Whenever I am asked, ‘So, what do you do?’ I fumble through a series of emotions, defaulting on a grin-and-bear-it smile.
Wife and Soccer-Mom-of-Three by day. Emergency Room and Neonatal nurse by night. Breastfeeding Educator. Romance Author.
Eyes normally get wide and the person who just wanted some small-talk responds in one of two ways:
“Whoa, what’s the coolest thing you’ve seen in the ER?”
“Really, you’re an author? Where do you find the time?”
The first question is easy and usually starts with some genius who said, “Hey, hold my beer.” The second is pretty tough.
A writer needs to write. Everyday. I compare it to training for a marathon, except you don’t get the satisfaction of a medal or a sticker for your car when you type “The End.” My world doesn’t allow for writing rituals or long stretches of time with my fingers feverishly putting words on the page. Over the years, I’ve tried little ways to find time. I carried my tablet around like a fourth child in the off chance I’d have a moment during soccer practice or that my brain would be able to restart and re-tool a scene between patients. But those situations didn’t always work out. I needed to be a mom at soccer and a nurse in the ER.
When I finally started calling myself an author, I gave myself time. Billable, bursts of time where I officially put on my romance-writer hat. I stopped trying to find time to write and made time to write. I get up early. Stay up twenty minutes late. I let my children play the iPad (yep, I’m that mom). I complete three mom chores, and grant myself equal amounts of time to work as an author. My children know I work in the hospital and on the computer. My co-workers simply ignore the fact I talk out my scenes while turning over beds or charting vital signs. And my husband understands why some days the laundry doesn’t get finished.
Sure, the “Mom Guilt” monkey hitches a ride on my back every now and again, and somedays my precious thirty minutes is spent deleting three sentences and googling a word. Maybe all you do is draft or doodle. Maybe it’s listening to the song that inspires your story. If it fires your imagination and is solely devoted to your craft – it will never be time wasted.
Don’t look at your day and decide there isn’t time for you and your story. Don’t try to give 100% to five different things at once. The outcomes are never worth the effort. Except for cooking. Crafting a scene while making dinner always turns out nice and spicy.Read more
DFWCon will be my fifteenth writers’ conference. In my heart, I still feel like a newbie. In my head, I know that’s nonsense. And I have learned some things along the way.
Two years ago, I penned a blog post called Finding Your Tribe. In it, I argued that conferences are about finding your tribe. That’s still true. There’s nothing more important than finding or rejoining your tribe at a writers’ conference. But there is also some business to be done.
For many first-time con-goers, the conference is about “The Pitch.” That perfectly wonderful opportunity to go all Gollum over their novel.
They fret about which agent to pick. They fret about over what clothes to wear. But most of all, they fret about making fools of themselves.
I’m here to tell you to relax.
Because if you’re like me, you will absolutely make a fool of yourself. The pitch will be so bad the agent will burst out laughing and then check her watch and then ask if you’d like to do it again because there’s still plenty of time. And that’s when you’ll realize…
It’s just a pitch.
It’s not a life-or-death situation. It’s not a make-or-break moment in your writing career. It’s merely one opportunity to tell one agent about your work with only two potential outcomes. The agent will either ask you to submit something. Or they won’t.
They won’t punch you or scream at you or call you a fool if the pitch is bad (though I have had an agent come close to that last one). They won’t applaud you, sign you, or give you a book deal if it’s good. The agent will either ask you to submit something. Or they won’t.
And here’s something else to remember, you have no control over whether your novel resonates with an agent. Many perfectly well-written novels never see the light of day for this simple reason. You can’t control it. But you can control pitching and querying more agents and, more importantly, writing more books. Persistence is the only way to increase the likelihood that your work will resonate with somebody.
Don’t get me wrong, every pitch is an opportunity and shouldn’t be wasted. You should prepare. You should practice. You should be sure you hit all the key notes required to be successful. But then you should pitch again. And again. And again. And you should write another book. And another. And another.
And as for that first one, it’s just a pitch. So don’t sweat it.
And if you do, then commiserate over it with your tribe.
-- Brian Tracey, DFWWW Director and Member since 2012
A few months ago I was talking to my friend about my lack of progress on my current project:
“I SHOULD HAVE A PROCESS BY NOW, BROOKE! WHY DON’T I HAVE A PROCESS?”
You see, I’d just read a book on writing that addressed how to write fast and regularly. It all sounded so easy, but when I tried it, I stopped after only two days. This is most likely due to my general lack of follow-up. Seriously, it’s a minor miracle I ever completed one manuscript, let alone five. But, this borrowed process I was testing out didn’t click. So, I went back to my higgly-piggly way of writing when inspired (which means I spent most of my time procrastinating).
Turns out, that’s an even worse process than borrowing someone else’s. Which is why I’m going to lay out, right here, what my actual, real-deal process is. And hopefully it will help you figure out yours.
First, what is process? Is it the way you create a book, or the way you get it down on paper? I think those are two different things. Let me explain.
Creating a book starts with an idea, a character, a plot, a setting, and everything spirals out from there. With Sawbones, it was the setting. With Stillwater, it was the character of Ellie Martin. With my current project, it was the plot. (You see why I say I have no process?) Inspiration comes when it comes, with little regard to what I want, or what is the easiest way for me to create a story (FYI, it’s with character). During the creation phase there’s a lot of reading, thinking, sitting around and staring into the distance, note taking. Regardless of the genesis of the story, it never clicks until I get a handle on the characters, and who they are. Once I have that, everything else falls into place.
Now, to get the story down on paper. Am I a plotter or pantser? Morning writer or evening writer? Daily word goals or time goals?
I winged my way through the first five books, with a good idea of main plot points, but nothing at all like an actual outline or plan, though I had a clear idea how each ended, as I do with my current project. When writing BLOOD OATH, I sat in front of the computer every morning and said, “What happens next? Let’s have them get caught in a thunderstorm on the plains with nowhere to hide! And Laura gets separated from the group! And, almost dies! There’s a fire!”
I’m not making that up for this article by the way. Read all about it May 23! (shameless plug)
My current project started with a plot, and an outline! I’m not surprised that it’s been tough going; I hate being told what to do, even by my well-intentioned plotting past self. My early struggles stemmed from my lack of character understanding. Once I had that, and had decided on “how” to tell the story (POV, etc), the words started to flow.
My advice: It doesn’t matter when you write, or what your daily writing goals are, only that you write daily and have goals. Do what works for you, however imperfect or wheels off it may sound to the disciplined writers who love to humblebrag about their daily schedule of early rising, writing, mid-morning walk, writing, power nap, writing, all of which leads to their typical 5000-word day. When it comes down to it, the reader doesn’t care how the sausage is made, only that it is, and that it’s delicious.
Melissa Lenhardt is the author the Jack McBride mystery series, as well as the Laura Elliston historical fiction series. Her debut mystery, STILLWATER, was a finalist for the 2014 Whidbey Writers’ MFA Alumni Emerging Writers Contest, and SAWBONES, her historical fiction debut, was hailed as a "thoroughly original, smart and satisfying hybrid, perhaps a new subgenre: the feminist Western" by Lone Star Literary Life. A lifelong Texan, she lives in the Dallas area with her husband and two sons. Her latest book, SAWBONES is now available in paperback. Her next novel, BLOOD OATH will be available on May 23, 2017 (as shamelessly alluded to earlier).
Sing Street is about a 14-year old boy named Conor Lalor, who overcomes his parents’ disintegrating marriage, the family’s worsening financial situation and the two bullies terrorizing him at his new school to start a band—with the all-important goal of impressing a girl.
The movie is reminiscent of the 1991 Irish movie, The Commitments. But whereas The Commitments were a band of late teens/early twenties musicians playing soul music in the tradition of 1960s African-American recording artists, Sing Street is a band of young teen-aged boys writing and recording “happy-sad” songs, in the tradition of the 1980s New Wave music.
Conor and his song-writing partner, Eamon easily pass as young twins of Paul McCartney and John Lennon and Conor's quest for young love is wonderfully done. But it’s Conor’s brother, Brendan who steals the show. It’s Brendan’s who sets us straight.
Brendan is a classic mentor archetype, coaching Connor to do what he wants to do and become what he wants to become. His mentorship resonated with Conor. It resonated with me, too.
After hearing the first recording of Sing Street’s music, Brendan yanks the tape from its spool and stomps on the cassette. “That was bad, bad music,” he says. “And there’s nothing as bad in this world as bad music…That was a novelty act…It’s all about the girl, isn’t it? And you’re going to use someone else’s art to get her? Are you kidding?”
Conor’s attempt at a defense fails. “We’re just starting. We need to learn how to play.”
“Did the Sex Pistols know how to play? You don't need to know how to play. Who are you, Steely Dan? You need to learn how NOT to play, Conor. That's the trick. That's rock and roll. And THAT takes practice…Rock and roll is a risk. You risk being ridiculed.”
There are other sources for this type of “encouragement" in the music world. In a “get off my lawn!” kind of way, former Eagles’ guitarist, Joe Walsh put it like this:
“All these kids (today) are a legend in their parents’ garage but they can’t play in front of people. You gotta play live in front of people and at first, you’re awful. And you stink…and that’s why kids are afraid to do it. (They’re afraid to fall on their face). But you bring that up. You don’t really get better. You just bring awful up. So you’re not that awful.”
Isn’t it the same with writing?
Sure, we don’t want to stink. We don’t want to be ridiculed. For some reason, though, at first some of us don’t appreciate that writing is a craft. That it’s something to be learned and nurtured. Instead, most of us sit down, write that first draft of our first novel – our “masterpiece” – and then we sit back and wonder when the royalty checks will start rolling in.
As one thriller author once put it to me: “Authors are the only artists who’d think that their first painting should hang in the Louvre.”
The truth is, it’s very likely that when we start out we’re not that good. In fact if you’re like me, you probably made some bad, bad writing. And it isn’t until we get out of our “parents’ garage,” until we take that rock and roll risk and let people hear our work—people who understand the craft of writing—that we can bring awful up. That we can learn how NOT to write.
That’s the benefit of an excellent critique group, like the DFW Writers Workshop and solid stable of beta readers. They’re the ones who help transform our writing, often through tough love. And if we’re smart, we forego our egos and take our medicine. Then we take the risk again.
Even after all of that, it’s not over. Once our writing isn’t awful and we put it out there for the world to read, people will then judge the quality of our stories, the value of our opinions and everything else about what we’ve written. Some people will still ridicule us. Some people will still think we stink.
But that’s rock and roll.
So take the risk.
Brian Tracey, DFWWW Member since 2012; Board member since 2015.
On September 22, over 2000 nonprofits in the North Texas area will join forces to raise both funds and awareness for their organizations. This year we are excited to announce that DFWWW will be participating for the very first time. As an organization, we're growing faster than ever and expanding our programming in exciting ways, and we need your help to fulfill our mission and reach new goals.
You may be wondering: "Why donate to the DFW Writers Workshop?"
Our answer: "Booklovers will go hungry without us."
See, our mission is to help and encourage North Texas writers of all genres and experience levels to produce professional quality writing suitable for publication. We like to see books made, stories told, poems printed, and we do this by offering year-round programming and networking opportunities for authors.
The core of the DFW Writers Workshop experience is our weekly read & critique sessions, and we've been doing it since 1977. We invite you to come visit any time to catch a slice of a story in the making.
Since our humble beginnings, we've grown. Nowadays, we also host the largest writer's conference in Texas, DFW Writers Conference. We attract authors from all over the world by bringing in literary agents, editors, keynote speakers and best-selling authors to teach. Many an author has found representation at DFWCon, and many a book has been born as a result.
But that's not all. We also host an annual, free DFW Teen Writers Workshop, to jump-start teens on their writing journey. We have a monthly Writer's Bloc program, giving attendees "conference-like" classes at no cost. And next year, we're kicking off our new Residency Program, giving an author the ability to focus completely on his work for two whole weeks without interuption. The experience will culminate with attendance to our 10th Anniversary DFWCon.
So now you're probably thinking: “I'm a booklover or love someone who is, so I must donate! But why should I donate on this particular day? Can't I part with my hard-earned cash any old day?”
Another excellent question.
Our answer: "Your money is welcome any day, of course, but it's worth more on September 22nd."
North Texas Giving Day is put on by the good folks over at the Communities Foundation of Texas. They organize this amazing day and also raise a separate stash of bonus funds that is later divided among the participating nonprofits. Like us! In other words, the more money you give on this day, the more extra money they give us in turn. They also offer an array of cash prizes throughout the day.
The question that’s probably on your mind now is, “Well gosh, how can I help?”
Another excellent question. You're on a roll.
First and foremost, we'd love your generous donation. Donations must be made online on September 22. Donations anywhere from $25-50,000 are acceptable. If you can’t donate yourself, nudge your booklover friends and family, rich acquaintances, that guy who owes you a favor for slightly dubious reasons, anyone. We don’t discriminate. You can also help by promoting this event on social media. Aside from raising awareness, it also can land us with one of the coveted cash prizes for most retweets, so keep an eye on our feed that morning.
Festivities have been planned all over the area for the 22nd; stay tuned to our website and social media channels for info on where you can find us!
If nothing else, NTGD it’s a great way to learn about some of the amazing work that’s done by organizations right here where we live, so head over to the North Texas Giving Day website and check out some of the other participating nonprofits.
Ben Marshall is the Secretary of the DFW Writers' Workshop. He has been a member since 2014.