Tag: writer

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!

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.

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!

September 4, 2018

How to Switch Between Your Writing and Editing Hats

Writing and editing are complementary skills, two sides of the same coin. When you write, it’s helpful to develop your self-editing ability so that you can polish your prose (or poetry). Having done both writing and editing professionally, I’ve found that switching between the two isn’t always easy. In this blog post, I’ll take a look at the differences between writing and editing your own work. Here are some tricks I’ve discovered to hone both skill sets and move between them smoothly.

When you’re writing:

Let your creative mind have free reign. Writing your first draft is the time to experiment, follow tangents, and get your ideas and impulses out on the page. Keep on going, perhaps scheduling yourself so you write regularly whether you feel like it or not. Just show up and get things down. When you’re not writing, let the project live in the back of your mind. You might find that ideas come to you at unexpected times, perhaps when you’re out and about or about to fall asleep – keeping a notepad or note app at hand can prove handy. Leaving room for inspiration is especially useful for those of us who write by discovery, figuring things out as we go along. (All of us do this at some point.) Have fun with it!
Plan if it works for you. Some of us are plotters and outliners. This can be useful for generating ideas and giving ourselves a map so we have a sense of where our writing is going. With fiction, I used to get stuck in the middle of my projects, but have found that an outline guides me in having ideas for what to write next. Don’t be afraid to veer off script, though if a more interesting idea comes along than the one you’ve planned. Whether you’re more of a discovery writer, an outliner, or a blend of both, either technique is great to the extent that it helps you get your writing done. The key is…
Don’t self-judge. It’s all too easy to let the editorial voice jump into the writing process. This is valuable at times, such as when it has a plot suggestion or catches an error in your sentence. At other times, the voice can get harsh and critical, becoming more of a judge than a guide. If this happens, remind the voice that you’re on your first draft, the one where you’re hashing everything out, and will address its concerns later. You can even save that critical feedback in a separate document to consult when you’re editing. (Save the things like “Fix plot hole with spaceship in chapter 3,” not the things like “You suck.”)

When you’re editing:

Get to the point. Editing is worlds away from writing in mindset. This is where we look at our draft critically and make sure it’s got all the essentials. Take a good, hard look at structure and clarity. For each important element, ask yourself: Would your readers (or your reader self) like it? Would they get it? Does it need to be there? Make sure the beginning, middle, and end all flow together and make sense.
Check spelling and grammar. This is what a lot of us picture when we think of editing because it’s a vital part of the job, even if it’s not the only important one. If this isn’t your strong suit, a computer program such as a spell checker or Grammarly can help you out. I’ve found that repeating words, homophones (similar-sounding words like “to,” “too,” and “two”), and words that sound or look similar can be as tricky, if not trickier, to catch than typos. You might also try reading your work aloud. Do this carefully so you can catch any “the the”s or “ladies” that are supposed to be “ladles.” The read-aloud technique has benefits beyond spelling, too. Some fiction writers swear by this as a way of hearing whether their characters’ voices ring true, and if you find yourself getting bored in the middle of reading, you’ll know this is a section you need to liven up or cut down.
Polish those sentences. Along with addressing content, spelling, and grammar, sentence-level editing or line editing is a big part of what professional editors do. First-draft sentences are often choppy, overly long, or unclear. Once you’ve done structural work on your draft to a point you’re satisfied with, take a look at each sentence individually and in context of the larger piece. Does it flow? Does it sound nice? Can readers follow it easily? Does it help achieve the pace and tone you’re going for?

As you can see, writing involves a lot of creating. Too much doubt can stop us in our tracks, feeding the inner critic and getting in the way of finishing the project. Editing is the opposite: it’s all about questioning. Instead of building something from scratch, we “renovate,” improving our writing by addition or subtraction. The great news is that I’ve found working with each skill set improves the other. When writing, we learn how things should sound, how to structure our work, and what gives a piece energy. When editing, we learn where to cut back or expand, how to speak to readers, and how to communicate clearly. Learn to wear both hats flexibly and your writing will shine!

June 4, 2018

How to Write a Personal Story That Connects with Readers

I recently finished doing a manuscript assessment for a memoir. The author was eager to tell their story to future generations of their family, having put much time and effort into researching their own family history and finding the stories sparse. A memoirist in my writers’ group is impelled by the same impulse. The lines I’ve participated in critiquing are well crafted, the stories engaging. These two books have me thinking a lot about memoir lately, and one of my client’s comments made me think: “I know this story isn’t commercial.”

“Commercial” is another thing I’ve been thinking about. It speaks to the market, but the market is born from reader interest. Readers buy a book because they connect with the content in some form. For those who write memoirs, personal essays, and other forms of writing about their own experiences, their art becomes commercial when it resonates with others. Reading someone else’s story is most interesting when it connects to something you’ve felt, thought, wanted, or lived.

Many of us hunger to tell our stories. There’s a difference, though, between what works for the writer and what works for the reader. How to use the ephemeral medium of words to build a bridge between your experience and others’?

From reading and editing work based on personal experience, I’ve noticed that certain elements help an individual’s story resonate on a broadly appealing level. If you’re working on a memoir or personal essay, the following writing techniques might help it connect with readers, too.

Bring scenes to life. Rather than listing events, show your experiences by creating scenes. Incorporate the senses: What did you see, hear, feel, smell, and taste? If you’re writing a longer piece, dialogue can be built into your scenes to break up the narration. Because we don’t always remember what everyone said in the past, dialogue in memoir is often more of an approximation. That said, if you recall any memorable lines, by all means include them!

Be a character. Readers want to get to know you. Let your individual voice come through in word choice and craft. Use your story to highlight your values and share your feelings. It might be tempting to think that writing something “universal” means leaving your personality out, but the opposite is true. Few readers relate to a bland everyman or everywoman, while many will relate to a narrator who feels alive, even if they are quite different from the reader themselves. Don’t be afraid to take a stand. Let your uniqueness shine.

Build in a narrative arc. Readers appreciate progress and stories that make sense. While life doesn’t necessarily have clear-cut beginnings, endings, or climaxes, it’s helpful to shape your story so that it does have these elements. Show who you were before your story began, how your experience changed you, and why it matters.

Emphasize a theme beyond the personal. It’s often immensely rewarding to write about your life experiences, but readers want stories that have something to offer them beyond experiencing someone else’s reality. Look for universal truths that your experience individualizes. Maybe it relates to a global issue or relatable emotion. Bring out your story’s implications that are bigger than the scope of your personal sphere.

When done well, personal writing is some of the most powerful writing out there. It allows readers to experience walks of life they might never otherwise have access to, and it describes deep human experiences in ways that help them feel less alone. With thoughtfulness around audience and storytelling, your personal writing will shine. For some readers, your voice might be the very one they need to hear.

May 1, 2018

9 Tricks to Try When You Have Writer’s Block

Writer’s block. We’ve all been there. You want to write but find yourself staring at a blank page, your mind void of ideas. Maybe you’ve encountered a block on a project you’re currently working on, or maybe you’re hoping to start a new one and the inspiration just isn’t flowing. Either way, the words aren’t coming easily. Here are some ideas to jump-start your imagination and get your writing going again.

Write something ridiculous: Sometimes writer’s block is a product of taking your writing too seriously. If you have a vision of how you’d like your writing to turn out but are finding yourself stuck when it comes to getting there, write in something silly. What’s the least likely thing to happen?

Brainstorm with a friend: Find someone you trust who’s interested in your writing and talk about your block. If you’re in the middle of a project, talk about where you’re stuck – they just might know a way out of that tricky middle. If you’d like to get started, try to come up with ideas together.

Take a macro view of your piece: Look at the big picture of what you’d like to write. Is there a particular demographic you’re speaking to? What point are you making? Consider the big questions and see what inspirations emerge. How can you most effectively say what you want to say?

Write something you don’t usually write: Try a new genre or style, just for fun. Take a break from your usual writing interests to engage in creative play. How about rewriting the lyrics to a song, or penning some fanfiction? Write as far outside your comfort zone as you can.

Research an interest: Spend some time going down an internet rabbit hole and researching something random that interests you. Take what you’ve learned and use it as a jumping-off point for some writing, either on your current project or outside of it.

Use writing prompts and exercises: Find some writing ideas online and try them out. Try changing up genre and point of view, answering “What if” questions, or writing based on assigned sentences and topics.

Look at the options: Make a list of everything you could write, either everything that could possibly happen at this point in your project or every new idea that comes to mind, no matter how outrageous. Pick two or three options to try out. Set a timer and write on each.

Get moving: Go for a walk, exercise, or clean the house. Moving your body can fill you with energy and get your neurons firing, too. Many writers find a solution to their block by taking a long walk and entering a relaxed state where ideas can emerge.

Take a break: Declare the day a writing-free zone. Don’t stress about your writing. Use your writing time to get other things done: finish those tasks you’ve been putting off, or catch up on your favorite show. Come back to your writing another day, once you’ve had time to refresh and recharge.

April 2, 2018

The Myth of the Solitary Writer: How to Build a Support Team

Think of a writer. You’re probably picturing a lone figure with a laptop, right? A big part of being a writer is the writing itself, an activity that’s usually done in solitude by a single individual. However, the work of a writer involves collaboration at multiple levels, even for the most introverted of the bunch (raising my hand here)!

This March I attended the Scottish Association of Writers’ 2018 Conference and witnessed this firsthand. Making connections with other writers offers a peek into just how interconnected we who work on a blank page or screen are with myriad others, seen and unseen.

Books (and blogs and articles and poems…) don’t exist in isolation. They are influenced by years of reading habits and inspirations. Think about anything you’ve written and you may be able to trace ideas back to things you’ve read or seen, or identify texts that have influenced your style. Reading is what gets most of us interested in writing in the first place, which means that writers inspire other writers.

Look in the acknowledgments section of a book and you’ll find a list of names who have helped the author more directly. Critique groups and individual readers have often given valuable input into what works and what doesn’t. Editors have polished the manuscript to its full potential, and publishers have brought it into the world. Friends and family have offered support through the process of writing and publishing.

It can be motivating to hear others’ perspectives on our writing, and also a good reality check. Critique partners and beta readers approach your manuscript with fresh eyes and can give a first-hand opinion on which aspects appeal to readers and where your manuscript might be strengthened with changes. It’s most helpful to find early readers who enjoy your genre and style, as they’ll want to read the best version of whatever it is you are working on, rather than turning it into something else. They can also let you know if the words on the page convey the things you intend in your head. Once a book is published, the words are out there and people will interpret them in ways you may not have intended. Early readers can point out gaps in understanding and help you clarify your meaning.

If you’re looking to build a support team for your own writing, here are some places to look:

Get to know other writers. They’re working towards the same goals as you, and can offer understanding and support.
Seek out critique groups and beta readers to get input on your work. You can find these in person or online.
Find books and learning resources that will keep you up to date on the area in which you’re writing.
If you’re looking to traditionally publish, reach out to agents and publishers when your manuscript is ready. Publication involves a whole team working to bring your book into readers’ hands.
If you’re looking to self-publish, you’ll be assembling that team yourself. Find an editor to help with structure and flow and a proofreader to check for final errors. Unless you’re an artist, you’ll likely want a cover designer as well.
Get to know readers! This can be one of the most rewarding aspects of being published: seeing the impact of your (yes, often solitary) work on others.

There are lots of other forms of collaboration that can be helpful for writers. I’ve touched on just a few here. Do you have a favorite?

March 1, 2018

What I Learned – and Wish I’d Learned – in Creative Writing Grad School

There are debates in the writing world about the value of studying creative writing, and whether it’s beneficial or detrimental for honing your writing skills. I spent two years in a graduate Creative Writing program. Having gone on to write and edit professionally, there are skills I’m glad to have learned in class and others I’ve learned out in the “real world.” While programs, classes, and teachers vary, here’s my breakdown of what I personally learned in school vs. the lessons that came later, some of which I wish had been covered in the curriculum.

How to experiment vs. how to connect with readers

Graduate school did a fantastic job of opening my eyes to the different types of writing out there. By meeting practicing writers, I saw just how many genres and styles one could pursue, how many niches a writer could find for their own style and interests to shine. In classes, we were encouraged to try out different styles and voices. Writing exercises pushed our boundaries and deepened our abilities. We also analyzed a wide range of books in class. In this experimental climate, I could see that many different kinds of writing had value.

One thing that wasn’t at all stressed, though, was writing commercially. We were seen as artists, developing our abilities in an art form. Any considerations of marketing were left out, and so, in large part, were considerations of the readers – ironic in that I was hoping first and foremost for my words to connect with them. The elements that make writing “click” with people are often the same ones that make it sell, and I’ve been doing my best to learn them since graduating. Emotional resonance, concept appeal, and getting readers to turn pages are skills that transcend writing style and experimentation. I wish school had talked about them more.

How to write deeply vs. prolifically

“Write every day,” one of my professors told me, “even if it’s just a line in a notebook. If you’re writing a novel, it should be the first thing you think about when you wake up and the last thing you think about before you go to sleep.” I followed her advice, keeping notepads handy at all times. I learned how to be absorbed in a project and open to inspiration.

While depth was part of my education, no one talked about how to write prolifically or how to keep producing. There was no education about word counts or incentive to keep going outside of the thesis and classes. I also didn’t learn about outlining methods, which would have been helpful for the fiction I was writing. My instructors, of course, were part-time rather than full-time writers. If we’d had guest speakers in to talk about the discipline of writing full time and offer tips, or activities to instill discipline and practice along the lines of NaNoWriMo, how much that could have helped us learn about being productive, working writers.

How to critique and edit vs. how to market

The workshop format of our creative writing classes was useful in teaching us how to give and take critique. We went over classmates’ writing with a fine-toothed comb, learning to identify what they had done well and where they could improve. When receiving feedback, we discovered through experience how to incorporate consensus about what wasn’t working into revisions. We learned which critiques to take into account and which were off the mark for what we were hoping to achieve. I learned a good number of editing skills both through self-editing based on these critiques and through working with literary magazines on editing and acquisition.

By the end of my studies, professors said my work was “publishable,” but how exactly would I accomplish that? I left the program with very little idea. I recommend that anyone teaching creative writing talk their students at least a little through the business side of things, demystifying the submission process, query letters, agents, publication, and what the market is like.

There’s a lot I learned from my time in grad school about pursuing writing as an art. Since then, I’ve discovered how much it’s also a business, and how much I still have to learn. While studying creative writing can be the right learning opportunity for some, it’s not for everyone, and a lot of the craft’s practical lessons aren’t necessarily covered in the course curriculum. I recommend that anyone who’s interested in a writing career self-educate about readership, productivity strategies, and marketing. This part might come after writing a draft, as it favors strategy over artistry, but it’s important to look into if you want your writing to reach people and make its mark on the world.