11 Ways to Nurture Your Writing

As writers, we like to tell stories. Unfortunately, some of the most frequent stories we tell ourselves are probably about how we don’t have time to write. Or how we’re stuck in a rut, the dreaded writer’s block having taken hold. Or we’re no good at writing. Or we don’t have any ideas worth writing about. The list of stories about why we’re not writing–even though we love to write–is a long one. But these aren’t the stories we have to tell ourselves, and they’re certainly not very fun stories to write (or read). Even when you’re busier than busy, battling writer’s block (or letting it win), feeling insecure, or facing a seeming dearth of ideas, there are lots of things you can do to maintain your cherished identity as a writer, and flex your writing muscles.

Story No. 1: I Don’t Have Time

Once upon a time there was a teacher named Mrs. Creasey (that’s me!). She brought home hours of papers to grade almost every night, trained for half marathons, cared for her dogs, managed her household, volunteered once a week at a local no-kill animal shelter, and worked part-time at a local YMCA to supplement her income. You might imagine that Mrs. Creasey found little time for her writing, and you’d be right; it felt like a leisure activity for which she simply did not have the time–but she wished she did. Despite being so busy, Mrs. Creasey often missed writing, and lamented the months that would pass between even her diary entries. Truly, it was shameful. Fortunately, Mrs. Creasey eventually realized there were lots of ways she could carve out time to make writing a priority, and she still does–to this day.

Get your MFA or MALS

When I realized I was no longer making time for my writing, and how much I ached to do so, I decided the best way to make it a priority in my schedule was to get my graduate degree. If I had money wrapped up in it, and homework to do–I would make time. And I did. Earning my graduate degree in creative writing forced me to make time for writing in my busy life–and I was happy to do so. My writing became an obligation, and one I was glad to assume. No one–including myself–questioned me when I said I had homework, so I gladly made time to sit down and write the poetry, personal essays, creative nonfiction pieces, and short stories assigned to me. As an added bonus, my income slightly increased once I completed the degree.

My writing became an obligation, and one I was glad to assume. No one–including myself–questioned me when I said I had homework, so I gladly made time to sit down and write the poetry, personal essays, creative nonfiction pieces, and short stories assigned to me.

Take a Class or Workshop

If earning your degree seems too big a commitment, you might consider something a bit less demanding, like a single class or a workshop, which can yield some of the same benefits. Participating in a class or workshop provides you with a structure in which to write. If your daily schedule seems to make carving out writing time difficult, taking a class or workshop gives you the peace of mind of knowing that on Tuesday nights from 7:00-9:00 (or whenever your class/workshop takes place), you will be able to dedicate two (or however many) glorious hours to your craft.

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Last week, my friend Renee, who lives in Alaksa, spent some time in Richmond. On the final evening of her visit, we participated in a two-hour Life in 10 Minutes writing workshop.

Some of my favorite workshops in the Richmond area have been Life in 10 Minutes, the novel-writing class in which I am currently enrolled at the Visual Arts Center of Richmond, and James River Writers Master Classes and Writing Shows.

Get Some Freelance Gigs

It’s amazing what you can find time for if you’re getting paid to do it and you love to do it. One way to make yourself make time for writing is to find a way to get paid for it. Check out platforms like Contently, subscribe to (and read) the Freedom with Writing e-mails, contact your local newspapers, network with other writers, take a class on freelance writing… There are lots of ways to make a little (or a lot of) money with your writing.

Story No. 2: I have Writer’s Block

In a land far, far away, there was a writer who couldn’t write. She had ideas–lots of them, but putting them into words–turning them into stories or poems or books–was a task that seemed impossible. She begged her muse to help her, but her muse seemed to have been on vacation for a long time. A very, very long time. Eventually, she realized that she was going to have to write–muse or no muse. And she tried some of the tactics below.

Journal

One way to write even when your muse seems to have deserted you is to keep a diary or journal. Don’t burden your entries with purpose or expectation–just write about your thoughts, feelings, or day.

Attend a Conference

Attending a conference can have a way of summoning your muse right back from wherever she has been hiding. Some of the most inspiring events I have attended include those put on by the Poetry Society of Virginia, and the James River Writers Annual Conference.

Read

Reading can prove an extremely effective way to inspire ideas–so read your books (and write in them). One place to start is this blog post about books every writer should read.

Story No. 3: I’m not a Good Writer

Once upon a time there was a woman named Jane Doe (I know–not very original). She used to write, but over the years, the practice had simply slipped from her routine, and though she sometimes thought about picking it back up, she didn’t really think she was that good at it, anyway. She had taken some writing classes in college, but mostly, her classmates and instructors focused on how she could improve, and while that was helpful, it also made her feel like maybe she wasn’t cut out to be a writer after all.  Nowadays, her writing was confined to e-mails and memos at work. But a small part of her still missed writing–stories and poems and personal essays. If only she were good at it…

Make Creative Friends

Making creative friends is a great way to nurture your own creativity. Fellow creatives can support you, point out what’s good in your work, and give you feedback to inspire your progress. You can also share your work with each other. Surrounding yourself with people who believe in you is a surefire way to make yourself feel more valid in your craft.

There are lots of ways to find creative friends. Consider joining a writing group such as Virginia Outdoor Writers Association, Poetry Society of Virginia, James River Writers, or a critique group. Taking writing classes or workshops is another great way to meet fellow writers.

Take a Risk

Another way to prove to yourself that you are, indeed, a “good writer” is to submit your work to journals, contests, and publications. Admittedly, this practice also opens you up to significant risk, but it gets your name out there and helps you feel validated. Plus, the recognition you earn when a piece is published or wins an award is rewarding, to say the least. And even if you meet with rejection at first (or often), I find that having work out there gives me hope. The more pieces I send out to publications, the higher their chances of finding a publication home (in my mind, anyway). I like the feeling of my work floating around out there. I like the anticipation. The fact that I have writing to send out means, at least, I am writing.

Story No. 4: I don’t have any Good Ideas

Once upon a time, there was a teacher named Mrs. Creasey (that’s me again!), who had a sticker on her classroom door so she would see it every single morning when she unlocked the door to go to work. It read: “And by the way, everything in life is writable about if you have the outgoing guts to do it, and the imagination to improvise. The worst enemy to creativity is self-doubt” (Sylvia Plath). Mrs. Creasey loved this quote–for her students and for herself. Another of her favorites? “It’s not what you write about, but how you write it.” Both of these quotes hold true for anyone who wants to write. You can write–you have the ideas. You just have to, ya know, do it.

“And by the way, everything in life is writable about if you have the outgoing guts to do it, and the imagination to improvise. The worst enemy to creativity is self-doubt.” –Sylvia Plath

Observe

If you seem to be suffering from a dearth of ideas, take a notebook with you everywhere and write things down. Write anything and everything down. All your observations are fodder for future pieces.  Notate your observations in nature, things you hear or overhear, ideas you have, questions you have, names you like…

Story No. 5: No One Wants to Read What I Write, Anyway

Once upon a time, there was a writer who loved to write, and who wrote all the time–but who often felt discouraged because he was certain that despite his best efforts, no one actually wanted to read what he wrote–even if it was really, really good. It seemed no one cared. And besides–writing isn’t like a painting or a photograph or a sculpture, easy to display and share. It requires some effort on the reader’s part, some willingness to invest time, energy, and thought in the piece. Who was going to do that when they could simply watch TV, play games on their smart phone, go to the movies, or do any number of easier activities?

Start a Blog

One way to combat the sense that no one is interested in your writing is to start a blog. At least a few people will read it, and that’s nice. Plus, maintaining a blog can help hold you accountable to your writing. Knowing you have even a small audience who might be waiting for your next post can be motivation to write the next post. Besides, it feels empowering and validating to have an online presence, albeit a small one.

Use Social Media

Using social media outlets such as Facebook or Instagram can help grow your audience for your blog–or any other writing you do. Just be careful not to allow your social media accounts to steal time away from your actual writing.

And They Lived Happily Ever After…

While the above advice is nice, and can prove productive if you need a pick-me-up or a way back into writing after a hiatus or a blow to your confidence, the most important thing you can do for writing is actually write. It will be a struggle sometimes, but nothing worth doing is every easy (at least not all the time).

 

 

 

 

 

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Submitting Your Writing to Literary Magazines and Contests: Part 1, Getting Started

IMG-3562Back in April, I attended a submissions workshop put on by the James River Writers and led by Dana Isokawa, Associate Editor of Poets & Writers Magazine. I’m sure I don’t need to tell you that being in the same room as Ms. Isokawa was a pretty surreal privilege, but I probably do need to tell you what I learned, which why I’m writing this blog post, as well as a follow-up later this month.

Why Submit

Submitting your writing–particularly your poetry, which can be deeply personal and painstakingly crafted–is scary, to say the least. You’re sending your work (AKA your soul) out into the world for all to see, and it’s probably going to get ignored (best-case rejection scenario) or bludgeoned (worst-case rejection scenario) for years before it ever finds its publication home (if it ever finds its publication home). Despite the vulnerability submitting your writing entails, there are many compelling reasons to put on your big-girl pants and start submitting. Here are a few:

  • Submitting your work helps get your work and your name out there.
  • Submitting your writing helps it–and you–find an audience, and once you find one, you can work to keep it.
  • Sending your writing out into the world, while it may open it up to abuse, is also one of the best ways to support your writing. You’re putting your stamp of approval–your faith–in its merit, and if you don’t believe in it, who will?
  • One of the most effective ways to network and build a writing community is through sending your work off.
  • Submitting your work such as poetry, essays, short stories, or articles can help lead to the accomplishment of larger publishing goals you may set–such as a book deal.
  • Sending your writing to contests, journals, and magazines can help motivate you to write, revise, and keep writing. Contest and submission deadlines, as well as the sense of validation you’ll feel when one of your pieces does get accepted, are excellent motivators.

Knowing When a Piece is Ready

Okay, so maybe I’ve convinced you of the worth of risking not only your ego, but also your sense of identity as a writer, in submitting your writing to publications. But how do you know when a piece is polished enough for potential publication? Here are some signs:

  • It has successfully undergone an editorial review
  • Other people–readers and fellow writers alike–have read it and liked it
  • You have set it aside for a while and you like it when you reread it–you impress yourself
  • Your sure your own skin is thick enough to handle potential rejection
  • You’re ready to share and prepared to have people read and react to it.

Finding the Right Journal or Contest for Your Writing

You can increase your chances of acceptance and decrease your chances of rejection by finding the right home for your writing before you send it off to knock on journal doors. Instead of just sending your writing off blindly, do some research first, and find the publications most likely to welcome your writing inside. Here are some things to keep in mind:

  • Know the publication. Be familiar with its style, layout/organization, types of work it tends to publish, sections, etc. Read it. Be familiar with its tone, voice, and subject matter. Make sure the work you plan to send aligns with these qualities in the publication.
  • Know your own genre, form, style, voice, and subject matter. Do they align?
  • Think categorically:
    • Consider your background as a writer and a person. Think about factors like your location, your career, or your religion, for example.
    • Look for publications that focus on specific themes or styles. For example, journals that focus on a certain place, on nature, on conservation, on sports or a particular sport, etc.
  • Consider your subject matter.
  • Submit to publications where you find writers you admire.
  • Consider your form (flash fiction, short story, poetry, long-form essay, etc.).
  • Consider your genre (sci-fi, speculative romance, crime, etc.).

Vetting Journals and Contests

While you may be eager for the sense of recognition, validation, and success an acceptance provides, don’t be so over-zealous that you miss important red flags. It’s best to avoid sending your work off if:

  • The contest of publication requires you to pay a high fee to submit your work
  • A high fee is required–and paired with comparatively low-value prize or award
  • The fee is over $10 and the contest of publication offers no payment
  • The contest or publication has no “about page” or masthead.

If the publications you are considering pass the above tests, there are still a few items to consider. Make sure, for example, that the promised prize is actually awarded consistently by checking past winners’ page.

While there are red lights, there are also green lights that should encourage your submission to a given publication. Here are a few:

  • Your read the publication and like it.
  • You admire the work it offers.
  • It promotes its writers.
  • Its entry fees for novels cost more than those for poems.
  • There is not more than a $10-$20 fee for prize of $1000 or more.
  • If you are submitting a book or manuscript, a $40 fee or less for a prize up to $10,000 is appropriate.

Next Steps

If all this talk of publiation has you rearing and ready to submit some writing (and I hope it does), The Avocet, an online literary journal of nature poems, is currently and actively seeking submission. See their guidelines and several opportunities below.

Time to share a Summer-themed poem

 Please read the guidelines before submitting

 Please take a minute to pick a poem of your choice and send it to us.

  Please send only one poem, per poet, per season.

 Let’s do Summer-themed poetry for The Weekly Avocet.

Please send your submission to angeldec24@hotmail.com

Please put (early or late) Summer/your last name in the subject line.

Please do not just send a poem, please write a few lines of hello.

Please do not have all caps in the title of your poem.

Please no more than 45 lines per poem.

Please use single spaced lines.

Please remember, we welcome previously published poems.

Please put your name, City/State, and email address under your poem.  If you do not, only your name will appear.  No Zip codes.

Please send your poem in the body of an email.  Please do not send in an attachment.

 We look forward to reading your Summer submissions…

 Let’s all take this Garden Challenge.

 Send us your 3 best poems of your love of gardening…

 Please no more than three, following the same guidelines as above.

 Please put Garden Challenge/your last name in the subject line of your email and send to angeldec24@hotmail.com 

 Please send Summer haiku

 

 

 

The High Goal

Writing of her spiritual journey, Mary Baker Eddy explains that she “finds the path less difficult when she has the high goal always before her thoughts, than when she counts her footsteps in endeavoring to reach it. When the destination is desirable, expectation speeds our progress.” Her wise words can be applied not only to a spiritual search for salvation, but also to our writing goals. The guidance supplied in this quote can help us battle writer’s block, discouragement, rejection, and the temptation to quit, born of these ills.

My confidence is a pendulum constantly swinging between two extremes: doubt and delusions of grandeur.

I find Mrs. Eddy’s words helpful whenever I feel myself succombing to the sense that my project isn’t worthwhile–no agent will want to represent it, no publisher will find it marketable, no reader will want to read it. We all face these insecurities. For me, they are as frequent as their opposites: I am writing the next Great Novel. It will become a best seller and a major motion picture. I have something valuable and worthwhile and unique to say. My confidence is a pendulum constantly swinging between two extremes: doubt and delusions of grandeur. While it’s easy to keep writing when the latter thoughts fill my mind, perseverance in the face of such negative self-talk as the former thoughts proves a bit of a struggle.

But keeping Mrs. Eddy’s words in mind helps. For my writing, the “high goal” right now is seeing my novel published. The “high goal” is the satisfaction of knowing something I wrote is making people think and rethink, question and wonder, read and reread. The “high goal” is inspiring new ideas, even long after I’m gone. One current obstacle to this goal: My novel isn’t even finished. But step one is there: I have set the goal (and started writing the novel).

Instead of letting disheartening thoughts of doubt cloud our thinking, instead of wondering why we even bother, instead of letting the footsteps we must take feel arduous and grueling, rejoice in the fact that you are taking the necessary steps towards reaching that glittering goal, whatever it may be.

Of course, setting a goal alone is no guarantee you’ll achieve it. We do have to take “footsteps in endeavoring to reach it.” I like to ask myself periodically what I have done for my writing recently–what have I done to support my high goal? Here are some possible answers:

  • written a chapter outline
  • enrolled in a novel-writing class
  • attended a conference
  • participated in a workshop
  • submitted poetry, stories, or essays to publications
  • written in my diary or journal
  • composed a blog post
  • read a book
  • asked someone to read something I’ve written and provide feedback
  • actually written a chapter of my manuscript
  • people watched
  • eavesdropped
  • taken inspiration from nature
  • listened to Podcasts or read articles relevant to my topic.

It can be easy to get bogged down in counting these steps, as Mrs. Eddy warns against. But when we find ourselves feeling buried by little things, it truly can be helpful to take a step back and remember the bigger picture, the higher goal. Instead of viewing revision as a chore, or dreading working on your project because you’re in the tight-fisted grip of writer’s block, remember that your “destination is desirable,” and the “expectation of good speeds our progress.” Instead of letting disheartening thoughts of doubt cloud our thinking, instead of wondering why we even bother, instead of letting the footsteps we must take feel arduous and grueling, rejoice in the fact that you are taking the necessary steps towards reaching that glittering goal, whatever it may be. Remember that each revision, each belabored chapter rewrite, each late night writing and rewriting–they are all part of the process. Instead of dwelling on each difficulty, take pride in your progress. As long as you don’t lose sight of where you’re going–as long as you keep the high goal always before your thoughts–each footstep takes you a little closer to where you want to be.

National Day on Writing: #WhyIWrite

Today is already a good day. It’s Friday. The sun is shining. My honors students are going to write their own Gothic stories, modeled after Poe, Faulkner, or Gilman, later on this morning. In addition to all this–it’s also National Day on Writing, sponsored by the Why I write IIINational Council of Teachers of English. All week long on my Instagram account, I’ve participated in their #whyIwrite campaign, posting one reason each day for, well, why I write. This blog post is the culmination of my daily musings on why I write.

Reason 1: I love to write.

This one is probably pretty obvious, but I figured I’d elaborate, anyway. I have been compelled to write since the day I was physically able. Boxes and boxes of journals, begun when I was in just third grade, occupy a significant amount of the storage space in the eaves of my attic. I love to write articles, diary entries, poems, stories, narrative Why I Writeessays, novels, blog posts. There isn’t much I don’t like to write. The feeling I experience when I know I have written something just the way it needed to be expressed is the same satisfaction produced by the sound of a softball smacking a glove in a perfect catch. That sense of achievement and precision is priceless.

In addition to the simple satisfaction writing provides for me, I find the act of writing therapeutic. Writing provides a physical, mental, and emotional means to let go. It allows me to process my emotions and thoughts, and offers a form of catharsis.

It also reaffirms for me my place in the world, and my identity as “writer.”

Finally, I find flow through writing. There is nothing quite like the sense that the piece I am writing–the very words pouring from my pen or fingertips–stems from some secret source I have magically tapped into. I am just the conduit. It is effortless. Finding myself in this state is truly a spiritual experience, one I have not achieved through any other activity.

The feeling I experience when I know I have written something just the way it needed to be expressed is the same satisfaction produced by the sound of a softball smacking a glove in a perfect catch.

Reason 2: I write to remember.

One of my favorite things about writing is going back, sometimes years later, to read things I have written. Many times, I find I wrote about things that, had I never written about them, I would have forgotten them. They never would have resurfaced in my mind. I love rediscovering scraps of experience that, without writing, would have been lost to my consciousness.

Reason 3: I write to be remembered.

Writing offers a form of immortality. It helps me preserve something of myself for future generations–for my nieces, for my nephews, maybe even for their children and their children’s children. Often, when I write something, particularly diary entries or personal narratives, I wonder who might read them decades down the road, and think about me–and know a little more about me, about herself, about the world as it was when I was here, for having read it.

Writing is a handshake, a hug, an invitation to empathy and understanding. It is one way to strengthen the bond of the human family.

Reason 4: I write to get perspective.

Writing helps me get my thoughts in order, helps me sort myself out.

Reason 5: I write to connect.

One of the most rewarding aspects of writing is when people tell me a piece I wrote resonated with them. People’s reactions to what I write about my family and marriage, the lessons I have learned through my mistakes or misconceptions, or the effect nature seems always to have on me are so touching–and encouraging. Writing is a way to reach out to humanity as whole, across oceans and mountains, to cry out into the abyss, “I am here! You are here! And we are not alone!” Writing is a handshake, a hug, an invitation to empathy and understanding. It is one way to strengthen the bond of the human family.

Why I Write II

 

 

 

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.

Author Interview: Brandi Kennedy

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Author Brandi Kennedy writes Romance novels and values a personal relationship with her readers.

I found Romance author and loving mom Brandi Kennedy on Instagram, her posts about nearing the final draft of a book intriguing to me. Upon contacting her, I learned she is actually approaching the end of three different series, not just a single book. According to Kennedy, The Kingsley Series, made up of four books so far and destined to consist of six, is a Classic Contemporary Romance. The Selkie Series touches the Fantasy realm. The third series, The Freedom Series, Kennedy defines as Contemporary-Romance-meets-Women’s Fiction. The first book in that series, Fighting For Freedom, is live now, and the second book is underway. Without further adieu, here is my interview with author Brandi Kennedy.

Mind the Dog: How long have you known you wanted to be an author? Is this how you are able to make your living?

Brandi Kennedy: I’ve wanted to be an author since I was a kid. I even had a bet with a classmate in fifth grade; I swore I’d be published by the end of the summer. Obviously I lost that bet, but it was the seed of my determination to do it, and I’m proud of where I am now as an author. As for making a living with it – I make a regular small income, so I’m happy with my progress. I still want to keep going, though, so I’m just focusing on following the advice of those who came before me. Liliana Hart says, “The best way to sell the last book is to write the next one,” and I’ve found that to be true.

MTD: Do you work with an agent, publishing the traditional way, or do you self-publish?

BK: I’m independently published. I like that it gives me creative control over my work, my hours, my deadlines, my covers. I get to retain full rights over what goes on the covers, as well as what stays between them. I also like that as I learn more about this business and the best ways to do certain things, I’m free to tweak or adjust what I no longer feel is working – and the only approval I need is my own.

Liliana Hart says, “The best way to sell the last book is to write the next one,” and I’ve found that to be true.

MTD: Are most of your books online?

BK: All of my currently released books are available for Kindle, iBooks, Nook, and Kobo. Each book page on my website is complete with blurbs, cover images, and market links.

MTD: How long did each one take you to write?

BK: They varied. My shortest book (to write) was either Courageous or Fat Chance (Kingsley Series, book 1). Both took around a month. The longest (to write) is probably More Than Friends. Something held me back from that one for a long time, and the words just wouldn’t come. I started and stopped that book twice, throwing everything out before it finally just seemed to click on that third try. In all, that book took me a little over two years to write.

 

MTD: On Instagram, you sometimes post how many parts you have left to write before you have finished with The Selkie Series. Would you consider yourself a planner or a pantster (or a planster!), and why?

BK: Ooh, I love the term planster! I’m a hybrid, honestly. With Selkie, I literally just sat down and wrote it. I had a general idea of where I was going in the next few scenes, but that was it. Fat Chance and most of the other Kingsley books were the same. I sat down and just let the words pour out. I generally keep notes as I go, including at least a small outline of where the next few scenes are probably going. I think Selkie II is my most planned/plotted book – I’ve had a beginning to end outline the entire time, with certain main ideas lined out and various scenes being added or planned as I wrote to get me from point to point. That has been by far the most relaxing way to write a book, in that I already knew where I was going. I never got writer’s block (once I had the outline done), because literally all I had to do was write from Point A to Point B. But do I like that better than when the story just bleeds out unplanned? I can’t say. Both sides have great value and both points of action impact the writing process in different ways.

Some of my readers have become personal friends, and I find that many of them have enriched my life in ways that go much deeper than even my love of books.

MTD: What have been some of your career highs and lows?

BK: It’s always a high to have someone reach out to me and tell me that my books touched them in some way. When Fat Chance went live, I received a slew of emails and messages from people who read and related to Cassaundra’s struggles, and one woman told me that reading how real and relatable Cass was would change the way she allowed herself to see her own body for rest of her life. As for the lows, truly the only thing I can think of as a low or a downside to writing as a career is how over-saturated the market is. Success in such a popular market is truly hard to come by, so it can be a little discouraging at times.

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Shortly after Kennedy’s book, Fat Chance, went live, she enjoyed several e-mails, one from a woman who “told me that reading how real and relatable Cass was would change the way she allowed herself to see her own body for the rest of her life.”

MTD: What do you love about writing?

BK: Everything. Writing is art for me, it’s sculpting and painting with words and imagery. I love the intricacies of the English language, the powerful use of analogy and narrative prose, the flow of one word into the next. It makes me think, makes me grow, makes me feel. I can only hope my own writing lives up to what I love so much in the writing of others.

MTD: What is your favorite work of literature and why?

BK: Hard question! Old literature – the lasting kind? Maybe it’s A Little Princess. Such a beautiful story of resilience and determination, kindness and heart. It’s inspiring, it’s poetic. But I also still love several of my other childhood favorites, like Black Beauty, The Adventures of Tom Sawyer, and To Kill a Mockingbird. New literature, though – the kind that you just know will last forever? Harry Potter, hands down. Also, I am a pretty rabid Outlander fan.

MTD: Who is your favorite writer and why?

BK: I usually answer this question easily, and it’s almost always Diana Gabaldon, the author behind the Outlander Series. Now and then it’s JK Rowling. Both have an amazing power of molding the smallest detail into something incredibly meaningful. They both have beautiful, flowing prose, and neither is afraid to touch on the darker issues of the world we live in, regardless of what time period they’re using. Their character development is strong, their plots are intricate. I must include Johanna Lindsey, as well, whose embossed name on a drugstore romance cover was the first seed of a dream I’ve been nurturing almost all my life.

MTD: Describe your average work day.

BK: It’s busy and often interrupted. I work from home, so writing is interspersed between the rigors of laundry and dish washing, bathroom cleaning, floor vacuuming, and animal care. I get distracted easily, too, so I rarely work more than an hour or two at a time without breaking to accomplish other, non-writing tasks. This pays off, though, in that it allows my ideas to simmer a bit, while giving my hands a break from the keyboard. And then in the after-school hours, there are my daughters to care for, and they take precedent even over writing – most of the time.

MTD: You mentioned you have two daughters. Do they ever read your work, or do you ever read it to them?

BK: They have read very small bits of some of my work, and are both generally upset with me on some level because they aren’t allowed to read my novels. My girls are currently twelve and seven, and my books do have adult content in them, so I don’t let them read that yet. They have begged me for a long time to write something they can read, but I haven’t been able to do it just yet. However, they have been allowed to peek at certain novel’s scenes/passages or bits of poetry now and then, and I suppose if my oldest took an interest in reading my blog, she’d be allowed.

MTD: In a recent Instagram post, you mentioned that you are proud of how you interact with your readers. Can you tell me more about that?

BK: Well, it’s just like this, what we’re doing in this interview. I’m on Facebook, Instagram, and Twitter several days a week. I blog once a week, and that blog autofeeds to a newsletter – I like that this allows my readers the freedom of not having to remember to check my site. I love interviews, guest spots, and guest posts, and I rarely ever turn down opportunities to appear anywhere in that way. Beyond those things, and on a much more interactive level, I try to answer every message, email, and/or comment when I can, and I always make sure I’m putting myself out there. Actually, some of my readers have become personal friends through this level of interaction, and I find that many of them have enriched my life in ways that go much deeper than even my love of books.

Mind the Dog would like to thank Brandi Kennedy for taking the time to participate in this interview.

Real Characters. Honest Love. Brandi Kennedy Books.

 

 

 

Take Heart Again, Pick up your Pen. Write On…

The chair where J.K. Rowling sat as she penned her famous Harry Potter series recently sold at auction for $394,000–so it might seem hard to believe that she was rejected by between nine and twelve publishers, and took roughly five years to find someone willing to publish her books, which have all found acclaim, and been made into major motion pictures.

William Golding‘s Lord of the Flies, now a staple in classrooms across the country, was rejected twenty or twenty-one (depending on the source) times before its eventual publication.

In 1856, one critic wrote of Walt Whitman‘s Leaves of Grass: “Mr. Whitman thinks, however, he would like to turn and live awhile with the animals. Well, one’s associates should certainly be determined according to one’s tastes.” This comment’s status as something of an ad hominem makes it no less scathing. In no uncertain terms, a review in The Saturday Review also disparages Whitman’s work: “If the Leaves of Grass should come into anybody’s possession, our advice is to throw them instantly behind the fire.”

But can you imagine if these writers had simply given up? Had said to themselves, “Well, I guess everyone’s right. I’m a failure. Might as well throw in the towel. I can’t take one more rejection letter or nasty review”?  What literary genius the world would have been deprived of! How many people would perhaps never have discovered their latent love for reading without Rowling’s Harry Potter series? What would the canon of American literature be without Walt Whitman?

Truly, writers must be some of the most persistent and resilient personalities in the wide universe. What other hobby or profession asks of one to pour her heart out, only to face rejection after rejection in pursuit of the dream, in which she must maintain an everlasting confidence?

And you must, dear writer, maintain that everlasting confidence, that inextinguishable faith, as the writers before you have done.

In his poem “A Psalm of Life,” Henry Wadsworth Longfellow writes:

Lives of great men all remind us

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Follow the footprints great authors have left “on the sands of time” for you. Pick up your pen, “take heart again,” and write on.

      We can make our lives sublime,

And, departing, leave behind us

      Footprints on the sands of time;

Footprints, that perhaps another,

      Sailing o’er life’s solemn main,

A forlorn and shipwrecked brother,

      Seeing may take heart again.

When we think of our most beloved and admired authors, we often think only of what we can see: their beautiful book covers, the critical acclaim, their books made into blockbuster movies, the TV and radio interviews. In short, we are aware of their success and their fame. Rarely do we think about what it took for them to get there.

When you feel discouraged, disparaged, or disappointed because you have once again failed to finish draft two, because someone has told you your story isn’t good enough, or because you have once again gotten a thanks-but-no-thanks from an agent or publisher, think about the writers who never gave up–but could have. Longfellow describes the footprints they have left for you to follow. So “take heart again,” pick up your pen, and keep writing. Your readers are waiting.

Sources:

[Unknown]. “Leaves of Grass.” 15 March 1856. The Walt Whitman Archive. Gen. ed. Ed Folsom and Kenneth M. Price. Accessed 31 March 2016. <http://www.whitmanarchive.org&gt;.

[Unknown]. “[Review of Leaves of Grass (1855)].” 18 February 1856. The Walt Whitman Archive. Gen. ed. Ed Folsom and Kenneth M. Price. Accessed 30 March 2016. <http://www.whitmanarchive.org&gt;.