Category: Writing

July 2, 2019

Book Review: Romancing the Page

I just finished a novella collection that combines keen publishing industry insights with charming f/f romance. Presenting Romancing the Page!

Written by fantasy author Laura Lam (Pantomime, False Hearts) writing and self-publishing under the open pen name Laura Ambrose, the three novellas in this series spin love stories between writers and publishing employees in the world of science fiction and fantasy. One reviewer likened them to “f/f candy,” and the comparison is apt. I found the romances compellingly paced, and raced my way through the characters’ conflicts and nuanced inner worlds to the payoff of each happy ending. I also enjoyed the novellas’ settings in London and Edinburgh, the UK cities I’ve been living in these past couple years.

In the first novella, A Hidden Hope, two American writers – former critique partners and lovers – meet at London a conference three years after their falling out. Neither had been published when they knew each other. Now Natalie has a precarious midlist career penning the fantasy novels she loves, and El, formerly convinced of the superiority of her “literary fiction,” has a big-budget fantasy debut coming out under a male pseudonym. Due to their previous involvement, there’s a lot of chemistry between the duo from the get-go, and hurt simmers beneath their resentment. The characters’ differing reactions to each other convey their temperaments: Natalie lashes out while El tries to make up. Once the two inevitably get together, expect quirky dates and plenty of heat. The conference setting allows for sharp industry insights as well. The uncertain fate awaiting authors of big debuts, Natalie’s need to support herself through a grueling secondary freelance career, the panel on sex with its skewering of sexism, the question of to what extent El using a male pen name has impacted her success… it’s all keenly observed, an insider’s point of view. The ending is an optimistic take – a realistic best-case-scenario if you will – not just for the central relationship but for the two writers’ careers, with neither skyrocketing but both finding their perfect balance.

The second novella, A Perfect Balance (see what I did there?), focuses on a likeable side character from the first: Emma, a friend of Natalie and El who has written urban fantasy about a rock band of zombie women and now work as an SFF editor. I really want to read Emma’s books! In fact, the novellas, and this one in particular, are packed with imaginary books that sound like fantastic additions to bookshelves, and I wish that Laura would write them. But on to the book at hand. Emma has been hooking up with a woman she met through an app, with neither using their real name or looking to pursue a relationship. Their dynamic is low-key kinky: Emma likes being told what to do, and the other woman likes giving orders. That is, until Emma comes back from a vacation to find that her company’s new marketing employee, Sage, is none other than her anonymous lover! Now Emma is the one giving orders as they work together on the marketing campaign for the biggest debut of the year. Both of them have reasons, rooted in their pasts, to fear committing to a relationship, but as they get to know each other, down to exchanging favorite childhood books, it gets increasingly challenging to avoid one. In her point of view chapters, Sage’s difficult relationship with her wealthy and demanding father is a big focus. She’s trying to break away and find herself, and by the end of the story, she does. Emma’s reasons for avoiding commitment seemed thinner to me – not necessarily invalid, but underdeveloped in comparison. Both characters’ passion for their work and competence at doing it were joys to read. In all the novellas, the satisfaction of doing good work is a deep part of the happy endings, and that’s something I appreciate. I also like how the author mixes things up with each character dynamic. While the other two pairings in Romancing the Page read as butch/femme-ish, Emma and Sage read as a femme/femme couple and Emma is bi or pan. The focus on power dynamics is lovingly rendered.

Speaking of power dynamics, An Unheard Song is rife with them (though not in a kinky context). Annalie, the author of the hit fantasy debut from the last novella, has been agoraphobic since her second book tanked. Her anxiety is compounded because this is her second career failure – she was previously a musician. She’s working on a third book, but isn’t able to go to the library to do the necessary research, so she hires an under-the-table assistant. Cam was a music scholar who lost out on dissertation funding because a woman on the committee propositioned her and then turned down her application after she said no. As Cam and Annalie work together and their attraction grows, they discover that the same woman is Annalie’s ex, responsible for halting her music career, and they decide to get revenge. In a romance context, the employee – employer dynamic feels borderline uncomfortable at times, though the characters tread sensitively around this dynamic. As people, though, Annalie and Cam are a powerfully complementary pair. This is the novella where the conflict felt most real, as the characters are dealing with much deeper issues than poor communication. Cam is afraid of telling her mother about her sexuality, of speaking out against harassers, and of fully expressing herself. Annalie is working on her anxiety through therapy and, at the onset of the story, is too afraid to leave her Edinburgh flat. The characters push each other to grow, speak up, find courage, and reclaim their power. While each takes the necessary action for her own growth, neither does so alone.

If you’re looking for some light, insightful summer reading, give Romancing the Page a read! I’ve linked to each novella separately in their reviews, too, in case one particularly appeals to you.

What are you reading this summer?

June 3, 2019

Lessons on Writing Relationships… from Romance Novels

Feedback on the first draft of a fiction manuscript I’ve been working on for a while, while positive in other aspects, suggested that the characters’ relationships lacked a certain spark. So, while working on the second draft, I turned to a genre that models relationship writing: romance.

Romance writing is a realm where constraint fuels creativity. A relationship focus and a happy ending are key to meeting the genre’s expectations. Readers know that the main characters are going to get together in the end; the fun (and literary skill) is in finding out how they get there. As well as being enjoyable to read, romance offers wonderful insights into building characters and crafting the dynamics between them. There’s nothing like a romance novel – focused on chemistry, rapport, and relationship development above all else – to illustrate how to write effective relationships in fiction!

Here are a few of the romance titles I’ve enjoyed recently, and the insights I’ve gleaned from them.

The Bride Test, by Helen Hoang: For Hoang, writing romance intersected with discovering that she was on the autism spectrum and creating characters who share neuro-similarities. In this delightful novel, the mother of Khai, an accountant on the spectrum who wants nothing to do with relationships, returns to Vietnam to find him an ideal bride. Esme, a whip-smart janitor with a young daughter (inspired in part by Hoang’s immigrant mom), is eager to seek new opportunities in America. But to secure a better life for herself and her family, she must, in one summer, win the heart of a man who believes himself unable to love. The relationship between Khai and Esme evolves with sensitivity to their very different needs and experiences. While there’s mutual attraction, it comes with a lot of misunderstandings, often related to culture or neurology, that the characters must overcome. Hoang excels at creating interpersonal conflict with solid reasons behind it, both internal and interpersonal. Read this novel for a great example of how two very different characters, with realistically divergent experiences, can convincingly come together.

The Summer of Jordi Perez (and the Best Burger in Los Angeles), by Amy Spalding: In this queer YA romance, Abby begins a summer internship at her favourite clothing store only to discover that a co-intern, Jordi, is also vying for the single job available once the summer ends. But the two girls hit it off so well that sparks fly between them, and private, plus-sized Abby, who’d cast herself in the archetypal romantic-comedy “friend” role, must come to grips with photographer Jordi’s view of her as a leading lady. Abby’s thoughtful perspective definitely leads here, with Jordi being more of a secondary character. I found her a great example of crafting a non-point-of-view romantic interest who is appealing and fleshed out – scenes with her photography and family are charming, though not central. Another great secondary character is the funny jock Jax, best friend of Abby’s best friend’s boyfriend. A secondary storyline follows the “friend chemistry” that evolves between him and Abby as the unlikely pair sample L.A.’s burgers for a rating app.

Outback Billionaire, by Nikki Steele: The cover cracked me up, but the writing kept me reading until I finished it in one sitting. This was a fun read with a tight perspective on the two romantic leads, alternating POVs between Marlo, an American aspiring actress brought to Australia by her good-for-nothing manager fiance (they break up quickly thereafter), and Jack, a wealthy cattle station owner who offers her a job on his land. In a genre often focused on the heroine, I would have liked to know Marlo better, but found Jack’s concerns (health problems, hot buttons, vulnerabilities) to be particularly well explored. His interests are appealing and understated. The fantasy of wealth is conveyed through the understated sensuality of French press coffee, good wine, and a love of open spaces. The Australian Outback is described with precision and gorgeous language – you get a romance and armchair travel in one!

Hate to Want You and Wrong to Need You, by Alisha Rai: In this family-drama romance series, two families that once co-owned a grocery chain have a bitter falling out after a parent in each family dies in a car crash. Hate to Want You is the story of Nick and Livvy, children of the respective families, a couple forced to break up after the families split. Since then, they’ve hooked up once a year, and when Livvy comes back to town, both of their suppressed feelings for each other threaten to reignite old wounds. Wrong to Need You develops a romance between Sadia, single mom and widow of Livvy’s brother, and the surviving brother, Jackson, a once-close friend who cut Sadia off after being accused of burning the flagship grocery store. I have yet to read the third book, Hurts to Love You, which ties up loose ends in this angsty saga of family secrets. Rai’s series excels at developing multiple character relationships at once. Family, friendships, and romantic ties are all complicated and all matter deeply to both plot and characters. Every heated moment has emotional heft. Mental health issues are integral to the plot, and the characters are diverse and deep. If you’re interested in writing romantic relationships, an ensemble cast, or both, the Forbidden Hearts series is well worth your time.

If you’re looking to bring more romance in your reading life (either for fun, for writerly insights, or both), Smart Bitches, Trashy Books is an awesome resource for discussions and recommendations of what’s good, what’s not so good, and what’s out there. And of course, there are lots of romance deals available on Amazon to get you started!

I’m delighted to see this genre getting growing critical respect (the New York Times Book Review now has a romance critic!) and publishing a wider variety of voices. In an often harsh world, there’s something both comforting and radical in reading about all kinds of people finding happiness.

May 9, 2019

Literary Adventures at Sea

Jewelle Gomez and Dorothy Allison onstage with Sapphire Books owner Chris Svendsen

Fellow book lovers, have you ever daydreamed about going on a literary cruise? I’ve thought they sounded like fun ever since I learned they existed. Despite getting sick on the last cruise I went on, after receiving a deal offer from Olivia Travel on a lesbian cruise featuring a full slate of author events, I couldn’t resist giving vacation at sea another try.

Our cruise left from beautiful San Juan, Puerto Rico. The itinerary included port visits on several Caribbean islands, as well as daily music or comedy shows, so there was plenty to do besides hitting the books! After getting a sunburn while touring San Juan, stuffing myself at the buffet, and giving airtime to my athletic side on excursions, though, the quiet and reflectiveness of the literary programming was welcome.

Sapphire Books is a small, California-based publisher of lesbian books, primarily fiction. This was their second Literary Adventures at Sea cruise collaboration with Olivia, and they pulled out all the stops, bringing maybe a dozen authors and the owner/founder on board. The two biggest names were Dorothy Allison, author of Bastard Out of Carolina, and Jewelle Gomez, author of the classic lesbian vampire novel The Gilda Stories (which is soon getting a sequel, over 25 years later!). Both are longtime writers and activists in the queer community. Sapphire’s programming included panels, a main stage discussion between Dorothy and Jewelle, themed readings (such as murder mystery and romance readings), Q and A’s, a cocktail party, and book signings. There was also an opportunity for writers to pitch their projects to publisher Chris Svendsen.

The pitch session was a highlight, surprising Chris with the sheer number of attendees. She’d been expecting a small group, but as the pitches were one-on-one, she had to break the session into two and schedule another one at a later time for some of the participants. It was clear that the queer women on the cruise were eager to tell their stories. Many, like me, had been drawn by the cruise’s literary events. It was inspiring to chat with women about their writing projects – anthologies, detective novels, humorous novels, memoirs. Each of us had five minutes to pitch to Chris. Along with her advice at the beginning of the session, at least one Sapphire author was on hand to offer tips: give a brief plot summary, a hook or tag line like you’d find on the back of a movie, and leave out irrelevant details.

Among the readings and panels, “Romancing the High Seas” stood out. Authors read from works ranging from a spicy story involving a nun to a science fantasy yarn to a tale of four “women of a certain age” with lovers and secrets. I was intrigued by Sallyanne Monti’s reading from her memoir, Light at the End of the Tunnel, detailing a friendship with another woman that began with an email sent to the wrong address that evolved, against all odds, into a lasting romance. That book ended up coming home with me! After the authors read their excerpts, which had a good mix of humor and vulnerability, they answered questions and spoke about their writing processes. “It has to be real,” said one of them, noting that her writing is deeply grounded in personal experience. Another added that “people might like to think lesbians just sit there and pet each other like kittens, but that’s not the truth!” In response to a question about writing sex scenes, one author noted that it’s helpful to write them in the bath (writers, take note!), while others use these scenes to reflect their characters’ inner lives and move the plot forward.

The biggest event was a moderated conversation between Dorothy Allison and Jewelle Gomez, billed as “Advocating in Turbulent Times” and held on the main stage to a crowded audience. The two authors spoke warmly and engagingly about their past, future, writing projects, and long-lasting friendship. Dorothy came across as a firebrand with a big heart, while Jewelle, whose Gilda Stories hold a special place in my heart and who I partly went on the cruise to see, came across as gentle and kind. There’s a lot of recent debate about the extent to which writers should be accurate and sensitive when writing about marginalized demographics and groups to which they do not belong. Jewelle, calling herself a “bean counter,” noted the need to think of the many different people who might read her books and to be mindful of writing something with inadvertent negative implications for a certain type of reader, citing an example when a young man at a college reading interpreted Gilda as “hating men,” which was not her intent. Thinking this way about your work, Jewelle posited, is a matter of kindness. Dorothy mentioned that the youngest generation of queer people has less community than her generation (which was “always in meetings”), and emphasized the importance of real-world connection – reading blogs, the authors noted, is no substitute for bonding with other people or engaging with good books. Following the reading, I was honored to join other cruise attendees in meeting both authors.

I left the cruise’s literary adventures at sea with renewed faith in the power of imagination and story. It was wonderful to see so many queer women writers thriving, finding an audience, and connecting with each other through their words! Would I recommend a literary cruise to fellow writers? If you don’t get too seasick, go for it!

April 9, 2019

Learning Writing from the Masters: Pros and Cons of MasterClass.com

This year I was given an incredible birthday gift – a year’s subscription to MasterClass.com – and I wanted to tell you about it because I think there are many others who’d appreciate and benefit from these classes as well. MasterClass is a website that features video classes taught by celebrity experts in their fields, and the big names are really the draw. It’s not every day that you have an opportunity to learn about writing from Neil Gaiman or acting from Natalie Portman! Thus far I’ve focused on my subject of interest, the writing classes.

So what can you learn from the masters about their craft? A lot, I’ve found! This month I’ll share my breakdown of how MasterClass works, what you do and don’t get from it, and a taste of what I’ve learned from the writing classes so far.

How MasterClass Works

When you sign up for MasterClass.com, you can purchase either a single class for $90 / €70 or a year’s All-Access Pass for $180 / €150, which includes access to every class on the website. The All-Access Pass is a good deal if you’re interested in more than one of the classes, as it allows access to a wide range of content on your own time.

Each class features about 20 videos from the expert in question. They take the form of condensed mini-lectures of 10 to 30 minutes or so, focused on a particular topic and divided into subtopics. Catchy music breezes you in and out of each segment. Each class has an accompanying workbook that summarizes key points from each video and offer supplementary exercises. The classes also include “office hours” where you can post your responses to these exercises, and instructors provide video feedback to selected students, as well as a community hub.

Pros and Cons

MasterClass is a wonderful way to learn from professionals who are or have been foremost in their fields. When you have instructors like Margaret Atwood, Judy Blume, and Dan Brown, their resumes speak for themselves. Students get to learn their philosophies and techniques – to see how these authors created their successful books and learn about the ups and downs of their careers.

Practical know-how is blended with heartfelt wisdom. The great thing I’ve discovered so far is that both of these vary from writer to writer. Listen to a few of the classes and they’ll start repeating key points, but also contradict each other at times! For instance, Judy Blume begins with character while Dan Brown begins with setting. R. L. Stine begins his class with by saying that, in contrast to the popular advice to write from your heart, he’s written many books and not a single one from the heart. You’ll take what works for you from each instructor and apply it as it fits, and there’s a wonderful sense of liberation in realizing this. The teachers thus far have all been animated, genuine, and encouraging. I get the sense that they believe in their students and want to see them succeed.

The videos are well made, with good production quality and visual touches (Neil Gaiman showing pages from one of his comics, Margaret Atwood demonstrating point of view through moving around boxes and staplers). The format is easy to work into the day – you can easily listen to a video, say, on a lunch break or train commute. Everything goes at your own pace, so you can take the classes as quickly or slowly as you like. For self-directed learners, and those who learn well through online interaction, MasterClass might be as good of a fit for you as it is for me.

MasterClass is not going to be for everyone. It’s not a substitute for the hands-on nature of an in-person writing group or workshop. If you’ve taken writing classes before, some of the content will be repetitive. Because the classes are so different, and the writers have diverse approaches, you’ll find that some will speak to you more than others. You’ll want to have the time to devote to digging in, learning, and really applying their teachings to your own writing, so some amount of “free time” for this is required. Some of you may be interested in taking classes on other topics, but there’s such a range (from politics to cooking to composing…) that you’re likely not going to take them all, or be interested in everything on offer. The workbooks vary in the intensity of their supplementary teachings and homework. Some feel more like outlines of the class, while others, such as Neil Gaiman’s, offer extensive reading lists and wonderful in-depth exercises to apply what you’re learning. If you’re committed to it, I believe that MasterClass and its teachings will improve your writing. I’ve found new insights and inspiration to revise the manuscript I’m working on.

If you’re reading this and thinking that MasterClass sounds like your thing, you can check it out here. Happy writing!

March 4, 2019

The Roles of Emotion in Writing

“Where do you get your ideas?” This question, commonly asked to writers, elicits many different responses. Inspiration can come from current events, life experiences, interests, the combination of different concepts, dreams, a character who pops into one’s head, or seemingly out of nowhere. There are probably more sources of inspiration out there than there are writers, with some claiming that getting an idea is the easy part and the challenge, and craft, lies in fleshing it out.

Ideas are the “head” aspect that impels us to write, but emotions are the “heart” side of this. Often writers are driven to the page or keyboard by some feeling, whether anger at injustice, grief over a loss, or wonder at something beautiful they’ve witnessed. To write powerfully, tapping into emotional truth helps a whole lot. This is done through connecting with your own emotions, and through applying tools of the craft to connect with your readers’.

Writing and your emotions

Writing has long been viewed as cathartic, and research now supports this view. Writing about difficult experiences, including trauma and grief, helps make meaning of these experiences and reclaim personal power. Writing from emotion is healing for the psyche and even the body, with potential immune benefits for those facing terminal or life-threatening illness. And writing from strong positive emotions might strengthen them as well, and shape them into something that will resonate powerfully with others. (Just think of your favorite love poem.)

Writing from emotion transcends the personal. You’re not the only one who feels the emotions you translate into words. Most of us have had the experience of opening a book and finding a passage that described a personal truth, touching us deeply and leaving us feeling understood, less alone, perhaps even more at peace. Natalie Goldberg claims, “When you heal yourself, you’re helping everyone. When you become clear, it helps everyone become clear.”

Aliette de Bodard wrote her Locus and Nebula award-winning science fiction short story, “Immersion”, fueled by “getting really angry.” It’s a compelling story of a technology that perpetuates colonialism by giving people avatars with knowledge and behaviours that can mirror the dominant culture’s, with characters who begin to find ways to break free. One of my favorite short stories, “Immersion” is beautifully written, and given its accolades, the emotional heart also struck a chord with readers – perhaps bringing some of the clarity Goldberg spoke of.

Writing and your readers’ emotions

De Bodard and Goldberg have plenty of company; most writing has an emotional core with impact beyond the words, which features strongly in the most beloved works. In his Master Class on storytelling, Neil Gaiman states that when you write a story, you must decide or discover what the story is about. This goes beyond the basic plotline and into the domain of meaning: what appears on the surface to be an adventure story can, on a deeper level, be about homelessness and invisibility. Gaiman emphasizes the importance of emotional truth, of being more vulnerable and honest in your writing than you’re comfortable with. Only then, he proposes, will readers see themselves in your story because it seems real.

Once you’ve brought your honesty to the page, you might, in a second draft, consider the effectiveness of your writing’s emotional communication with readers. If you’re writing fiction, consider whether your characters’ emotions and motivations are clear on the page (rather than just in your head). Think about their relationships and interpersonal dynamics: Who gets along? Who dislikes each other? Why? If you’re writing poetry, do the rhythm and images support the feeling you want to get across? If you’re writing nonfiction, does the voice? Having a friend read and give feedback can also help with making the emotional tone is strong and clear.

Emotions are powerful, and sometimes painful. If you write, they are among your most powerful tools for creating work that leaves a lingering impact on your well-being and others’ reading experience.

February 4, 2019

Three Takes on Writing What You Love

“Write what you love” is widespread advice, yet it can be hard to reconcile with the realities of the market and the day-to-day challenges of the writing process. Still, I’m a believer in the wisdom of this advice. Here are three instances in which I find it helpful.

1. Writing something you would love to read.

Many writers write for themselves first. The reasons for this are myriad: writing to heal, to investigate a personal question, writing on a subject of interest or expertise… there are probably as many personal reasons for writing as there are writers. It’s useful and powerful to write things that appeal to you as a writer. Chances are, if you love it, there will be an audience out there for it. There is, however, a risk of writing becoming self-indulgent. You might, for instance, write something about your life that lacks interest for a wider public. Alternatively, you might infuse your words with layers of personal meaning, with a result that is confusing and leaves readers wondering what the point is. (Not that I’m guilty of this or anything!)

While writer appeal can be the thing that gets us putting one word in front of the other, if you’ve had any feedback to this effect, think about reader appeal. When you get stuck, ask yourself what would interest you at this juncture as a reader. Imagine that you’re the reader of your work in progress and write what would be important and compelling to that side of yourself. There’s no room left for writerly self-indulgence when you’re seeing through a reader’s eyes (or rather, any “indulgences” here will be sure to have appeal for other readers). Some of my favorite authors speak of writing the books they have always wanted to read, especially those that they haven’t been able to find. What has your reader self been longing for that hasn’t been available? Try writing that.

2. Staying motivated.

When you write, loving what you’re doing is the fire behind the keyboard. If you’re passionate about your premise, your characters, your plot, you’ll keep coming back to it. Even when the writing process gets rough, tapping into a love of the project itself can keep you motivated. When writing becomes your love affair, you’ll really want to get that book written. If you have certain pivotal scenes that you envision in your mind like a video clip on repeat, you’ll be excited to get the points in your project where you actually write them. For all these reasons, I’m an advocate for loving your writing. Many books wouldn’t exist without the passion driving their creation. The risk-taking, innovation, and investment that lead to art would often not exist if the writer didn’t love either the process, the anticipated end result, or both. After all, there are easier ways to make money.

3. Writing towards a result you care about.

But what if you’re writing for money, rather than for a passion project? First, congratulations on getting paid for your work! Second, that’s something to love, too, isn’t it? Write for the value that you’ll get from the project in that way. Or what if you’re writing something because you believe it’s important to say, even if you don’t like it very much? What if the writing is difficult, but you need to get the words out? Come back to the reason, the “why”, and the heart that drives it. Here’s another take on the “Write what you love” question: Write what matters to you.

January 1, 2019

New Year, New You? Think Baby Steps.

It’s that time again: time for New Year’s resolutions. January rolls around and you make plans for the year ahead. You envision your best self and create resolutions hoping to make that person real. Sometimes your goals pan out. If you’re anything like me, though, all too often the following year arrives and the idealized self remains a distant dream, with resolutions left behind somewhere along the way. Many of my editing and coaching clients share my experience – a fairly common one – of having big dreams but struggling with practical goal-setting.

For a couple years, I made resolutions to do things I was already in the habit of doing, as I was confident that these goals would be fulfilled. Indeed they were, but while these easily achievable resolutions showed that I could continue on a positive course of action, they also added nothing new to my life. Later, I tried setting short intentions, choosing an overarching word or phrase, such as “making money,” to guide my year, and I set goals that were concrete but out of my comfort zone. These measures helped. But as 2019 brings in a new crop of enthusiastic articles about changing your life with the shifting of the calendar year, I think a change in philosophy is called for as well. Below are some measures that have helped in my own goal-setting and in my work with clients.

Think big if you want – as a starting point.

Lots of us find it fun to imagine the best version of ourselves. How can we know who we might become if we don’t allow ourselves to dream? Go ahead and make that vision board if you enjoy doing so, or that wild list of things you want to do in the future. Map out all the books you want to write or the countries you want to travel to. Your dreams will serve as fuel for your daily life. As the next steps suggest, though, be mindful that you can’t do everything at once.

Then bring the dream down to earth.

This is where practical goal-setting measures come in. The big dreams we have about our lives may not be realizable all at once, but if we think things through and plan carefully, we can create realistic outcomes that we wish for. Getting in shape, for instance, becomes easier if we don’t just purchase that gym membership but set a schedule, join an exercise class, and/or commit with a friend to exercise together. Writing a novel becomes easier if you set yourself a daily word count and working time. In 2017, Kacie Berghoef and I blogged about setting SMART goals. Try out this method of practical goal-setting by making your resolutions specific, measurable, attainable, realistic, and time-bound.

Hold yourself accountable.

I mentioned setting a schedule and finding a gym buddy. Once you’ve created a goal for yourself that moves in your desired direction and works with the life you have now – something small, not too time-consuming, trackable, and concrete – put measures in place to hold yourself accountable to it. Pencil (or type) commitments into your calendar. Set up a mutual support system with someone else where you check in periodically with each other about your goals. Many of my editing clients have found it useful to set deadlines and have check-ins. In some cases, working with me as an editor/writing coach and having that external cheerleading provided motivation for them to finish their projects. Make sure that you are committed, that your progress is being observed, and if possible, that someone besides you is invested in your achieving the goal.

You don’t have to do everything now.

You may have noticed the use of “goal,” singular. The key in achieving goals is not to set too many all at once. Rather than climbing that mountain right away, commit to baby steps by starting the training process. If you tend to make long lists of resolutions, set yourself fewer goals than you think you can realistically accomplish: that way your efforts will be focused. If you have a big vision and aren’t sure where to start, pick one step in that direction that you can get started on right away and commit to regularly. The key is just to get started. The fruits of a beginner’s effort will bring you more satisfaction than a dream unrelated to your actions.

If you get closer to where you want to be, that’s a win.

We don’t always fulfill our new year’s resolutions. As I looked back on my goals for 2018, there was one that stood out as uncompleted. I hadn’t made the progress that I’d hoped, and felt disappointed looking back – until a loved one pointed out that I’d improved. I could see then that even if I hadn’t been 100% successful, setting and working towards that goal had still been a success. Maybe it’s the same for you. Are you in slightly better physical shape, for instance? Did you start that novel, even if you didn’t finish it? At the end of each year, look on your progress and celebrate. After all, no one says that you have to complete a goal in a year – you can keep going for as long as you like!

Good luck with your goal setting, and happy 2019!

December 3, 2018

Celebrating My Wins of 2018

Some of my publications in 2018

It’s hard to believe that 2018 is almost over. Hopefully the year has had bright spots for you as it has for me. Following the publication of The Modern Enneagram in 2017, this has been a fruitful year of career building in writing and editing. I’m celebrating these wins as we honor the year that’s coming to a close and move towards the next.

Freelance editing

When I moved to Edinburgh from San Francisco in May 2017, I left my long-held part-time job as a writing tutor/instructor at an art college and moved into full-time self-employment. Initially, I offered writing coaching and set up an Enneagram workshop as well as seeking out editing projects. Beginning in 2018, my money-making direction clarified itself. While continuing to copy edit nonfiction, I had opportunities for developmental editing on fiction projects and began working with a new publisher on manuscript evaluations. It’s been richly rewarding to dive into story structure, hone my constructively critical eye, and give input in a way that’s appreciated.

Anthology (and other) publications

While in Edinburgh, I participated in two lovely local writers’ groups and continued submitting my work. In addition to having articles and short pieces published, my work was accepted for four anthologies! It’s been exciting to have them arrive in the mail throughout the year and to discover gems from writers I wasn’t previously familiar with.

Here’s a round-up of my publications this year:

–Hashtag Queer, Vol. 2 Anthology: Mira (short story)

–Queer Around the World Anthology: Four Walks in Montreal (creative nonfiction)

–Spoon Knife 3: Incursions Anthology: The New World (science fiction short story)

-Shut Up and Write Anthology: How a Volunteer Grandma Helped Me Find My Voice (personal essay)

-Page and Spine: Quicksilver (short story)

-Write Naked: What One Freelancer Did With a Month Off (guest post)

-School of Shine: Setting Intentions for the New Year; What I Left Behind; Land, Love, and My People (personal essays)

-ELearning Industry: 6 eLearning Trends to Watch for in 2018 (research article)

A few of my pieces were also chosen to be reprinted:

–The Quilliad: Beast (poem)

-IEA Nine Points: Thoughts on the 2018 IEA Conference and Community (originally a blog post)

-Go Conscious: How Each Enneagram Type Can Build Healthy Habits (originally a blog post coauthored with Kacie Berghoef)

Enneagram conference presentations

While words are the most natural source of steady work for me, I love the depth and impact of the Enneagram. In 2018 I traveled to Amsterdam to give the mini-workshop, “Writing Your Enneagram Journey,” that participants enjoyed at summer 2017’s IEA Global Conference. I was also approached by my friend Chloe Keric-Eli, a Montreal Enneagram teacher, to submit a joint proposal for 2018’s IEA. As immigrants between multiple countries and cultures, our shared experiences led to the idea of presenting on “Where Culture Meets Type.” Participants at both conferences dove fully into the exercises, bringing insights about their personal and cultural stories that were illuminating for many in the room.

A day job (and a move!)

Freelancing as an editor as my primary occupation provided wonderful opportunities to gain new skills, but it also highlighted additional things I wanted to learn. I realized that the most effective way to learn many of these would be to find an in-house role. Further, I hadn’t moved all the way to the UK to sit in my flat during working hours rather than engaging fully with the culture. Working with my primarily North American client base just wasn’t quite the same. I applied to day jobs in the editing field and was offered one in London working for RUSI, London’s venerable defence and security think tank. I moved in July, leaving a beautiful work-from-home space and gaining colleagues, increased confidence in my work, and skills ranging from project management methods to document design. When I’m not at my day job, I continue to work as a freelance editor on select projects. I’ve gotten quicker with my work, and more assured in making editorial choices. I’m committed and growing. I look forward to seeing where this career path takes me.

A novel draft completed

I have manuscripts sitting in my Dropbox folders that never made it to the book deal stage, and know from experience that finishing the first draft of a novel is a different beast from finalizing it and from hitting a chord that resonates with the reading public. I am, however, proud of the draft I completed this year. It’s a fantasy adventure story – the kind of thing I read for fun; the kind of thing I wrote as a youngster and teenager, and even then neglected to submit anywhere in favor of more “serious” stuff. I’ve been learning in the last few years that being fascinating does not make a thing less real. I put a lot of feelings about immigration and identity into this novel about magic. I got to invent a world with cities in caves and clouds, and I loved spending time there. I got to write “the end.”

What are your wins this year?

November 1, 2018

Finding Your (Writing) Style

Orange is not my color!

When I was first learning about the Enneagram (the personality system I teach and have written a book about), one conference presenter surprised me by handing out style questionnaires. I was a little perplexed – I’d come to learn about people’s inner worlds, not to talk about what types of clothing I preferred to wear! But her point was that people with similar personalities tend to use similar language to describe themselves, and this can be seen in how they think about their fashion choices. Style is more important, and multifaceted, than I’d given it credit for. And writing style is the same.

Learning some color and style systems recently, I’ve seen that their lessons can be applied to writing. Rather than being as superficial as I’d first imagined, they have brought about tangible transformations and solicited the type of feedback that many writers seek. Allow me to explain.

I’d started this hobby hoping to find clothes that were flattering, rather than spending money on garments that ended up sitting in the drawer because I felt like a frump whenever I walked around in them. I found out that my color season is true summer, which means that delicate cool tones with some richness suit me best. I picked out some makeup and clothes in those colors, including a white and deep pink sundress. To my shock, whenever I put that dress on, I get compliments. I’ve even had checkout clerks gasp and tell me how beautiful I was! That was certainly a first. Applying style principles such as the Kibbe system has been helpful as well. Swapping looser garments for tailored ones that suit my petite, narrow frame has led others to take me seriously rather than overlook the “tiny person.” I’ve had other clothes and styles that I liked over the years, but none of them had the same level of positive public response.

Just as color and style systems identify guiding principles for your best look, finding stylistic guiding principles for your own writing can be useful in choosing projects that tap into your strengths. Below are some questions I’ve borrowed from style and color systems that equally provide insight into writing style. (Feel free to use them the next time you’re clothes shopping, too!)

Cool or warm?

Just as some skin tones favor cool colors and others are flattered by warm tones, some writers favor analytical, meditative, or descriptive prose, while others naturally tend towards action-oriented or direct styles. Where do you fall on the cool-warm continuum in your writing?

What size and structure work best for you?

Just as different people look best in different shapes of clothes, different writers gravitate towards differing genres, project lengths, and structures. Not every memoirist will be happy as a science fiction writer, and not every novelists will take to poetry. In terms of word count, I’ve found it easiest to write either short, tightly crafted poetry or lengthier, full-length manuscripts. Both lengths rely strongly on inherent structure. It’s more of a challenge for me to get through the middle ground of a short story: to both create a plot and finish it concisely. What genres and project lengths are in your own comfort zone?

How much detail suits you?

Similarly to length, it’s important to consider detail. Some writers love crafting intricate sentences, while others want to get to the point. Read through your old writing to get a sense of where you fall on the detail continuum. Where you put the detail is also important. Maybe you’re a writer who describes the landscape lavishly but wants to skip past the dialogue (or vice versa). Note your strengths and capitalize on them, while seeking feedback from beta or alpha readers to help fill any gaps.

What “feeling” do you convey most naturally?

Take out your old writing again and read for tone. What emotions are conveyed most strongly? Do you come off as a friendly and trustworthy teacher? Do you have readers on the edge of their seats in suspense? Identify your strengths in this area. Next time you begin a new project, think of a way to focus on the feelings and tones that you excel at conveying.

How can you make your aspirational styles work?

Out of the writers you admire, your style may bear resemblance to some of theirs and be completely different from others’. Maybe you’re a Hemingway-type who dreams of writing a magical mystery like J. K. Rowling’s. Here’s where your uniqueness really comes into play, because no matter what similarities your style may have to other wordsmiths’, no one else in the world writes quite like you. Strategize ways to write that thing you want to write your way, letting your talents shine. Take inspiration wherever you find it, and adapt it to the things you do best.

Just like with fashion, don’t be afraid to experiment with different writing styles. It’s a great way to find what works for you. Have fun discovering your most stylish writerly self!

October 3, 2018

5 Questions to Ask Before Hiring an Editor

You’ve invested time, effort, and skill in a writing project that matters to you. You’ve taken your idea from inspiration to a complete draft, with all the hours that it’s entailed. Congratulations! Not everyone has the tenacity and productive habits to finish a project. It’s truly something to be proud of. As happy as you are to have completed something, though, you know that it can be better. Maybe the structure, phrasing, and grammar would benefit from an external eye. With this in mind, you’re wondering if a professional edit would be a good investment.

Here are five things to consider before getting in touch with an editor.

1. Is your work as good as you can make it on your own?

First drafts are usually messy. This is where writers work out their ideas on the page; subsequent drafts are where they iron out the kinks. If you’ve only written one draft, it’s useful to take some time away from the page, and then come back to it with your own editorial eye. Look for any problems and try your hand at fixing them, a process which may, in some cases, take several drafts. Beta readers and critique groups are also valuable sources for feedback as you self-edit. If you take the time to edit your own work as best you can, you’ll know that it’s as strong as you can make it. If you then seek input from an editor, they’ll be providing insights that you couldn’t think of for yourself.

2. What type of editing are you looking for?

If you’ve taken the self-editing process as far as you can, an editor can be an excellent investment. Not all editing is identical, however. The key is to start the process with a good sense of what type of input you’re looking for. If you’re interested in having high-level input on your manuscript, dealing with topics such as structure and logic, look for a developmental edit. A manuscript assessment (usually an in-depth report rather than a full edit) is a good choice if you primarily want an opinion on whether your work is publishable at this point and what will get it to that stage. Line editing and copy editing focus on refining your manuscript’s language. If spelling and grammar are difficult for you, or if you want to prepare your manuscript for self-publishing, you might be interested in a proofread. Proofreading isn’t editing, per se, although it’s a similar service. It’s all about catching errors rather than changing content, so it’s a good investment to consider if you’re just looking for that final polish.

3. What’s your timeline?

Some editors have faster turnarounds than others, depending on their schedules. Make sure to negotiate timelines up front. You don’t want the editing to be a rush job on either end. Editors may also need you to be available for back-and-forth input. Make sure that you have the time to commit to the process.

4. What are the editor’s qualifications?

As you do your research on available editors, look into the experience they bring to the table. Some editorial services may come cheap, but how qualified are the editors? While a lack of qualifications doesn’t necessarily equate with a lack of ability – some excellent editors are just starting out – there is an element of risk involved. I’ve had clients approach me because they were disappointed with previous editorial or proofreading services, and they ended up paying two professionals where they could have hired one. Look for editorial experience, client lists, testimonials, and other signs that the people you’re researching have a track record of good work.

5. Do you require additional services?

If you’re looking to self-publish after editing, you may want further professional help to make your manuscript into a book. Most editors aren’t graphic designers, cover artists, or publicists. However, they might know and be able to recommend people who offer these services. There are also companies that offer package services, with editing, design, and publishing assistance. As always, be sure to research, look for experience and quality, and seek a personal fit.

Getting a manuscript from draft stage to its final form takes lots of careful handling. You don’t have to do it alone. The internet is full of experienced editors whose skills can help your work shine!