teamTEENauthor: So you want to be a writer…

 

This month teamTEENauthor is writing on this theme: so you want to be a writer.  Volumes can (and have!) been written on this subject, but I’m going to take a stab at it anyway.  Here is my (incomplete) list of things I think you ought to do if you want to be a writer.  I’m going to limit myself to just the most important things, here.  And remember that writing, like most other things, can be done a million different ways and still done write.

If you want to be a writer, write.  This is the single most important thing you can do, and it’s true at every stage.  If you want to be a writer, then you must produce words.  Sometimes you must produce words you love, and sometimes words you hate, and think are stupid, but you must produce them all the same.  Produce the words you want to write and not the words you think you ought to want to write.  Work in whatever medium you love–blogs, novels, nonfiction, short fiction, poetry, plays.  Write what makes you excited to write, because you’re going to be spending a lot of lonely time with those words.

Let people read what you write.  This is hard for some people, but if you want to be a writer, you have to learn to interface with your audience in healthy ways.  This is going to require practice, so take a deep breath and let other people read.

Listen to what they say.   Here’s a harsh truth: readers can be wrong about how you should fix your writing, but they are never wrong about what they like.  If your readers are bored, you have a problem.  If they hate your characters, you have a problem.  And it is surely your problem, and not theirs.  A reader can rarely tell you how to solve these problems, because you are the writer, not them.  But listen to their problems with an open mind, especially if you’re hearing the same things from multiple people.

Learn to really revise.   This was the step that took me the longest.  I used to tweak a few things and call it good.  Friends, sometimes revision means starting over from scratch.  Sometimes revision means rewriting whole scenes.  Sometimes it means dropping characters, or adding characters, cutting thousands of words (keep them in a graveyard file if you must, but cut them!) or adding new chapters or scenes.  Be ruthless in your revision.  For me, this is where 75% of the work happens.  I had a professor once who said that great papers were not written, they were rewritten.  This is doubly true for fiction.

Once you’ve revised, kick it out the door.  Once you’ve revised, you need to find out how to submit your writing to your desired publication venue, and then send it out.  Even if you aren’t good enough yet.  Even if it just gets rejected (which it will, again, at every stage).

Get discouraged, but don’t let it stop you.  I was going to say that you shouldn’t get discouraged, but please.  Every writer I know gets discouraged.  Most steps of this process are hard, and discouragement is natural.  Stop for a while, if you need.  But don’t give up just because it’s hard.  You can do hard things.

When you think you are done, begin again.  Write.  Again, if you want to be a writer, you write.  Don’t be afraid to take on the title of writer early, and own it.  If you write–whatever it may be that you write–you are a writer.  Own it.  Hate it if you must, but also love it.  And above all, write.

 

Want to read what other authors have to say?  Check the links below.

E. C. Myers

Pip Harry

Elizabeth Amisu

Julie Cross

Mindee Arnett

Erica O’Rourke 

 

Bonded Interview: Michelle Davidson Argyle

 

Michelle’s latest book, BONDED , came out last week.  It’s a collection of three fairytale novellas–a prequel to Sleeping Beauty, a retelling of One Eye, Two Eyes, Three Eyes, and a sequel to Cinderella.

Today I’m happy to post an interview with Michelle, who happens to be not only an excellent writer, but a fantastic person.  Today we’re swapping interviews, so you can find her spotlight of Chasing the Skip over at her blog.

I’ve asked her to talk a little about fairy tale theory, which was an academic obsession of mine as an undergrad.  As a result, the question I asked sounds a little like a short answer from an English test–but Michelle was kind enough to give it a thoughtful answer.

 

When speaking of fairy tales, theorist Sheldon Cashdan said, “The way fairy tales resolve inner struggles [between positive and negative forces in the self] is by offering children a stage upon which they can play out their inner conflicts.  Children, in listening to a fairy tale, unconsciously project parts of themselves into various characters in the story, using them as psychological repositories for competing elements of the self.”  As an example, Cashdan offers that the queen in Snow White embodies narcissism, and as she is defeated, the children are able to defeat their own narcissism in effigy.  

In Bonded, you tell three stories based on fairytales–one prequel, one sequel, and one retelling.  While the stories you’re working with are usually thought of as children’s stories, your book is aimed at a mature audience.  Do you agree that fairy tales can be emotional stages for playing out the inner conflicts?  To what extent do you think that fairy tales can do this for adults as well?  Does all literature behave this way, or is there something unique about fairy tales?  Does this have anything to do with the appeal of fairy tales to you as a writer, or did you write about them for other reasons?

Thanks for your question, Janci! I’ve heard fairy tales can act as a stage upon which the reader plays out inner conflicts. At first, I wanted to answer that no, this was not the reason I set out to write my fairy tale based stories, but then I started thinking about it closer and realized that perhaps you’ve hit something on the head. Allow me to explain.

When I began Cinders, my novella about Cinderella after she marries her prince, my main intent was to explore the side of a fairy tale I had never seen before — a more realistic side. I’ve seen fairy tales set in contemporary settings, and I’ve also seen them go extremely dark in an attempt to give a more realistic edge to the story, but I don’t often see fairy tales twisted in such a realistic way that I’ve honestly been able to imagine myself in the same setting in my own real world (no matter the time period). That’s what I wanted to do. I wanted real consequences, real emotions, and real scenarios, even if some magic was thrown in. I wanted it all to feel real and relatable. For me, a girl who has lived under the tyranny of her stepmother and stepsisters and suddenly enters a wondrous world in a palace with a prince would probably have some gritty issues to work through with such a fantastic change. Marriage itself is a huge change, not to mention everything else Cinderella must adjust to. That’s where I see a perfectly set stage in which to tell a story. In that sense, I can easily see the novellas in Bonded acting as emotional stages for readers to play out their inner conflicts. What young girl entering marriage doesn’t have some bumpy spots? And what common girl suddenly thrust into a royal position wouldn’t have some learning to do? Cinders may be set in a somewhat fantastical setting with some fantastical creatures, but scenarios should hit close to home for many readers. In this sense, yes, I was thinking of an emotional stage, absolutely.

The other two novellas in Bonded maintain similar emotional stages, where my intent was to build very real scenarios set in fantastical but relatable settings. As for how adults relate to fairy tales, I believe Bonded is for more mature readers because of the types of scenarios I set up. Marriage in Cinders, forgiving people who abuse you in Thirds, and sacrificing yourself for someone you love in Scales. Those are some pretty heavy things to set yourself up against, so you can see why a younger audience might have a hard time with the stories. Considering all of that, yes, I do think fairy tales and fairy tale based stories can act as emotional stages for more mature audiences. In fact, I think Bonded is the perfect arena for such a thing, since it feels real while also maintaining elements of magic. An adult reader can remove themselves enough to dive into the story, but also feel close enough to the characters and what they might represent to play out their own inner conflicts.

I think literature, overall, offers readers not only a source of entertainment, but good literature will also offer readers the stage you refer to — a place where we can understand ourselves on levels we might not otherwise see. Fairy tales aimed at children seems to offer a more simplified stage, but I’ve found it fun to create more complexities and give adults a similar stage on which to play.

Thanks for your answer, Michelle.  You can find out more about Michelle and Bonded at Michelle’s website or blog.

Cornucopia Interview

Cornucopia of Reviews posted an interview with me today.  You can read it over there.  

I’m supposed to be drafting, but my child decided to go through a big sleep disruption instead, which involves much less sleep and more whining than I would like.  Nano.  Ha.  Good thing I’m not stressing it.

And because we got many inches of snow, which have now turned into ice, here’s an overexposed picture of a fountain.  This fountain is now turned off for the winter.  I should go take pictures in the snow, but it’s cold out there.

If someone voted differently than you…

…it is most probably because:

they believe different things than you do,

they prioritize their various beliefs differently than you do

or

they have different approaches to  problem solving than you do.

 

It is probably NOT because:

they are stupid,

they are grossly misinformed,

they are sheep who cannot think for themselves,

or

they want to destroy America.

This is true no matter which side of the aisle you sit on.

Nano begins

I’m doing NaNoWriMo this year, because I finished an intensive outline on October 31st, mostly by coincidence, and I was planning to write the novel this month anyway.  I’ve started Nano twice before and never officially finished, mostly because both times were when I was in college, and late November is not a great time to be writing a novel with papers and tests and things right before Thanksgiving (and the second time, a thesis defense).

However that second novel?  I wrote half of it during November, stopped to do revisions and defend my thesis, and then wrote the second half of it the first two weeks of December.  The first draft was far short of 50k words, but it was in fact the first draft of CHASING THE SKIP, so I’m going to call it a success anyway, even if I technically failed to write 50k in November.  (Fun fact: the published version is also under 50k.)

I like Nano.  I think it’s a good exercise in writing consistently and diligently for many, many people.  But I’m more committed to my work than I am to the exercise, so if it turns out my new novel needs to be written slower, I will do so.  If some personal crisis pops up, I won’t feel bad about not hitting 50k.  If the draft isn’t that long and it’s finished, huzzah.

I also like having the goal, though, so I’m going to try.  This morning I wrote 550 words (on the nose!) and I can already tell I’m going to get to keep every one.  (This was not the beginning of the book.  I started in the middle, because that’s how I roll.)  And I couldn’t ask for a better start to drafting than that.