The Patron Saint of Struggling Authors

More Thoughts on the Life and Times of Rev. Robert Stephen Hawker

Last week, I mused on the pranks and practices of Robert Stephen Hawker, the Vicar of Morwenstow, in Cornwall, from 1834 to 1875.

From Hawker's antics early in life, one could be forgiven for thinking he was a hopeless jester or worse, a clown. In fact, some sloppy pseudo-biographical articles slant their content in such a way to suggest the whole Mermaid phase (see previous post) occurred while Hawker was a vicar, instead of during his student years. ::sigh::

Hawker was more complex than that.

He loathed the traditional black vestments the clergy wore. When he became a vicar, he refused to dress "like an undertaker," choosing instead to assemble his own unique outfit -- each element signifying his beliefs. 

For instance: he wore a blue fisherman's jersey with red stitching in the side, symbolizing Jesus' call to His followers to be "fishers of men," with a constant reminder of the soldier's spear that caused Christ's final wound.

He also believed he could communicate with spirits, both divine and demonic, which explains why he declared the long brown cassock he wore was "the exact hue" of both Mary's and Jesus' hair.

Sometimes he wore a "flamboyant fez" instead of his typical wide-brimmed hat. (I can find no record of what the fez was supposed to denote. Still: Hawker thought fezzes were cool...)

The Vicar hated black so much that after his death, mourners honored his wishes and wore purple during his funeral.

Hawker's generosity for others often caused hardship for his own family. He routinely dipped into the family finances to feed and clothe poorer members of his community. 

The Hawkers' generosity extended to their parish infrastructure. They built a bridge over a deadly river crossing. And they built a school and restored the 13th-century "Well of St. John," all at their own expense.

Hawker was also a conflicted creative soul. 

On the one hand, he craved quiet time alone. To facilitate that, he built what is now known as "Hawker's Hut," a tiny turf-topped structure with a stable door, tucked into the hillside, facing the sea. He assembled it out of driftwood and wood salvaged from shipwrecks. Today, it remains the smallest property on the National Trust.

He and Charlotte would go together to the hut to pray and meditate. He also spent many hours there alone, smoking opium or writing.

It is clear that he relished the solitude. However, he also recognized that his remote village was, in some ways, a cross to bear.

A passionate accomplished, prolific writer, he enjoyed little acclaim or recognition, though his work sold well. In 1824 he wrote "The Song of the Western Men," or "Trelawney," which was published anonymously in 1826 and which -- to this day -- is considered the unofficial Cornish National Anthem. (Credit Charles Dickens who, years later, told the world about "Trelawney's" authorship.)

In 1848, Alfred, Lord Tennyson visited Morwenstow. He and Hawker hit it off, connected by their mutual love of poetry and obsession with Arthurian legends (the Hawkers had honeymooned at Tintagel, associated with King Arthur since the 12th century). But Tennyson went back to the world of letters and publishing, while the vicar remained on the northern coast. 

Hawker desperately wanted to be known as a writer. He remembered the days of university, when his writing won awards. Lonely, keenly aware of the rapid passage of time, he blamed both his isolated location and gatekeepers in the publishing world for his inability to break in. 

One heartbreaking journal entry includes these words: 

"I have lived on among these faraway rocks, unprofited, unpraised, and unknown."

Every manuscript of his had sold, but "to no advantage of mine."

"And here I am at the close of my days," he wrote, "unnoted, unknown, and – worst of all – unpaid."

In another entry, he lamented his place "here among the rocks" as well as not having any publishing connections:

"I never had friends [in publishing]. In my whole struggle into manuscript, I hardly remember a word of encouragement."

{Ami's note: Brother, I feel ya.}

When his wife Charlotte died in February, 1863, Hawker was more alone than ever. He was 60 years old, widowed and childless. 

Still wrestling with both his talent and his purpose, he plunged into deep depression, wishing to create something that would outlast him. 

For the next few months, he wrote, furiously channeling his grief into a creative outlet. The result was "The Quest of the Sangraal," a Cornish-themed poetic exploration of the Arthurian legend of the Holy Grail. 

Published in 1864, the poem met with both critical and public approval. Even Tennyson praised the work saying, "Hawker has beaten me on my own grounds."

At the end of 1863, 60-year old Hawker met the 20-year old Pauline Anne Kuczynski, a governess. Though she initially considered him "slightly cracked," the two fell in love and married a year later.

They had three children before Hawker died at the age of 72.

But even in death, he colored outside the lines. 

An Anglican priest his entire adult life, Hawker converted to Catholicism the day before he died -- causing a country-wide uproar as people accused Pauline of undue influence. The conspiracy theories and general religious outrage lasted for years.

So ends the tale of the Rev. Robert Stephen Hawker, eccentric, talented, mystic, poet. A prankster, an animal lover, faithful husband, and natty dresser. Publishing anonymously, then craving recognition. Simultaneously embracing and eschewing solitude. Sometimes he used controlled chemicals for temporary escape. Sometimes he wallowed in self-pity. Sometimes he heard angels. And finally, memorably, he accomplished a bona-fide publishing miracle. For these and other reasons, I consider him a contender for Patron Saint of Struggling Authors.

Hop Like a Writer

Some hop, but that's not how I roll...

My friend, blogger, writer, and fellow #Write2TheEnd facilitator Kim Jorgensen Gane, of GANE Possible, invited me to participate in this blog hop, in which writerly people discuss writerly things. I am honored to be included.

Being a part of such a blog hop is a great excuse to be able to talk about one's own writing. ("I didn't ask the questions! They did!")

So, for those of you who've been wondering what I've been up to -- especially if you follow me on Twitter and see me posting pictures of falcons, researching the history of crossbows, and talking about the crazy crush I've developed on the character who was originally the novel's antagonist, but who looks (in my mind) so much like Christian Kane it's impossible NOT to love him -- come, hop with me!

Blog Hop Questions: 

1.) What am I working on/writing? 
My current project is an epic historical fantasy set in pre-Arthurian Britain. "Before Camelot, there was Shalott."

KNIGHT FALL -- the tale of a good guy who goes bad, a bad boy who tries to be good, and the women behind the scenes who are pulling their strings -- is the first of three books in the series.

Finishing the trilogy is my top priority for 2014. If I don't, several longsuffering beta readers who have been waiting for this story have sworn to lynch me.

2.) How does my work/writing differ from others in its genre?

The problem w/ dream casting: characters steal the story...

I rarely write characters who are black and white. I'm more interested in the subtle, seemingly insignificant, everyday happenings that can tip the balance of allegiance. History in hindsight often follows a path that seems clear and true. But to those living through it, their choices are much murkier.

My writing spends time with the people who don't realize (and, if I do my job right, neither does the reader, at first) how much hinges on every decision they make. I want to tell a story that explains the origin of legends we accept as canon. That involves focusing on the people relegated to the shadows at least as much as those who have stolen the limelight.

3.) Why do I write what I do?
This project began as an obsession with Tennyson's poem "The Lady of Shalott." First, I wrote the screenplay, focusing on the tale of star-crossed lovers -- a damaged knight on the edge of legend, and the imprisoned girl who holds his heart.

But the story stuck with me and insisted on more attention. So I spent a NaNoWriMo November turning script into novel, which resulted in 80,000 words and the realization that I had enough story for three books. The project overwhelmed me because I didn't have the time to dedicate to it, so I shelved it while I wrote a few books for clients and edited a major project for the USHJA. But my medieval characters -- especially the aforementioned antagonist, who has now commandeered a starring role in the entire series -- wouldn't leave me alone.

Why do I write what I do? Because I can't shake it off. I can't shelve it. The characters in it are as real to me as people I know. And I'm the only one who knows their story. If I don't write it, no one will.

4.) How does my writing process work?
My process is different when working on contracted projects for other people. But I'm going to answer this question solely with regards to working on my own, "spec" stuff....

At the beginning of the year, I made a resolution to dedicate a portion of my time every day to working on my own writing projects.

This may seem like a no-brainer ("A writer writes!"), but it was the end result of a difficult, soul-searching process. See, I write a lot. All the time. Much of the day. But I had allowed working on others' writing projects -- helping with research, or brainstorming, or editing, or book-doctoring, or mentoring, or muse-ing -- to take precedence over my own writing.

Why can't I get the blasted ball rolling...?

One day, after working for eight uninterrupted hours, I realized that I had put in many eight-or-more hour days over the past few months, but hadn't written Word One on my novel. I talked about it, made copious notes in the wee hours of the morning when my characters interrupted my dreams and insisted I pay attention to them, and dreamed of that wonderful day when I would have nothing to do but write.

But that day never came. If I allowed it -- and for the greater part of the past few years I have allowed it -- I spent my creative energies helping other people solve their writing problems instead of working to solve my own.

Why?

I wrestled with the question through most of the last holiday season. It took me weeks to finally hit upon the reason:


Working on my own writing was fun. Really fun. And for some inexplicable reason, I had allowed myself to make "fun" synonymous with "not important." Therefore, I was only allowing myself to do it when everything else -- clients' work, laundry, meal-making, housework, chores, etc. -- was finished. Which never happened. Kind of like my writing time.

So, since January, a huge part of my process has been to reclaim my writing time, to jealously guard it, to value it, and to make it a priority.

I rent studio space (which I affectionately call The Burrow). The space is mine, all mine! It contains only items directly related to my current project. Every single thing within its walls pertains to my work in progress.

I go to The Burrow at least four days a week. There, from 9 a.m. till 3 p.m., while the kids are in school, I write.

I start the day old-school, with a cup of coffee, a pad of paper, a pen, and my dog at my feet. I write out my next chapter longhand, as long as the muse strikes.

(I have learned that I am weak and the internet is my kryptonite. If I come to work and immediately fire up the computer, as I used to do, hours can evaporate as I check my emails, get on Twitter, and follow the various rabbit holes of social media. Since I know my own weaknesses, I choose not to feed them. I will not get on my computer until I have at least one whole chapter written down. Then, if I fall down a rabbit hole, at least my day has been productive, and I have dedicated the best part of myself to my writing, instead of watching YouTube videos of funny dogs.)

So far, this process is serving me well. I'm making regular, solid progress on the book, and am loving where my characters are taking me. As the school year comes to a close, I have already informed my family that I will keep my writing schedule during the summer. I refuse to let my commitment waver. I am blessed to have their support. (My husband is an alpha reader, which helps, because he keeps clamoring for the next chapter...)

I guess my short answer to the question is that the biggest part of my process is making my writing a priority.

Enough about me.

I am thrilled to pass the Bloggy Hoppy torch to YA fantasy writer Alyson Peterson (@crzywritergrl) and crime novelist Marguerite Ashton (@msashton_writer). Check out their posts next Monday, Memorial Day, May 26.

Alyson Peterson is an amazing writer, with acerbic wit and snappy snark to spare. (She's also a fabulous artist, but that's another story...)

She writes about wizards and displaced heirs and interplanetary mayhem and magical horses. If you like young adult urban fantasy, you should be clamoring for a publisher to discover Alyson and get her books in print -- STAT! My 11 year-old daughter is an avid reader, who ranks Alyson's books right up there with Harry Potter and the Warriors series. Seriously. She's that good. Someday you'll see.

In the meantime, while she's waiting to be discovered, she blogs about life at Dirty Green Jello. Go check her out. She's aces.

Crime writer Marguerite Ashton is a founder of the popular blog Criminal Lines and Co-founder of the Crime Writers’ Panel. There, she works alongside Joe Giacalone with other panel members to educate writers on the importance of showing accurate portrayals of criminal investigations and law enforcement procedures in their novels.

Marguerite's radio show, Criminal Lines Radio airs bi-monthly, bringing together law enforcement and authors in an open forum.

A member of Sisters in Crime, Marguerite grew up in Colorado, but now resides in Wisconsin, where she is currently working on her next book. (Which I've read and helped edit. You'll love it! I promise!)

Going to the Dogs: Meet My Muses

Today, my blog is going to the dogs.

In a wild departure from the norm, I'm not going to talk about writing at all. I'm going to yammer on about the dogs that make my life worthwhile.

I'm only half joking when I say my dogs are my muses. Their quiet energy (they sleep most of the time while I'm writing) and their tangible warmth (at any given time, at least one of them is laying on my feet) stokes the creative coals. I create better, plot better, and write better when they are around.

And if, perchance, the Muse should prescribe a nap -- you know, for story purposes -- well, they're more than happy to crawl up on the couch with me for a little snooze.

WunderGuy & I & our first 2 Dals.

When WunderGuy and I were first married, we lived in a house that had the approximate square footage of a midsize Buick. No dogs allowed. I found a way to get a horse, which I kept at the neighboring farm across the street. I found a way to get a cat. (It followed me home and I kept it. Ssshhh!) But a dog was verboten. I believe my desire for a dog was one of the fundamental reasons we bought our own place. That and wanting a living room larger than a postage stamp.

We had Dalmatians for years. Our first was a 4-year old that needed re-homed NOW! Within a few months of getting him, we also had a Dal puppy whose first owners had quickly realized they were not equipped to raise anything that wasn't stuffed.

In addition to our Dals, we acquired a beautifully bred, show-quality Whippet whose owner died and whose inheriting people gave him to us when we attended the estate sale. Oh, he was lovely! His favorite place to sleep was on his back in the bathtub, with all four legs waving in the air.

Our daughter at 11 months & Bogie at 13 years.

For years the back door to our house didn't have a lock. (We live in the country. Door locks are optional.) For years, it didn't need one. We had something better: we had Barney.

Barney was a full-grown Akita when we got him. He'd lost his family to divorce. His original owner was a fireman who worked 36-hour shifts. He didn't think it was right to leave the dog alone for days, so he came to our place.

Barney was a gentle giant. He weighed well over 120 pounds in his prime.  I had never owned a Northern breed before. I was used to dogs that would actually pay attention to me when I called their names. Not Barney. He was very much his own dog. For the first 3 weeks we had him, I thought he was deaf.

Somehow, we ended up on a Dalmatian rescue list and for years we'd get calls about every spotted dog within 50 miles that needed a home. Our final Dal was Digory, a special needs case. We had 3 dogs at the time, but got a phone call from our vet the day before Thanksgiving that went something like this:

Vet: I've got a stray Dalmatian pup here about 6 months old. Found in a ditch. The person who found him thought he was dead. He's not. Yet. Animal Aid [a local rescue agency] will pay for his vet care, but he needs a home with someone who knows these dogs. Will you take him if he lives?

Me: Uh... N--

Vet: He's a rack of bones. At least 70% underweight, with a bad case of heartworm and road rash. I don't think he's going to live. But if he does--?

And that's how we got Digory. He spent weeks in the vet's office before he could come home. He was a good boy, but had deep seated aggression issues toward other animals. He was fine with the dogs and cats we had when he came, but we were never able to successfully introduce other animals afterward.

Digory lived 12 years. By then, we had a child. I thought "Dalmatians have so much energy. I'm not sure I'm up to handling both a kid and another Dal..."

So, in our infinite wisdom, we acquired a stray part-Pit who showed up at a friend's house. Pits, we discovered, have all the energy of Dalmatians, just without the spots.

River the WunderPit is a lovely 50 lb., brown brindle bundle of energy who never met a plushy squeaky toy she didn't disembowel. She's obsessive to the point of self-destruction. She can play soccer with a horse toy - literally - for hours, and sometimes must have the ball taken away in order to rediscover her brain.

I contend that River was the inspiration for Toothless the Dragon in "How To Train Your Dragon." To press my case, I present Exhibit A:

River & Toothless: Separated at Birth?

While River is "technically" my husband's dog, Kestrel is all mine. We had a lovely, sweet English Mastiff who died of lymphoma when she was only 1 year old. I was distraught. I went to the Humane Society, where Kestrel immediately claimed me as if she'd been waiting for me to get there.

Kestrel: Always ready for something...

Kestrel is like me: very Type A. After the Dalmatian years, I generally prefer my dogs to be bigger and more laid back. Kestrel, and Fate, didn't give a rat's patootie what I preferred. Kestrel is mine. Within a few days of getting her, I did the 3-Day Novel Writing Contest. While recovering from the Swine Flu. (No, I'm not kidding.) She endured it all with me.

There you have it: the dogs that keep me sane, workout with me, are ready for a play break at a moment's notice, and inspire me. They don't care if my writing is great or shoddy. They don't care if people know who I am or like what I write. They are unconditionally accepting; fuzzy purveyors of several of life's critically important Real Deals.

-- Do you have an animal muse that makes your writing time even more enjoyable? If so, contribute your own Ode to them below! 

So You Want To Quit Writing?

Writers are an odd species.

We simultaneously loathe and love what we create. Regardless of our mastery of our craft, we know we will never achieve written perfection. Simply knowing of the existence of a more evocative line, a more graceful segue, a more compelling motivation, a stronger phrase keeps us humble. However, something about creating entire worlds from mere words feeds our creative soul, filling us with a parental pride no non-writer will ever experience.

Only delusional nitwits start writing because they expect to it to make them rich.

Oh, sure, one might harbor the secret desire to write something so amazing, so brilliant that the world beats a path to one's door, flinging fistfuls of money along the way. Love of money, however, makes a poor muse.

"Will this castle do, Mistress?" "GOOD DOG!"

A writer starts writing because he or she MUST. Any other reason ("I'm going to be rich!" "I'm going to be famous!" "I'm going to get a movie deal, and move to Hollywood, where I shall meet Matt Bomer and discover that he is secretly straight, and he shall fall desperately in love with me, and I shall live on the beach in a converted castle with an army of perfectly trained Welsh Corgi minions that do my bidding...") is destined for disappointment.

We writers tend to be a supportive bunch. I have never known a Real Writer to deliberately squash another writer's dreams. (I'm sure it happens -- being a writer doesn't make one a saint any more than having a child makes one responsible -- but I believe such aberrations are rare.) To the contrary, on numerous occasions, I have known writers to generously use their time, expertise, education, and connections to help a fellow writer on the road to publication.

Sadly, too often writers forget the flights of whimsy, inspiration, and creativity that caused them to start writing. They allow the callous remarks of non-writer naysayers (@DowagerAgent anyone?) to affect their optimism, their faith, and their productivity. They lose sight of the fact that one does not write to please the world; one writes to complete one's self.

If you want to marinate in a depressing sea, Google "Why I Quit Writing" or "Why I Stopped Writing" sometime, and follow the tendrils of misery that emanate from that Wood Between the Worlds. Just make sure you hide the razor blades and the Drambuie first. (Strangely, no one seems to notice the irony of writing about why you are no longer writing...)

Lately, I've had several conversations with talented writers who say things like:

"What if the book I've written isn't as good as I think it is?"

"What if I've used up all of my creativity and never get another good idea?"

"What if I've wasted a year and a half of my life?"

"What if it doesn't sell?"

"What if I don't really have what it takes?"

They're all allowing themselves to flirt with the idea of quitting. As if becoming a writer was a conscious, logical decision they made that they can walk away from at any time.

It's not.

Being a writer is more of a calling than a career.

If you're a writer, you know the thrill of creating characters more interesting, more rounded, and more real to you than most people you know.

If you're a writer, you know that a part of you remains behind in your story when you must leave it in order to live your "real life."

If you're a writer, you know that if one is to consider it a waste of time to write, one might as well consider it a waste of air to breathe.

Granted, you might take a break from writing for a while -- especially if you've allowed yourself to fall into the trap of equating success with financial gain or fame.

But, if you're a writer, the Muse will not stand to be ignored for long. The day will come when she will smack you upside the head with an Idea so exciting that it will cause your heart to beat more strongly as the creative juices surge through you again. And you will realize that where there is breath, there is life. Pick up your pen! Run to your keyboard! Quitting is not an option...

The Problem With Pitching

“You must learn to pitch” is a commonly heard mantra in the publishing industry. I’m not going to be so disingenuous as to suggest that a writer doesn’t need to pitch well. If you can write a compelling story in 100,000 words, you dang well better be able to say a sentence or two that makes people want to read those words. Boy Howdy, you betcha!

But beware of buying into the fallacy that pitching is the Be All and End All of a writer’s career.

Ty Cobb probably knew how to pitch a baseball, but that’s not why he’s remembered. Pitching didn’t make him great. Knocking the ball into next week is what made him a legend.

On more occasions than I care to remember, I have gotten a writing job because someone else lobbed the publisher or producer a heckuva pitch—

And then choked when it came time to deliver.

Usually those writing gigs end up being Top Sekrit Ghost Projekts that I can only talk about in the vaguest of terms because – really – it’s just bad form to go around saying things like “I got this job only because Writer A can’t write her way out of a paper bag" or "If Writer X hadn't choked when it counted and turned in drivel that would embarrass a kindergartener, I wouldn't be here."

A pitch is an idea.
It needs a writer to make it live.

You see, it's one thing to be able to say a few glowing sentences and get people excited about a project's potential. In fact, being able to get people SO excited that they are willing to pony up real, cashable checks, payable to you, just on the basis of those few sentences is a special talent. Frankly, it's a talent I wish I had.

I don't. (More on that in my next blog post, tentatively titled "How to Get a Book Deal When You Suck at Pitching.")

Instead, I have something else: the ability to actually create a book or script that takes the idea of a pitch and turn it into real words on a page.

"You can't copyright an idea" is a famous Real World truism.

Another is "you can't publish (or produce) a pitch."

The problem with pitching is too many writers feel that once they've successfully lobbed the idea at the Dealmakers, then their job is done. In reality, it has only just begun.

To quote literary agent Scott Eagan:"You can have a rocking query but if the writing sucks, then the writing sucks." Granted, Mr. Eagan wrote that line in a post about the importance of writing a great query letter (or pitch), but there is no escaping the fact that the best query in the world won't mask the travesty of a manuscript that doesn't deliver.

The problem with pitching is that some writers have spent too much time practicing their salesmanship instead of perfecting their craft. They are then shocked - shocked! - to discover that when it's time to deliver the heat, they strike out. What they thought was a kickass fastball doesn't have enough juice to carry it over the plate.

"You must learn to pitch" is very true. I don't dispute that for a second. But if you don't first learn to write -- and write WELL -- then you're going to strike out long before you hit the major leagues.

The Surprising Words that Strengthen Dimming Dreams

We writers are a resilient bunch. We have to be. In what other profession do people willingly bare their souls knowing they will meet with rejection? Acting, perhaps. (Politics, too, if politicians had souls.)

In any given writers forum on any given day, you'll see writers bolstering one another up saying things like "Everyone gets rejected. My novel [insert shameless self-promo plug here] was rejected from 935 agents and publishers before it got into print. Hang in there!"

You almost never hear doctors in medical forums counsel, "Everyone dies. As a [insert medical specialty practice here], I lost 935 patients before I successfully saved a life. Chin up!"

A writer's life is akin to ducklings in the wind. The only way to survive is to roll with the buffets, get up, and waddle on.



Writing is not for the faint of heart. Writing as a bankable career is on a par with Professional Lottery Ticket Purchaser. All of your eggs are in the creative basket -- a notoriously unreliable transport device.

Every so often, this writer scratches the silver flake from yet another losing card and contemplates the possibility of getting a Real Job. You know: Benefits. Paid vacations. Regular paychecks. Dreams need not apply.

"You are not a winner..."

This train of thought usually boards when the Muse is A.) recently rejected, B.) stressed, or C.) digging through laundry for loose change 'cause the Hyundai doesn't run on dreams.
 
Why bother with writing? the exhausted Muse snarks. It's a safe bet that no one even reads your stuff. To make things worse, you haven't adhered to the first law of commercial writing -- which is pick a genre and stick with it. You're all over the map: non-fiction, fiction, historical, fantasy, kid's, adults... Who the heck are you writing for?


"Me," I'd answer. If I talked to myself. Which I don't. Usually.

Suffice to say that as 2011 wound to an end, I was seriously considering the job thing. I told my Writing Practicum about it -- eliciting moues of thinly veiled dismay. Oh, they understood the whole "I have to put food on the table" argument. But I got the distinct impression that I'd disappoint them if I became gainfully employed; as if by hanging up my dreams, I'd somehow pull the plug on theirs as well.

I'm not saying that one can't work a Real Job and still write. I am saying, however, that I know me. If I were working 40+ hours a week for someone else, away from home, I would fill up my time at home with things like chores, quality time with the animals, parenting, spending time with WunderGuy ("wifing?"), and sleeping. My productivity would most likely plummet.

As I wrestled with what to do, having lengthy talks with God about The Meaning of Life and harangued incessantly by the Snarky Muse, I wrote a series of blog posts that had everything to do with gratitude and nothing to do with writing. (If you're curious, "On the First Day of Christmas" started it all.)

The holidays exploded around me. My parents came up to visit for a few weeks. School vacation hit. WunderGuy finished his 5-week course of daily brain radiation. Christmas loomed. I caught up on all my client work, then went offline for a few days.

When I (finally) checked my email, I discovered the writer's equivalent of a winning lottery ticket awaiting me in my Inbox. No, it wasn't an acceptance.
It was something far better: appreciation.

A friend whom I haven't spoken with for several weeks wrote and told me how my recent series had touched her and her children. I learned that my words elicited both tears and laughter. I discovered that they had been shared with others.

She told me of her family's Christmas tradition: on Christmas Eve, they all read the Christmas story aloud from Luke. Afterward, each member of the family says what they are thankful for and shares their hopes and dreams for the upcoming year. "This year," my friend informed me, "I started with reading some of your 12 Days. Sometimes there wasn't a dry eye!"

I was humbled and honored to hear that the entire family had shared memories of me (years ago, I taught their homeschooled children). Though I wasn't there in person, I was blessed to be a part of their Christmas.

Nothing muzzles the Snarky Muse like an entire paragraph in which someone itemizes over 10 specific things you've written that they appreciate. And nothing makes you certain you're doing what you were created for like having someone take the time to thank you for the "many ways your writing helps and affects me."

Wow.

We writers are a resilient bunch, 'tis true. But we're not machines. Google "why I quit writing" for a snootful of eminently depressing articles from those who gave up on their dreams. I wonder whether any of those posts would have been written had just one person taken the time to write and voice appreciation for another's words.

Our words can have a profound effect on those around us. As writers, we'd like to think that the words most effective are our own. But sometimes what keeps those words coming is a word or two from others that tells us we haven't yet said it all.



If you are considering telling your dreams of making it as a writer or an artist to take a hike, reconsider. You have no idea whose life your art is touching. You might literally be a bright spot in someone else's day. You might move them, inspire them, or cause them to think in a way no one else does. Imagine receiving a letter from your most ardent supporter. Think what that could do to re-energize your dimming dreams...

Now examine the flip side of that coin. When was the last time you wrote words of encouragement to let another artist know how much his or her work affected you? What's stopping you? You never know -- you might be the voice from the Great Unknown that gives another the resolve to keep on keeping on.

Thoughts on Stretch Armstrong and Balls of Various Sizes

I never liked Stretch Armstrong.

I never saw the point in him. To me, he was a flaccid, creepy thing that encouraged toy torture and mutilation. Evidently, little girls weren't Kenner's target market, 'cause for a while Stretch seemed to be the Barbie for those sporting a Y chromosome.  When I was growing up, every boy I knew had a Stretch Armstrong, or a Stretch Monster, or a Stretch Hulk.


Few of my friends actually used Stretch for his intended purpose. Most were overly eager to find out what was inside him (red goo). They quickly discovered that puncturing Stretch's skin compromised his integrity, ruining his stretchability and remanding him to the pile of Cannon Fodder toys that got to die over and over again in epic battles against Godzilla, Transformers, and both the Empire and the Rebel Forces.

To this day, I try to steer clear of Stretch.

I am in the process of turning a completed novella into a novel. The novella began as a screenplay (which I am still in love with), and read like one: visual, action-packed, tight, and to the point.

In my humble opinion, I believe that short stories and novellas make the best screenplays.  The shorter prose format translates well into an hour and a half of screen time. Conversely, screenplays are relatively easy to turn into novellas.

But agents are notoriously *meh* about novellas. Probably because traditional publishers are even less geeked about them.  I really like the story and the characters, so I'm delving into their world more deeply, fleshing things out more and working to turn my sprinter into a distance runner.

What I don't want to do is turn my novella into the literary equivalent of Stretch Armstrong.  I don't want to slavishly adhere to the original story and merely ... st-r-e-t-ch... it... out... beyond... all... recognition... or... use.

If the story is going to merit becoming a novel, it's going to need depth that will support its added length. I can't let the added words pull the plot all out of proportion or distort the story.

In other words, I need to ditch Stretch and think: balls.

(I know what you're thinking. And you're wrong. Bear with me here...)

My story is complete. I spent weeks contemplating its arc, its characters, and their motivations. The B & C stories are also complete. These are all the Big Things that work together to make the story gel.  These are the structural equivalent of basketballs.

When I began writing the novella, I had a specific story space to fill. I filled it with the equivalent of plot-related basketballs. If I move a basketball, I will affect all of the other basketballs in the space. The major pieces of the story are in place. If I  dislodge (or stretch) any one piece, I jeopardize the whole story.

This does not mean, however that the story space has no room left for content. There is plenty of room between basketballs. One or two soccer balls will fit, as may a volleyball or three. The odd bowling ball may also find a place. What this means in practical terms is that my B and C stories have plenty of room for development. So do my characters with regards to their motivation, aspirations, emotional depth, and maturation.

After that, there will still be room in the story space for the literary equivalent of softballs, pool balls, tennis balls, racquet balls, and ping pong balls.  Heck, when those have filled in their gaps, I can toss in a whole mess of marbles just for the fun of seeing the sun glint off their pretty colors.

During this process, all I have to do is remember why I always distrusted Stretch. I never want to run the risk of stretching the story or plot beyond all recognition. I just want to fill the allotted story space with enough balls that there's something to engage the attention of everyone who is willing to read it and take me up on a game of one-on-one.

Do you have a favorite technique for adding depth (or word count)? Share it below! I'd love to hear it.

A Publisher's Perspective on Professionalism and Promotion

or, Q & A with Managing Editor Martha Cook, Pt. III

(On Monday, in Part I, Ms. Cook discussed writer's platforms. Yesterday, in Part II, she explored the art of pitching.)

Our interview concludes with Ms. Cook's advice to writers about how to make the most of their careers.

Q: What should a first time author know about contract negotiation?

A: As a first time author, you’re unlikely to be in the driver’s seat. Don’t put yourself in the position of having a publisher think, “The book sounds interesting, but the author isn’t worth it.” You may have to give up some of the things you’ve read in books about negotiating your first book contract, but remember that publishers are taking a risk on first time authors--especially ones with no platform.

Publishers of color-illustrated books generally are investing $15,000 to $30,000 or more to get your book into print. We are not trying to take advantage of authors. Publishing is a business and the finances need to work. You may concede a little on your maiden book contract, but you won’t be a first-timer next time and if you did a good job and your book sold well, you will be rewarded in the future because publishers know you have a track record.

Also, remember that an advance is just that. An advance that sounds lower than you hoped for only means that you will get royalties sooner, if the book is successful. If you have written a good book and it sells well, the advance is really beside the point.

Q: How useful is a list of magazine credits to establishing an unpublished author's viability?

A: It helps. We like to see perspective authors who have had bylines appear in magazines. They may have earned name recognition among the magazine subscribers who are likely to be the audience for a book on the same subject. Furthermore, it’s useful to have magazine credentials to list in an author bio.

Q: What do you expect a writer to do in order to increase his or her book sales?

A: Nowadays, a serious writer should have an online presence that includes a website and blog or regularly posted content in some other online venue. Collect email addresses of anyone and everyone who is a likely buyer or promoter of your book. Promote yourself for speaking engagements, personal appearances, interviews, and related activities. In short: actively talk about and sell your book!

I had an author tell me point blank after her book was published that she found it too uncomfortable to take her book to judging and speaking engagements to sell. It made her feel too much like a self-promoter. Wrong answer to your publisher!

No one is a better salesperson for a book than the author. If you want your book to be a success and become a perennial backlist seller, don’t have the attitude that your job is done upon delivery to the publisher.

Constantly look for ways to generate awareness of your title and to increase sales. Not only will you move copies and improve your bottom line, but you will also make the publisher much more willing to contract you for another project!

A Publisher's Perspective on Pitching Projects

A Q & A with Managing Editor Martha Cook, Pt. II

Managing Editor Martha Cook often works with unrepresented first-time authors who are experts in their field. She also evaluates the project proposals that Trafalgar Square Books receives.

Trafalgar Square is very proud of its many talented authors. Those who have joined the Trafalgar Square list over the years include: Jane Savoie, Linda Tellington-Jones, William Steinkraus, Dr. Gerd Heuschmann, Mary Wanless, Clinton Anderson, Charles de Kunffy, Conrad Schumacher, Sylvia Loch, Klaus Ferdinand Hempfling, Geoff Teall, Dr. James Warson, Betsy Steiner, Kyra Kyrklund, Alois Podhajsky, Paul Belasik, to name but a few.

In the first part of Ms. Cook's interview, she discussed the importance of a non-fiction author's platform. Here, she comments on how to get the publisher's attention with your pitch:

Q: How much should a writer know about a publisher before pitching a project?

A: I’m often taken aback by how some writers sending us submissions seem completely unfamiliar with us. At the very least, before you submit anything, visit the publisher’s website and familiarize yourself with the books published. Also, visit a bricks and mortar bookstore to look at the publisher’s books and take note of the design, photos, art, and price.

There is no excuse for a submitting writer to ask me if we put color photos in our books – yet this happens all the time. Questions like these only tell me that the writer didn’t bother to do the most basic research for the proposal. They certainly don’t encourage me to take a chance on offering the writer a contract.

A final note about pitching: You should know what books the publisher publishes that may be in direct competition with yours. Be ready to field a question like, “We have a book by XXXX on the same topic. How is your book different?”

Q: Do publishers generally look for projects similar to books they already publish? Or is it better to avoid pitching a project that is in direct competition with something already in a publisher’s list?

A: Again, be familiar with the publisher’s list. Be prepared to say, “I know you recently published XXXX, but my book is different because it approaches the topic from another perspective,” or “…because it explores the subject further.” I definitely notice during a phone call or in a submission letter if a writer is on the ball enough to be up to speed on what we’ve recently published.

One of the big slip-ups I see more than I should is a writer who makes a laundry list of competitive titles, noting all the things wrong with the books (many published by us!) and explaining why his or hers is better. The first thing that pops into my mind is, “This author didn’t do the homework.”

We are niche publishers so we don’t expect to receive proposals that are wildly different – they all have to have something to do with horses – but your chances of getting a further look are much improved if you have something unique to say, without disparaging the books to which we have already committed.

Q: What are the hallmarks of a “perfect” proposal?

A: A great proposal includes the following:

1.) A well-crafted introductory letter that demonstrates writing proficiency, shows a solid command of the subject, states why the topic proposed is a necessary addition to what’s already published on the subject, and offers a short overview of the writer’s experience and qualifications.

2.) A thorough outline that shows the writer has given careful thought to the book’s organization from start to finish.

3.) Two or three polished sample chapters. (Don’t say, “I’m sending you a couple of rough chapters.” Put your best writing forward! This is your chance to convince the publisher your work is worth publishing.)

4.) A bio or CV.

5.) A concise market view. List books you see as direct competition, state who you think is the customer for the book, mention connections you have that may help promote and sell the book and what you can do to aid in sales or promotion, include suggestions for outlets that will sell the book, etc. Nothing in this section needs to be explored in great detail, but it is essential to demonstrate that you have done some thinking about how the book will be sold.

These elements are the best way I know of for an unpublished author to get the attention of a publisher, and to convince a publisher to take a chance on him or her.


Q: What are some common mistakes you see writers make that ruin an otherwise interesting pitch?

A: Sloppy, shoddy work that doesn’t deliver as promised is an instant turn-off. As mentioned above, don’t send anything but your very best writing and well-organized, relevant, high-quality supporting materials.

Always inquire before you send an entire manuscript and never send original photos or art without first asking the publisher.

A couple personal peeves: Don’t start off by telling me you have a bestseller. Also, beware of telling me that your idea is so unique that it has no competition. If you say nothing like it has ever before been published, you’d better be sure because from my position, I probably know if it’s true or not.

A Publisher's Perspective on Platforms

a Q & A with Managing Editor Martha Cook, Pt. I

I'd like to say a special word of thanks to Martha Cook for her frank and enlightening discussion on what helps authors distinguish themselves and what recommends a new author’s project to a publisher.

Martha Cook is the managing editor of Trafalgar Square Books and Horse and Rider Books. She is the liaison between the publishing company and the authors the company publishes. She works directly with authors on each book project from development through production and distribution.

Ms. Cook often works with unrepresented first-time authors who are experts in their field. She also evaluates the project proposals that Trafalgar Square Books receives. She generously gave of her time to answer some questions that new non-fiction writers have and to share an editor’s perspective on how a writer can attract a publisher’s attention.

Her comments regarding an author's platform are essential for all aspiring non-fiction writers to comprehend.

Q: I keep hearing about a “platform.” How important is having one? What do you look for in a platform when considering an author’s book proposal?

A: A platform – a significant, credible, sphere of influence – significantly improves an author’s chances of getting our attention! If we have a choice between two projects similar in subject and the writers have equal qualifications, we are always going to go with the author who has worked to gain recognition among people who are the audience for his or her book.

Authors who present at expositions, write articles for magazines, participate in online forums or have joined associations or groups that build their reputations make the publisher’s job of promoting and selling a book much easier and generally more profitable.

Q: I don't have a platform. I'm not a celebrity--but I can write. Is there any hope for me to get my books published?

A: I can only answer this question from the perspective of a non-fiction publisher of specialty instructional books. There is hope for you to get published if you write really well and IF you are very well versed in the subject about which you wish to write.

As specialty horse book publishers, we will only consider an author who obviously knows his or her subject very thoroughly. Furthermore, in this day and age, the writer needs to be willing to work to create a platform to help promote and market both the book and him- or herself.

While we may contract a well-known horse training star who cannot write (we will find a proven author to ghost the writing), in order to get our attention, an unknown or lesser-known author must be a good writer who shows an excellent command of the subject matter and who is willing to put effort into self-promotion both during and after the writing of the book.

Tune in tomorrow for Ms. Cook's comments on Pitching and Proposals...

The Cheerleader

I am so proud of the writers I have the privilege of working with. They are very driven people who sincerely want to improve their craft.

For instance, take non-fiction author and Writing Practicum member Kelly Smith. Kelly has taken up my challenge for Charitable Accountability, or finding a useful, benevolent way to commit to your goals.

Kelly chose FirstBook as the non-profit that will benefit from her striving to attain her goal of writing a novel this year. She committed to her goals online. Now her writing dreams will have a direct, positive impact on others.

I am so proud of her that I pledged to be one of her goal supporters.

I am also proud of Marcy Blesy, another writer who I've worked with in the past year, for having one of her first paying gigs printed.

Marcy's story on Bridgman teachers using exercise balls in the classroom ran in Sunday's edition of the Herald-Palladium -- Berrien County's newspaper. Not only did she do a great job on the piece, but the editors have also shown an interest in having her do more articles for them.

Marcy's success is a stick-with-it testimony. She knew she had a good idea, but had to query the editorial staff several times in order to get a response. She stuck with it and landed the assignment. So -- yay, Marcy!

It's imperative that we writers commit to our goals and make it a priority to reach them. Sometimes, however, it's nice to have a cheerleader in our corner who knows what we've gone through and who supports our efforts to excel. Usually, I'm the working writer, plugging away at my projects. Today, however, I'm happy to be the one who cheers.

Reeling Reviews

or, Thoughts on the Standards of English Professors

I received the following note from a writer friend of mine who is also a book reviewer. Her boss had recently sent her an author’s scathing e-mail “ripping” my friend’s review of her book.

Note to all writers: if someone blasts your writing, TAKE IT and then LET IT GO.

Do not respond.

Do not pitch a fit.

Do not call the lineage or the intelligence of the reviewer into question.

Do not threaten Armageddon.

A review is an opinion. Some people will love your work no matter how bad it is. Some will hate it no matter how great it is. Sending snarky notes will never get a person who gave you a bad review to rescind their testimony. You will only spark a debate that will inevitably end with you appearing petty, foolish, and vain.

Now, my reviewing friend is not a jealous wanna-be writer who looks for ways to cut other writers down to size. She is not a Harpy or a grammar-Nazi. She loves books and reading and writing. She is a Nice Person.

We had an interesting discussion on the subject of authors verbally attacking reviewers. Here’s what she had to say:

"I actually laughed out loud I was so taken aback. My boss was fine with [the irate author’s comments], but wanted my feedback.

“The author argued that there are no grammatical errors that I commented on, but her book was loaded with pronoun usage problems. Maybe most people don't care, but this daughter of a strict English teacher really gets bugged by things like that.

“She also said I would have given her a good review if she were famous! Nice! (It was a self-published book. Go figure.) ”

My reviewer friend typed up a short response addressing the peevish author’s concerns. She stood behind her review. Shortly thereafter, the author sent ANOTHER e-mail responding to her response, in which the author said:

”If the you (sic) and the reviewer are expecting downright perfection on every page, then you will be unhappy. That was not my goal. If I waited for perfection at every point, the book would never get done, and I would be waiting and waiting. That is why I self-published because I was tired of waiting and waiting.

“I think you are out of touch with the average person. I didn't write the book to pass the standards of an English Professor.”

“Speechless,” said my friend. “I am simply speechless! Thankfully my boss is totally cool with my end of things and is letting the review stand.”

She went on to say that though she used to get upset that most publishers and agents quit reading after a few paragraphs, she now understands where the common publishing industry practice comes from. “My first assessments of a new book I am reviewing usually hold true by the end. It is so easy to spot good and bad writing. That will help me be a better writer, I think!

"Though I am nominally paid, they are such a nice group to work for and I am getting invaluable experience. By the way, some of the books are quite awesome, too!"

The Business of Books

I received an e-mail update from Janet, a writer friend of mine who is in the process of researching her first contracted book while finishing up the proposal for a pet project.

In her update, she commented on a "light bulb moment" she recently had:

I have almost finished my book proposal - that is certainly not an easy task for an unfinished book, is it? It did help me pick up steam, better determine my audience, and examine several others along the way. Published books are really successful business projects, aren't they?

Ah! So they are.

Most books that get in print these days are really businesses. The sooner a writer realizes this, the better! Too many writers treat their books like hobbies, or pets, or illicit affairs, or toys. They don't take the books or themselves seriously. They fail to realize that publishing is a business and are all too often lax about learning how that business operates.

One of the things I encourage writers to do is to set goals for themselves. I encourage writing goals ("I'll write X,000 words a day." "I'll finish X chapter(s) a week."). I encourage business-building goals ("I'll submit to X new markets each week." "I'll research at least one relevant manager this month."). In all things, however, I encourage realistic expectations.

Sometimes, overly ambitious goals can arise from an unfamiliarity with the rigors of the writing profession. As with any job, some days are more productive than others. If an unfamiliarity with the ups and downs of any business venture does not inform our writing goals, we tend to set those goals while dazzled by the glow of an exciting new project. However, if our goals are contingent upon our being brilliant every day, we not only set ourselves up for defeat -- but we also pave the way for burnout.

New York Times bestselling author Marie Bostwick has some excellent advice on how writers can stay motivated without burnout.

One of the things she suggests is that writers build in a certain number of "sick days" and "personal days" when developing their goals. Doing so, Bostwick suggests, allows one the writing equivalent of calling in to the office and taking a day off when necessary for one's life, liberty, and general well-being.

Bostwick's approach to the business of writing is well worth considering.

If you are a writer, I encourage you to come up with a plan that will make this next year the one that develops your Pet Project (you know: The One that's just begging for your attention). As you plan, however, I suggest that you consider the business you are in. You are in the business of creating. Of living your life. Of learning, and loving, and growing, and expanding your horizons. Beware of becoming a workaholic. Treat your writing, and your books, like any other business venture. Build your goals around a schedule that allows you to grow your business and remain "open for business" for many years to come...

Character Confessions

Even though November is over, I have continued to work on my NaNo novel. As the work progresses, I have discovered (to my great surprise) that I have developed a rather poorly veiled crush on the character who is my principal Bad Guy.

This is quite unlike me. And though I like him -- a lot -- it doesn't stop me from writing down the horrible, despicable things that he has to do in order to move the story forward. It does, however, make me come up with a host of interesting ways to explain his bad behavior.

I must confess, this little obsession of mine has caused me to give the guy far more "screen time" than I had intended. It made me explore his motivations, define his drives, and flesh out his history more than I would have thought necessary had he been content to simply adhere to his original purpose in the story. My liking him has made him more real to me. Which, by necessity, forced me to make him more interesting in print.

It's been a good thing. I'm wondering how to make myself crush on all my major players...

This past week, I have been privy to several writers' "character confessions."

One lamented that the character she had intended for her protagonist ended up rubbing readers the wrong way. Without exception, all thought he was an "arrogant, manipulative, ass." This works well for House, but wasn't exactly what she was going for...

Several writers I've worked with lately have admitted that they don't know enough about their characters to know what they like, don't like, want, or work for. They know their characters' pasts and have plans for their futures -- but they don't know who these people are. Yet...

One writer identifies so strongly with her (fictitious) character, that she blurs pronouns when talks about her. "She" becomes "I," and then critique becomes dicey...

One male writer in the Writer's Practicum I facilitate consistently has difficulty creating real, believable females. He has a good grasp of plot and story, and a decent ear for dialogue -- as long as everyone involved has a "Y" chromosome. As soon as he introduces a female character, he abandons craft and clings to cliche. We're working on it...

Then there was the e-mail exchange with a young writer I coach, in which we discussed the importance of inhabiting the characters we create so they are well-rounded and real to us. He recognized his own shortcomings in being able to write from a female point of view:

"...actually, I always wonder about my female characters until a female reads them, and then I'm... relieved, but also a tiny bit worried about myself -- and what Dad would say if he saw the words "Well, he was really cute" typed by my hand as I was typing them. That sort of thing..."

I told him I was going to steal his confession for a post on the subject of characters.

We can get into trouble in a hundred different ways when we people our prose. Liking our creations too much can be as bad as not liking them.

One of the worst pitfalls is not knowing them. They become thinly veiled, poorly drawn caricatures of us (or people we think we know). Another, equally dangerous, pitfall is projecting ourselves onto them. This only results in our shielding them and not allowing them to grow into fully-realized characters.

The first step, I believe, is in recognizing our shortcomings. Sometimes identifying a fault or a weakness is all it takes to overcome it.

Bad Query! No Contract!

or, Tales from the Slush Pile

"The Rejectionist," a pseudonym for a literary agent's assistant who would rather remain namless, recently contributed an Op-Ed piece on the horrors of the slush pile to The Stranger.

If you're even remotely considering sending out a query letter in the near future, the post is worth a read -- not only because it comes from someone whom you are hoping to impress with your storytelling talent, but also because it drives home the fact that reading anything from the slush pile would make most mortals slit their wrists as a viable option to making the pain just... go away.

The assistant's job, as anyone even remotely associated with the publishing industry can tell you, is akin to trying to find a ready-to-eat gourmet meal somewhere within a full-to-overflowing dumpster.

Sure, it's possible. But it ain't probable. It ain't pretty. And sometimes it kinda just makes you want to retch...

The Rejectionist details the all-too-familiar elements of bad query letters. Of course, these include the de rigueur uninspired and unimaginative writing (conspiracy theories, cardboard caricatures instead of characters, aliens, graphic and mechanical sex) of talentless hacks who refuse to take their craft or their career seriously.

However, bad query letters can also afflict those who have a great story to tell. Sometimes, it's not the concept that's at fault. All too often, it's the execution.

The Rejectionist laments:

The bad query's sentence sometimes resembles a battlefield wherein subjects hack it out desperately with adjectives, perennially besieged by legions of unwieldy adverbs. Apostrophes go on suicide missions and commas appear at random.

It goes on from there. Read the whole post of "A Good Author is Hard to Find." Seriously. Then edit your current manuscript or, better yet, find someone you trust to give you an honest opinion about its "publishability."

(A note: the opinions of friends, family, and spouses do not count here. These fine folk serve the excellent and necessary purpose of reading what you write, loving it, loving you, and thinking you are brilliant. They are not the best selections for objective "would you buy this?" critiques and edits.)

Do yourself and your project a favor. Raise the bar -- because the publishing world is hungry for the next great writer. It's up to us to give those poor starving assistants something they can sink their teeth into.

NaNo No More!

or, Thoughts on Thanksgiving

Well, National Novel Writing Month is officially over tonight at midnight. I got my 50,000 words written -- just squeaked in under the wire today -- but the book is far from finished.

I thoroughly enjoyed the experience, though at times I felt that I was taking a month-long break from reality. At other times, I questioned my sanity because reality refused to take a break from me. In the month of November, the book I am under contract for (for my "real job") went to the publisher. This, of course, required the tying up of the myriad little editing loose ends that always accompany a major co-authoring project.

During the month of November, significant happenings took place with "Against the Wind," the movie about the life of Dick Beardsley that is in development...

November included an entire week of half-days of school, which significantly impacted my writing plans, since it's easier for me to be creative if a six-year old is NOT hanging over my shoulder asking to see what I'm writing...

November means that the choir I direct is adding extra practices in preparation for our annual Christmas cantata the second week of December...

It also holds Thanksgiving... And a thousand other reasons why I should be doing something other than writing.

It's the spirit of Thanksgiving that I will most associate with this year's NaNo.

I am so thankful to Robert, my wonderful husband, and my very good friend Chari, who both clamored (and continue to clamor) for more chapters. They pushed me to keep writing -- even when I got around word 30,000 or so and became convinced that my doing NaNo was an exercise in generating crap. Robert has always been my biggest fan. He has known of the story I am writing (my version of an Arthurian legend) for years. Chari, on the other hand, is completely unfamiliar with my source material. She's my "newest fan." Both of them kept me going.

Robert and Chari's enthusiasm and support reminded me how important it is for writers to say "I'm a writer," and to tell people what they are working on. Telling others of our projects not only makes our work more real, but it also makes us accountable to others and encourages us to finish what we start.

I am also thankful for the students I've worked with this past year who took the time to let me know that I was of use to them in some way. I know of at least three fellow NaNo contestants who signed up because I mentioned the contest. None of the three had ever written anything lengthy before, and all three finished!

Of course, each had to do the work him- or herself, but it makes my day to receive e-mails telling me that I had something to do with motivating a writer to take on something new. Sometimes all a writer needs is someone to think he or she is up to a particular challenge. I love being that person!

And so, as November fades away and December looms, bringing its own challenges, here's to all my writer friends -- especially those of you who jumped into NaNo with both feet this year. May you continually find yourself surrounded with those who encourage you to grow, who support your dreams, and who fill you with thankfulness!

What's Wrong With the "10 Best Books of 2009"

or, SheWrites Takes on PW's "White Boy's Club" of 2009

Kamy Wicoff, founder and CEO of She Writes, an online writing community promoting women writers (though not excluding men as members), posted a piece earlier this week responding to the exclusion of women from Publisher Weekly's Top 10 Best Books of 2009 list. In part, Wicoff wrote:

We write fiction, we write memoir, we write scifi; we are bestsellers, we are award winners, we are just starting out; we are working hard, we are writing well; we are...not as good at it as men are.

Or at least that seems to be the opinion of Publishers' Weekly, which published its "Best Books of 2009" list on November 2nd and could not see its way to including a single book by a woman without destroying its integrity or betraying its unassailable good taste. Apparently books by women just aren't as good. Sorry, girls! Poor PW, they felt really badly about it. According to the novelist and journalist Louisa Ermelino, the editors at PW bent over backwards to be objective as they chose the Best Books of the year. "We ignored gender and genre and who had the buzz. We gave fair chance to the 'big' books of the year, but made them stand on their own two feet. It disturbed us when we were done that our list was all male."

Not only were the writers of the books that made the list all male, but they were also overwhelmingly... white. PW may have been "disturbed," but they evidently weren't disturbed enough to question the validity of their list...

So what's wrong with the list?

"Nothing," some might say, "the books and writers on it are all excellent."

"Everything," others might answer, "but it's not just PW's fault. The shortcomings of the list only serve to underscore the flaws in the entire publishing industry."

No list is perfect -- and Top 10 Lists as a rule bug the heck out of me, because I rarely agree with them. But this particular list is patently absurd.

Of course it is ridiculous to assume that the only people capable of crafting outstanding prose in 2009 were white males. Which makes one wonder exactly what the PW editors and esteemed jury members who selected the titles on the list were thinking. Or smoking.

Wicoff has encouraged people whose literary tastes include more than just vanilla to do something about the "White Boy's Club" this year's list became. She's not suggesting that the books chosen aren't good, or that the writers aren't gifted. She simply feels, as I do, that perhaps -- just perhaps -- there are others out there who are equally talented, who have just as much to say, who don't belong to the Male Majority. To that end, SheWrites will be hosting its first ever SheWrites Day of Action tomorrow, November 13.

On this day, members are encouraged to do audacious things like actually purchase a book written by a woman and explain the reason for their choice. Imagine what literary heights we could reach and what wonderful reading experiences would open up before us if people would do that more -- buy a book and be able to state why they bought it.

I believe I may take Wicoff up on her suggestion. I know I am eager to see what others on the SheWrites site are reading. I'm always on the lookout for a great new book by an author I've never read before. I could use some ideas because, in my humble opinion, "it was on Publisher's Weekly's Best Books of the Year list" is no longer a viable reason to read a book anymore.

Child's Play

or, It's Never Too Soon to Follow Your Dreams

The facility director where I conduct a Writer's Workshop on Wednesdays through October received this email from one of the attendees:

"I wanted to tell you i thought it would be a little scary to be the only kid there but I'm having fun and i am learning a lot of things! Oh yeah! I almost forgot. I will be leaving at 7:45 each week because i have to go to sleep for school. Just wanted to give you a heads up. I will see you on Wednesday!"

The writer is a 5th grader. She comes every week and sits in the front of the room. She is taking the class along with 20 or so adults. All share a common love of writing. She takes notes, asks informed questions, pays attention, and participates. Those who know her say that she writes all the time. I envision an Pulitzer in the girl's future...

At this early age, she has learned what many writers take years to understand: if you want to do something -- go for it. So what if it's "a little scary?" Go! Learn! Participate! Get involved! Your dreams belong to no one else. If you don't take steps to make them reality, they will do no one any good.