I’ve been reading Arthur Miller’s play The Crucible with high school English students since I first began my teaching career in 2006. I’ve been teaching Nathaniel Hawthorne’s The Scarlet Letter for almost as long. A few years into my career, I went on a campaign to convince my family that we should spend part of our summer touring around Salem, Massachusetts. I wanted to experience first-hand the place I had been reading about since I myself sat in a high school English classroom studying these works, and I knew I could gather material that would enhance my teaching of the play, the two fascinating and terrifying time periods it explores (the Salem Witch Trials and the McCarthy Era), and the novel. For reasons I don’t remember, the trip didn’t happen, and years went by–but this past summer, my aunt and uncle moved to Cape Cod, and when I visited them in June, they were kind enough to help make my years-long dream of visiting Salem a reality (though it meant about as much time in the car as it did on the streets of Salem!).
But what to do with this information and these photographs? Sure, I could throw the photographs up on the screen and give my students the “My Day in Salem” lecture. I could put the photographs and information into a Power Point, Prezi, or Google Slides presentation. I could print them off and pass them around the room.
But none of this was good enough. None of it even approximated the real thing.
About a month went by, the photos still on my phone, the information still in my head, before I realized that what I really wanted to do was, well, take my students to Salem…
This, of course, was not as realistic as a “My Day in Salem” Power Point. But it would be so much more effective!
So what if I mimicked the experience to the best of my ability…by turning the halls of our high school into the sidewalks and streets of Salem, Massachusetts? I typed an e-mail to my principal, and with her approval and support, set about creating my Salem Scavenger Hunt. With the help of my colleagues, the plan went smoothly this fall. So smoothly, in fact, that two of my colleagues created their own subject-specific scavenger hunts for their classes. This spring, with the help of Erin Ford, our school’s resident technology genius, I’m confident it will go even better. Erin has helped me incorporate technology like augmented reality to enhance the experience and further engage my students. Using the app HP Reality, formerly Aurasma, our scavenger hunt is going to come to life–to approximate an actual visit to Salem as closely as possible.
Throughout our reading of the play and the novel, my students were still referring back to things they had learned in the scavenger hunt. It was far more effective than a lecture, worksheet, or presentation would have been. As much as possible, it brought the places, the people, and the time period alive for my students. The plans are below. I hope you and your students will get as much out of this as my students and I do!
Below is the original, more “analog” version of the scavenger hunt, which uses photos I printed and laminated from my trip.
Thanks to Erin, you can find the technology-enhanced version below. It will require you to download the HP Reality app and set up your own augmented reality. You will still use the photos available in the analog version above, but when students use the app and hold their phone over specific photographs at each site, they will see videos, articles, etc. relevant to that site (once you have created your specific Aurasma).
Following the technology-enhanced scavenger hunt, students are then asked to create a presentation using what they learned. They could also do this in the less technologically involved version, as well. Find a template here:
As the title of her blog post makes plain, Charlene writes about universal truths in our own writing. When I was in AP English Literature as a high school senior, my teacher refused to use the word “theme,” instead demanding that we discuss universal truths. I embraced this idea. To me, it made the literature more relevant–more real. I wasn’t searching for some obscure (to teenage me) author’s message, which, I was sure, wasn’t really his message, anyway, but some critic-imposed theme originating in academia; I was looking for truth, a pursuit that seemed much more noble.
Our ability to discern the universal truth in the writing of others directly correlates to the value we will or will not place on that writing. It directly affects our ability to understand a work of literature beyond its surface elements (characters, plot, setting–that sort of thing), and to instead see those elements as tools used to communicate a truth about the human condition. At the same time, as Charlene explains, while our ability to discern that universal truth does not depend on our having had the same life experiences as the writer or characters, it does depend on our having had the same emotional experiences.
Life experiences equip us with the emotional capacity to better understand universal truths expressed in literature.
For example, the first time I read Zora Neale Hurston’s Their Eyes Were Watching God, I was unimpressed. Really. It was, as they say, “meh.” I was unmoved. It was my fourth year teaching. I had just been assigned the honors classes, and the book was to be the students’ summer reading assignment. I read the book from cover to cover–all the introductory material, all the acknowledgments, everything. I took notes in the margins. I read carefully. But I didn’t like it. It was a chore. A year or two later, we changed the summer reading book, and Their Eyes Were Watching God collected dust on the shelves of the English department work room for several years. Two years ago, though, we reintroduced it as part of the core curriculum for both the honors and academic level classes. Since several years had gone by since I’d read the book, I decided I’d better read it again. Sigh…
The second time around, I loved it. What had changed? It was the same book with the same introduction, the same acknowledgments, the same notes in my same handwriting. Certainly, the story hadn’t changed. The writing hadn’t changed. Even the universal truths hadn’t changed.
But I had.
While I had not been married off by my grandmother to a man three times my age; while I had not run away with a man who swept me off my feet only to find myself stuck in a loveless marriage; while I had not nearly died in a hurricane or (spoiler alert!) shot my one true love in self-defense, I had a deeper capacity to understand the emotions these situations elicit because I had had my own life experiences that had deepened my understanding of what it means to be human–of love, loss, friendship, and self-actualization.
Yesterday, my husband and I celebrated a decade of marriage. The experiences we have shared helped open me up to the truths expressed in Hurston’s novel. Our marriage, and the sense of love and commitment I feel for my husband, expanded my emotional capacity, and helped me feel what Janie feels, though our situations are very different.
I had a similar experience with one of my all-time favorite books, John Steinbeck’s East of Eden. The first time I read it, I was an undergraduate at Michigan State. I. Loved. It. The complexity of the characters’ relationships, and of the characters themselves, fascinated me. It all seemed to so novel, so shocking, so eye-opening.
Several years later, having graduated and been in the working world for at least as much time as I’d spent in college, I reread it. I still loved it–I still refer to it as one of my favorite books–but my love wasn’t as enthusiastic the second time around. I was older. Maybe a little wiser. Maybe a little jaded. Whatever it was, somehow, the book’s impact wasn’t as powerful.
A book is never the same book twice, because you are never the same reader.
F. Scott Fitzgerald’s The Great Gatsby has also affected me very differently at various points in my (emotional) life. When I read it as a junior in high school, despite my teacher’s assertions that Daisy was shallow and flighty, I really admired her. I wanted to be like her, or, more accurately, I wanted to be loved like her. Now, 15 years later, I’m far more fascinated with Nick and Gatsby’s characters, and with ideas like personal responsibility (or lack thereof), the American dream and how far one is prepared to go-should go–to achieve it, what it means to be American and how this book fits with our national identity, among others.
Life experiences equip us with the emotional capacity to better understand universal truths expressed in literature. We don’t need to have had the exact same life experiences as the writer or characters, as long as we have had life experiences that allow us to have the same emotional experiences. You may never have lost your spouse to a car wreck, but you may have lost him to another woman, and thus experienced loss and grief (among other feelings, no doubt!). A book you may have genuinely related to as a teenager may seem trite when you reread it as an adult. Something you may not have grasped in a book when you were a bachelor may be crystal clear when you read the same book after you’ve been married for fifteen years and have two children. For these reasons, and others, rereading is valuable. A book is never the same book twice, because you’re never the same reader.
But I Already Know What Happens
I’ll admit it. Sometimes I dread rereading a book I’ve already read multiple times. Even if I’ve actually read it only once. Even if I really liked it. Even if it’s been years since I read it. I mean, I already know what happens.
But the fact is, I’m an English teacher, so sometimes (lots of times), I have to read the same book more than once. Besides the fact that reading the same book twice (or more than twice) can prove a different experience every time, every time I reread a book (and as an English teacher, I reread many books, many times), I find something new. Students sometimes marvel at the way I can read aloud and write notes in my book at the same time, without missing a word. Here’s the trick: When you know the story line and characters and setting–the basic stuff–your mind is free to notice deeper elements like motifs, author’s purpose, writing strategies–or even universal truths. The more times I have read a book, the more familiar I am with its fundamental parts. The more familiar I am with the fundamental parts, the more literary elements I am free to notice and attend to.
While you may know the plot like the back of your hand, and have certain sections of dialog memorized, rereading a book can still prove an enlightening and surprising experience. Instead of waiting for just what happens next, you’re waiting for what revelation dawns on you next. What will you notice about the author’s word choice or rhythm? What epiphany will you experience regarding theme or the use of setting? What literary devices have you somehow missed the first (and second) time you read the book? What cunning turn of phrase has escaped your notice–until the fifth reading of Huck Finn?
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.
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…
By day, Luke P. Narlee works for the government, doing transportation security in the intelligence field. By night, he writes and publishes his own novels. His first novel, Guest Bed, explores the complex issues couples face after years of marriage. His second novel, The Appointment, which he hopes to release within the next two months, imagines a future world devoid of all enjoyments and meaning, a world in which depression runs rampant due to a collective sense of hopelessness and purposelessness–until Jacob Johansen agrees to attend a mysterious appointment. Below, read Narlee’s take on the writing life, including indie publishing.
Mind the Dog: Where did you get your inspiration and idea for your first novel, Guest Bed?
Luke P. Narlee: The inspiration for this story stemmed mostly just from being married myself. There are a lot of emotional ups and downs associated with marriage, and it’s no different with the couple in Guest Bed. Of course, being that it is fiction, my first priority was to entertain and keep readers guessing. But I also wanted to explore some of the deeper issues that tend to occur between couples when they’ve been married for several years. For example, when couples are struggling to make the relationship work, what is it that’s truly causing the arguments? What is it they’re yearning for when they decide to separate or commit adultery? I also wanted a lot of the focus to be on communication. In the story, the two central characters, Ron and Kate, have an abundance of communication issues, which is the cause of the majority of their arguments. I think that the characters in the book say what a lot of couples only think or keep internalized. My hope is that people will find their issues to be relatable.
An Excerpt from Narlee’s Novel, Guest Bed
She narrows her eyes. “You still don’t get it, do you?”
I sit up so that our eyes are level, trying to keep things as even as possible. “No, I guess I don’t.”
“I need more from you, Ron. I want to know what you’re thinking and how you’re feeling. You don’t share yourself with me anymore. Yes, we had fun downstairs, catching up on our days and exchanging witty banter. I enjoyed it. But that’s not what I need from you.”
I stare at her, breathing heavily.
“It’s not enough!” she says.
MTD: How long did it take you to write Guest Bed? What was your process like?
LPN: It started out as a short story that I wrote just for fun at least a decade ago. It took me a month or so to write it and set it aside. Then, within the last five years, I found a way to incorporate it into my soon-to-be published novel, The Appointment. Within The Appointment, there are a few chapters that read like short stories, and I thought Guest Bedwould be a perfect fit for that, but eventually my editor at the time convinced me that the story was too good to stay merely a chapter in a novel, and that it should stand on its own, somehow. I had no idea at the time that it would eventually become my first published novel.
Overall, I’d say it took me six months to write Guest Bed, and be fully satisfied with it, and about ten months all together from start to publish.It was relatively quick, considering I’ve been working on the The Appointment for five years.
MTD: Why do you think your progress with The Appointment has been slower in comparison to Guest Bed?
LPN: It’s a much larger book, with a more expansive story. Many more characters and things going on. It has taken me a long time to make sure everything fits together and aligns correctly in order to make a cohesive story.
MTD: How did you find or select your editor? Describe your relationship with your editor.
LPN: I personally have always hired freelance editors to work on my book, the majority of them on Upwork.com. It’s a great website, full of fantastic people who are very enthusiastic about helping people with their stories. I’ve worked with many different editors over the years, some better than others, but this year, in 2016, I’ve definitely found one or two new favorites that I hope I can continue to work with for many years to come.
MTD: What about a specific editor or group of editors appeals to you? What do you look for in an editor?
LPN: For me, it’s all about chemistry. You have to have good chemistry with your editor, meaning they understand your writing and the way you write and are able to help you improve it without ever changing your style. You have to find someone you click with and are comfortable with. It definitely becomes a relationship of sorts because there is so much back and forth communication. You have to have chemistry. It can’t just feel like a forced exchange between two people, where the editor is just doing a job and waiting to get paid. Also, a good editor is very thorough and will go the extra mile to make sure you are fully satisfied with the results.
I personally have always hired freelance editors to work on my book, the majority of them on Upwork.com. It’s a great website, full of fantastic people who are very enthusiastic about helping people with their stories.
MTD: What made you decide to self-publish as opposed to going the traditional route?
LPN: A couple reasons, actually. For one, I don’t generally have a lot of extra money or free time to spend searching for agents, and mailing out my manuscript, and begging publishing companies to accept my book as their own… The whole process felt overwhelming. I’d rather spend that time writing. Also, I don’t really like the idea of being forced to let the editors of the publishing companies have the final say in what is written in my books. I prefer to have full control over the content. Of course, this means more work on my part once it’s actually published, but so far it’s been worth it to me.
MTD: You mention that self-publishing means more work on your part once a book is actually published. Can you elaborate on that a bit?
LPN: When you self-publish a book, promoting it and marketing it are your responsibility. Some people just publish a book themselves and leave it at that, apart from telling close family and friends about it. But I’m definitely motivated to spread the word to as many people as possible because I love talking to people about it and hearing their thoughts on the story after they’ve finished reading it. I’ve been putting a lot of time and effort into marketing it on social media, particularly Instagram, Twitter, and Goodreads. I hope to be able to do more in the near future, as well, such as schedule a book signing at a few local bookstores. The reviews have been wonderful so far. The story has already touched a few people in profound way, and to me, that is more important than anything else. That alone makes all the hard work worth it.
LPN: The Appointment is quite a bit different from Guest Bed, which is a much smaller, personal mystery involving only two or three characters. The story in The Appointment affects an entire country and is more dystopian in nature. It involves a government that has become overly controlling due to recent terrorist attacks, and they’ve been forced to put the whole country on lockdown for a year. Nobody in and nobody out. Meanwhile, unexpectedly, all the citizens of the country begin to lose both their memories, and their ability to feel emotions. The main character, Jacob, is one of the last remaining people who still feels something, and is able to conjure little bits from his memory here and there. Then one day he gets invited to a secret facility to act as a guinea pig for a few experiments that may or may not fix everyone. If he agrees, he will be given the ability to relive old memories, enter parallel universes, and also live the lives of other people for a day, all in hopes of fully regaining his emotions. But the real question is… is that truly what he wants? Or is life easier when you don’t have to feel anything? To say that I’m very excited to publish this book would be an understatement.
MTD: How do you make time in your day to write?
LPN: I basically write whenever I have a chance. I don’t have a good, consistent schedule for writing yet, so if I have time between work at my office, I will do some quick writing. And when I’m home, particularly on the weekends, I make a habit of trying to carve an hour or two out of my day to sit with my laptop and write. But I don’t have a specific location or room that I do all my writing. Someday, I hope…
MTD: What do you enjoy most about writing?
LPN: I love the process of creating an entirely new world in my head and putting it down on paper for others to read and enjoy. The characters have a way of taking on a life of their own once you get into a groove. The story and the dialogue will just flow out of my brain without any forethought. Sometimes I’ll be typing, and the characters will surprise me with what they’re saying, like they’ve come alive and I’m just translating for them. That may sound weird, but most writers have experienced this at one point or another. It’s a beautiful thing.
The characters have a way of taking on a life of their own once you get into a groove. Sometimes I’ll be typing, and the characters will surprise me with what they’re saying, like they’ve come alive and I’m just translating for them.
I’m also a big fan of writing stories that are not only entertaining, but also make you think about your own life as well. I want my books to linger in people’s heads for a while after they’re done. There’s almost always a bit of ambiguity to my writing because I don’t like to make things too easy for people. I believe in leaving certain things open for interpretation, so the reader can decide certain elements for themselves. I think that makes for a more interactive experience between the reader and the book.
MTD: What advice would you give to aspiring novelists?
LPN: First, write for yourself. If you want writing to be a truly meaningful experience, write a story that you love and want to exist in the world. Next, don’t ever give up on your dream of becoming an author if that’s what you want to do. If I can do it, then so can you. It can feel impossible at times because it’s so time consuming, but it isn’t. You just have to set realistic goals for yourself and stick with them, such as scheduling blocks of time to accomplish each step along the way and planning how long it will take you to accomplish each of these steps. For example, maybe you need a few months to write a first draft. Then another month to do your first round of self-edits. Then eventually you hire a professional editor to go through it for you. Then you have to do more rewrites. You can’t expect any of it to happen too fast. If you want to write something that looks professional, and will stand out amongst the millions of other authors in the world, it takes a lot of time and patience. But it’s worth it. Whenever I hear someone on social media comment that they are losing hope on finishing their first novel, I immediately try to motivate them to think differently. I believe anyone can do it if they set their mind to it and plan accordingly.
If you want writing to be a truly meaningful experience, write a story that you love and want to exist in the world. Next, don’t ever give up on your dream of becoming an author if that’s what you want to do. If I can do it, then so can you.
It also helps to know the ins and outs of the process and when and how to make wise choices, particularly when it comes to publishing. I’m currently trying to get a list together of everything I’ve learned about writing and publishing in the last few years, so I can help others reach their dream of being a published author without breaking the bank or their minds. I haven’t had time to set up an official website or a blog yet, but I plant to, and in the meantime, I may self-publish a small self-help book about indie publishing as well. I’m all about helping people with this. In the world of writing, I feel that it’s absolutely essential that writers look out for one another, share their experiences with others, and act as mentors for those who are just starting out. It’s a team effort, for sure. Writing is a gift–your book is a gift, but it’s a gift that no one will want to open if you don’t do your homework and make smart choices.
Writing is a gift–your book is a gift, but it’s a gift that no one will want to open if you don’t do your homework and make smart choices.
I am (still) reading Roberto Bolano’s 2666, and during my sofa session Friday afternoon, came across this sentence on page 323:
“The oneiric wind whipped grains of sand that stuck to their faces.”
The word “oneiric” (oh-ny-rick) was a new one for me. The “Look Up” feature on my nook told me it is an adjective that means “of or relating to dreams; dreamy.” Merriam-Webster confirmed the definition, and informed me that the word rests in the bottom 50% of word popularity (what a shame). What a whimsical word to add to my vocabulary.
In addition to its inherent whimsy, the word applies to my own writing experience: The oneiric state I find myself in just before sleeping or just before waking seems to generate my best writing ideas. The only problem? Whereas I often remember my dreams, I only rarely remember the words I wrote during the course of them.
Other contexts in which I can imagine this word:
She waited impatiently for the oneiric effects of the medication to wear off.
He thought about the oneiric nature of his earliest memories, which might be memories, but might just as likely be imaginings based on stories he’d heard from his parents and grandparents and siblings hundreds of times, his imagination indistinguishable from reality.
The sight of the couple walking arm-in-arm down the cobblestone street summoned an oneiric sense of a life he felt he had never lived, though the photographs he had not yet removed from his walls told him otherwise.
She stepped off the plane and into the oneiric landscape of paradise.
Lastly, I am quite sure that the male protagonist of my current writing project, a novel in its seventh draft titled Goodbye For Now, feels an oneiric sensation at waking up in a stranger’s body, and viewing his life as an outsider.
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.
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.
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.
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.
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?).
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
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 WritersAnnual 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:
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.
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
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.
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
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.
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.
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!
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 ForNow 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?
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.
(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.
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.
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.
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.