing on this issue.
Dear Ms. Webb:
I am writing to make you aware of my strong opposition to policies reminiscent of House Bill 516, wisely vetoed by Governor McAuliffe, and currently up for discussion by the Virginia Department of Education, specifically the potential requirement that schools “provide policies on the use of sexually explicit instructional materials to parents or guardians with the copy of the syllabus for each high school course and to include a notice to parents identifying any sexually explicit materials that may be included in the course, the textbook, or any supplemental instructional materials.” While I will be unable to attend the public hearing on this matter, as I, like many of my equally concerned fellow educators, will be on the frontlines in the classroom with my students that morning, it is very important to me that my voice on this matter be heard.
Let us give our students the opportunity to learn about, discuss, and study the effects of the darkness and the light in a safe, nurturing space where they can learn how to handle them in a healthy, productive manner. Do not let them leave the public school system without the tools needed to cope with what lies beyond the doors of their high school.
Though the language reproduced above seems innocent enough, it could very easily act as a catalyst for future censorship that would prove detrimental to our schools. I have been in the classroom for eleven years, and hold a Master’s degree—during the earning of which I wrote a lengthy, research-based paper on the problem of unwarranted censorship (as most censorship is). The regulations and policies that will be discussed on January 26 border on dangerous and senseless censorship (as most censorship is) that in no way helps, and in fact hinders, the intellectual, emotional, and moral progress of our young people. Censoring the literature they read based on minimal “sexually explicit” or otherwise “offensive” content or language—that may appear on merely one page of a much larger work—unnecessarily shelters students from reality and does not help prepare them to function as well-rounded, productive adults in the real world. Furthermore, the interpretation of “sexually explicit” is far too broad and subjective to be of any real value, and would allow for many relevant, artistic, classic, and important works to be excluded from a child’s education.
Censorship stems from fear, and is rarely anything more than a bid for control. Tell me–what are we afraid of, and what are we trying to control? The answer to the first question is perhaps less insidious than the answer to the second.
The intellectual development of our students lies primarily in their ability to think critically. One of the most effective means of teaching children how to think for themselves is to present them with various viewpoints, circumstances, situations, cultures, and people different from their own and from themselves—to help them learn to ask the right questions, see problems from various perspectives, and consider other points of view. Based on the policy under consideration, John Steinbeck’s Of Mice and Men would likely be considered for banning based merely on the brief mentions of cat houses and the fact that Lennie’s innocent petting of a dress was once mistaken for attempted rape. Many years, this is the only book some of my weaker students actually read—and love. Their focus does not rest on the cat houses or the non-rape; it rests on the characters, the emotions, the situations. They love to discuss the ideas of companionship versus loneliness, tolerance of “the other,” friendship, and sacrifice that the book brings up. The infinitesimal role of sex in this novella does not distract or demoralize them; instead, books like this encourage students to think about multiple perspectives, and expose them to time periods in which they can never live, places they may never visit, and people they are likely never to meet.
Only open, uncensored access to literature and information can help combat the creeping cloud of thought control I see on the horizon. We can take a step into its shadow by allowing these policies to move forward, or a step into the sunshine of enlightenment by adopting more progressive and productive policies regarding the literature read in our classrooms.
Books like this broaden their understanding of the world, and the human condition—thus helping to make them into more adept thinkers, able to consider different ideas and viewpoints, as well as to ask meaningful, insightful questions. What a shame it would be to deprive students of that opportunity simply because a cat house or glove filled with Vaseline is mentioned in passing once or twice in the course of the story.
In addition to helping children develop intellectually, reading books that this policy would likely deem inappropriate, such as The Great Gatsby for its (extremely subtly implied) sexual content, helps students develop emotionally. Reading books that contain challenging content matter exposes children to topics they will encounter in their adult lives, and gives them a safe, nurturing, and neutral place to discuss these topics before they must handle them on their own in the real world. Giving students the capacity to imagine what it would feel like to be in the multiple moral dilemmas Nick Carraway faces or to be so lovesick so as to engage in criminal activity just to get the girl, as is the case with Jay Gatsby, gives them an emotional foundation on which to stand when they themselves face real-life difficult decisions and moral dilemmas. In addition, asking them to put themselves into the shoes of various characters in these novels helps them develop the ability to sympathize and empathize, thus fostering in them a sense of compassion and emotional intelligence that I would rather nurture with “provocative” literature than stunt with senseless censorship.
I can think of very few instances in history when censorship has ever been looked on in a positive light or yielded positive results. In fact, quite the opposite: Censorship stems from fear, and is rarely anything more than a bid for control. Tell me–what are we afraid of, and what are we trying to control? The answer to the first question is perhaps less insidious than the answer to the second.
Literature mirrors life, and life is as full of gender discrimination, sexism, lust, and other depravities as it is of gentleness, love, acceptance, justice, and goodness. How can we teach true self-sacrifice without also teaching its opposite, selfishness? How can we teach the value of true loyalty without also teaching infidelity?
As a final point, I will simply say that if every work of literature that contains a scene, a sentence, or a situation that someone somewhere in the state might construe as “sexually explicit” were removed from the classroom, I cannot imagine what would remain at the secondary level. I would be hard-pressed to find a single novel that is devoid of any hint of sex. Literature mirrors life, and life is as full of gender discrimination, sexism, lust, and other depravities as it is of gentleness, love, acceptance, justice, and goodness. How can we teach true self-sacrifice without also teaching its opposite, selfishness? How can we teach the value of true loyalty without also teaching infidelity? Students need the emotional intelligence, the moral basis, and the critical thinking skills to face all of these issues and more. Let us give our students the opportunity to learn about, discuss, and study the effects of the darkness and the light in a safe, nurturing space where they can learn how to handle them in a healthy, productive manner. Do not let them leave the public school system without the tools needed to cope with what lies beyond the doors of their high school. If we do, we—and they–will certainly have more to fear than the mature content—expressed in prose so poetic, I would grieve to see my students deprived of it–of Their Eyes Were Watching God or Romeo and Juliet. We do our students no favors, no kindness, by shielding them from real life issues and experiences presented in works like these.
I ask you not only as an experienced educator, but also as a devoted aunt, a writer, and a concerned community member to please block these pro-censorship policies that will only foster the preponderance of ignorance and bigotry trying to take hold in our world. Now, more than ever, a student’s ability to think for himself or herself is critical, and limiting a student’s access to literature in any way only limits his or her capacity for compassion and critical thinking. Only open, uncensored access to literature and information can help combat the creeping cloud of thought control I see on the horizon. We can take a step into its shadow by allowing these policies to move forward, or a step into the sunshine of enlightenment by adopting more progressive and productive policies regarding the literature read in our classrooms.
In the dawn of 2016, I started a gratitude jar. It worked like this: Whenever something positive happened, I wrote it down, along with the date, on a little slip of paper, folded the paper in half, and dropped it into my gratitude jar. Now that 2016 is in its twilight, it’s almost time to open that jar and read back through the highlights of the last twelve months. By the looks of the jar, crammed to the lid with paper in every shape, size, and color, I had a very good year. I know that’s true for my writing. I started this blog and the corresponding Instagram account. I attended two writing workshops, several evening talks, and one writing conference. I pseudo-joined a critique group (meetings are held while I am at work, so I can only attend in the flesh during school breaks). I saw my writing published in eitherThe Richmond Times-Dispatch or writeHackr Magazinefor seven consecutive months. Literary agent Michael Carr commented on one of my blogs posts–little ol’ me! Can you believe it? (You can bet THAT went in my jar.) Elizabeth Gilbert and John Grisham “liked” some of my Instagram posts (that also made it into the jar). I am more than satisfied with and encouraged by 2016’s progress, and I want to keep the momentum going into and through 2017, with the ultimate goal being to find representation for my debut novel, Goodbye For Now, as well as to finish the first draft of the novel I started for NaNoWriMo, tentatively titled The Experiment.With that in mind, here are my Writing Resolutions for 2017.
Write a diary entry at least once a week.
Compose and publish a blog post at least twice a month (preferably, once a week).
Read at least one book on craft per quarter (I started Mary Karr’s The Art of Memoir earlier this week, and that will no doubt carry me to January, satisfying first quarter).
Submit writing to various publications at least once a month.
Make a concerted effort to find representation for Goodbye For Now.
Research self-publishing in case concerted efforts mentioned above yield little fruit.
Attend conferences, talks, and workshops as schedule allows.
Engage in any combination of these activities to support my writing at least five days a week.
Whatever your New Year’s resolutions may be, I wish you success. Happy New Year!