Chris Jane On The Power Of Gender In An Author’s Name: Right, Like a Man

This post by Chris Jane originally appeared on Read Her Like An Open Book on 1/11/15.

I prefer the way I write when, while writing, I imagine being read as a man.

There’s an immediate freedom to not be apologetic. To do as we were taught in high school English and eliminate the self-conscious “I think…” from the writing.

I’m not sure when it happened, the shift into having to pretend.

My father, a single parent, never gave my sister or me the impression that being female was considered a weakness or would limit us in any way. Now and then we’d have to fetch him things, and we were tasked with decorating and undecorating the Christmas tree, but that was because we were his kids. It had nothing to do with being girls. That I was a “girl” was so separate from my identity that I would sometimes be confused about why I didn’t feel more like one. Females my dad’s age who had soft, styled hair and wore perfume and nail polish were curiosities. I wanted to ask them questions about womanhood. I wanted them to somehow infuse me with the kind of femininity I saw blooming in the girls my age who wore clanking bracelets and pink lipstick.

That absence of innate femininity combined with being raised by a man contributed to my being comfortable with – and preferring to be one of – the boys. I didn’t fear them and hadn’t been raised to defer to them. We were friends, and we were equals. It never occurred to me that their thoughts, perspectives, experiences, or opinions were (or should be) more valid than mine. I was pretty sure I was even as strong as they were.

 

Read the full post on Read Her Like An Open Book.

 

The Self-Publishing Sky is Not Falling

This post by James Scott Bell originally appeared on The Kill Zone on 1/11/15.

Toward the end of last year a meme started to develop, asserting that the salad days of self-publishing are over. Only spotty hors d’oeuvres remain. One blogger put it this way:

I’ve been luckier than many Indie writers. I heard the complaints about falling sales, but for a time I hung in there, made more money every month than I had the previous month. But then the other shoe dropped and my royalties, rankings and readership tanked. New readers are not discovering me as they’ve done for years. I can’t ignore reality. Things might pick up, but I doubt it. And I’m not taking any chances.

Much of this despair was drummed up because of what many authors experienced in the Kindle Unlimited program. Indie superstar H. M. Ward had this to say:

Ok, some of you already know, but I had my serials in [KU] for 60 days and lost approx 75% of my income. That’s counting borrows and bonuses. My sales dropped like a stone. The number of borrows was higher than sales. They didn’t compliment each other, as expected.

Kristine Kathryn Rusch, one of the more astute observers of the writing biz, wrote that the “gold rush” is over, and that 2014 became “The Year of the Quitter.”

 

Read the full post on The Kill Zone.

 

An Author's Field Guide To Internet Trolls

This post by Publetariat founder and Editor in Chief April L. Hamilton originally appeared on her Indie Author blog on 6/8/09 and is reprinted here in full with her permission.

‘Author Platform’ is the buzzphrase of the moment. If you’re doing a good job of creating and maintaining that all-important communication channel between yourself and the public, it’s only a matter of time before the web trolls descend upon you to ruin things for everyone. Herewith, I present a relevant excerpt from Ms. Gertrude Strumpf-Hollingsworth’s “Encyclopedia of Annoyances, Bothers and Frustrations”, which provides a valuable natural history lesson in the identification and management of the species most likely to darken an author’s virtual doorstep.

Introduction
The Internet Troll (webicus infuriatum) is a hardy, highly adaptable family of parasites with established populations all over the web. Most leading Techno-Naturalists classify it as a viral organism due the fact that it reproduces by infecting members of targeted populations. Once exposed to webicus, susceptible individuals soon display the aggression, vitriol and boorishness which are the identifying hallmarks of all Trolls.

Hiding behind a pseudonym, webicus will quickly become the dominant element in any online ecosystem which provides it with a steady supply of attention and argument. In fact, webicus is so skilled in monopolizing these resources that it frequently drives off larger, but more peaceable, local populations. While all Trolls are destructive, there are perhaps none so pernicious as the subspecies which target author websites and online writer communities. Armed with a voluble nature and much larger vocabularies than other Trolls, these are particularly troublesome.

 

The Queen Bee/King Drone (lordicus cliqueium)

Behavior: Lordicus begins by befriending charter members and site owner/administrators alike with its initial friendliness and offers of assistance. With favors banked and loyalties established, lordicus reveals its true nature when another community member voices a dissenting view, or becomes as well-liked as lordicus. In either case, lordicus and its followers close ranks to attack or freeze out the other member, claiming to speak on behalf of the entire community.

Control: The only effective method of lordicus control is a strongly-worded email from the site owner or administrator. Lordicus’ response is invariably a dramatic, martyred leave-taking from the site, after which it will continue to lurk and foment dissention among other members via off-site communications.

Identifying Call: A shrill, “Who do you think you are?”, sometimes followed by a low-pitched, “Nobody cares what you think, anyway.”

 

The Puffed Pedant (self-importantia verbosia)

Behavior: Self-importantia is known for its lengthy, patronizing deconstructions of other members’ writing, in which it takes great pleasure in pointing out every broken rule of grammar, plotting, characterization and the like, regardless of whether or not said rules were broken intentionally, as a stylistic choice. Given that s.i. is never a published author in its own right, one might expect other community members to routinely disregard its remarks. However, s.i. posts with such smug conviction that it effects a sort of Jedi Mind Trick on the least experienced and most gullible members of the community.

Control: Since s.i. doesn’t technically overstep a site’s Terms of Service, there’s little the site owner/admin can do to put a stop to its antics. It was once thought that exposing the Pedant to the works of Kurt Vonnegut or Anthony Burgess would humble and silence the creature, but field studies have proven it will merely label such works “the exception that proves the rule” and emerge both unscathed and uneducated by the experience. Depriving s.i. of the attention, argument, and writing samples it craves usually proves more effective.

Identifying Call: A repetitive, clucking, “Do your homework.”

 

The Prickly Recluse (hypersensitivium rex)

Behavior: This species is known for its uncanny ability to incorrectly interpret the tone or meaning of any other member posts, regardless of how innocuous those posts may be, invariably choosing the most negative or insulting meaning possible and taking that meaning entirely personally. From there, hypersensitivium will repeat and repost its incorrect interpretation in an effort to rally support and sympathy for itself.

Control: First-time victims generally interpret the Recluse’s behavior as innocent misunderstanding, and will usually attempt to resolve the matter with an apologetic, clarifying post. However, since hypersensitivium will misinterpret the palliative post as well, such efforts are destined to fail. A warning post or email from the site administrator will generate one last, self-pitying post from the Recluse, followed by several weeks of absence from the site. It is from this latter behavior that the Recluse gets its name.

Identifying Call: A sharp, striking, “How dare you!”

 

The PubPro Mimic (wannabeum knowitallia)

Behavior: This type of Troll masquerades as a publishing industry professional with many years of relevant experience, yet never offers any proof of its claims and simply ignores all requests for such. Nevertheless, using its supposed trove of expertise as bait, wannabeum easily attracts a cadre of insecure writers looking for a “secret handshake” or other insider knowledge that might give them an edge in getting published. Since wannabeum lacks the expertise to which it lays claim, its haughty assertions about writing, getting an agent, publishing and bookselling are largely false. Even so, any attempt to correct the Mimic directly, or even to merely post an alternative viewpoint, will backfire in a firestorm of belittling recriminations from the Mimic, which will rely on its claimed expertise as all the support or proof its posts require.

Control: Catching wannabeum in a resumé lie will cause it to immediately vacate a site, but this is nearly impossible since wannabeum never posts under its real name and is careful to keep the identifying details of its claimed career experience vague.

Identifying Call: “If you’d worked in the publishing business for as many years as I have, you’d know how ridiculous you sound.”

 

The Equalizer (evenus stevenus)

Behavior: Evenus is the self-appointed score keeper and referee of any community it inhabits. Evenus keeps constant track of who has shared good or bad news, who has posted congratulations or sympathy, and whether or not such congratulations or sympathies are adequately effusive and timely. Anyone failing to pass the Equalizer’s test is subjected to the same kind of freeze-out favored by the Queen Bee / King Drone, but unlike that species, the Equalizer keeps the impetus behind its attack secret for as long as possible. Often, Evenus deprives its victims of this information for so long that another member of Evenus’ circle is ultimately the one to reveal it.

Control: As with the Puffed Pedant, since Evenus doesn’t technically break any site’s Terms of Service, little can be done to discourage it. One can either ignore Evenus or strive to steer clear of it.

Identifying Call: frosty silence.

 

The Sock Puppet Master (bittera duplicator)

Behavior: Perhaps the most pathetic of all the Troll species which favor author communities and websites, bittera creates its own support network by setting up multiple user accounts. It uses these accounts to create negative or attacking posts about others and their work, then uses its other accounts to second its own opinions in a masturbatory fashion.

Control: No specific action is necessary. Bittera will eventually reveal itself as a fraud by losing track of its various aliases, posting in the tone or style of one persona while logged in as another. Once exposed, this Troll will immediately delete all of its past posts, close its many accounts and move on to a new site. It may reappear months later to set up a new collection of accounts and aliases, but only when it’s sure its past activities have been forgotten.

Identifying Call: mockingbird-like repetition of, and agreement with, anything posted under any of its many aliases.

 

The Fake Friendly (condescendiosa passive-aggressivium)

Behavior: This Troll openly attacks and insults authors and their work, and when called to account for its unacceptable behavior, claims its remarks have been misinterpreted and it meant no offense. For example, in a thread about the merits of giving away free ebook copies as a promotional gambit, following the post of a member extolling the virtues of free ebook copies, it may post, “If your book was any good, you wouldn’t have to give it away.” When the other member responds with understandable anger and offense, the Fake Friendly will defend itself by retreating behind a response along the lines of, “I didn’t say your book actually is no good, I’m just saying that you deserve to be paid for quality work.”

Condescendiosa can keep this back-and-forth dance of insults and re-interpretation going indefinitely, but its most maddening behavior is its penchant for claiming the moral high ground by recasting its abuse as simple, well-meaning honesty, which it says others can’t tolerate on account of being overly sensitive.

Control: Much like the Sock Puppet Master, this type of Troll is always the cause of its own undoing. As it slashes and burns its way through the community, systematically training its disingenuous focus on member after member, condescendiosa eventually finds it has more enemies than cohorts and vacates the premises.

Identifying Call: “You’ll never make it as a writer if you don’t develop a thicker skin,” and “I don’t know what you’re so upset about.”

 

Lessons From The Traditional Publishing Model Part One: THE BOOK, THE BOOK, THE BOOK!

This post by Susan Malone originally appeared on her Malone Editorial Services site on 8/6/14.

Traditional publishing is in the toilet. Big news flash, right? I lined out some of the whys in my recent guest blog on Authorlink.com.

But what can we learn from big publishers’ successes and failures?  A lot.  So let’s dive in and today talk about the thing new writers are missing all over the place—putting the product, the book, first.

This really does seem like a no-brainer.  I mean, we’re writers, right?  It’s what we do—we write, we hone our craft, we study, we get critiqued, we write some more.  At least, that’s the way it used to be!

One of the issues new writers (and many seasoned ones as well, although they handle it differently) have with the Traditional folks is that this takes f o r e v e r.   Yep, it does.  At every single stage of the process, writers get to hurry-up-and-wait.  Hurry up and produce exactly what that agent, editor, etc., requests, and then sit on their hands for months and wait on responses.  It can drive a sane woman batty.  I’m in the process of getting one of my great YA writers agented, and of course, as it’s August and all of publishing is on vacation, my writer is frustrated that the agent won’t read his work until September.  Hey!  That’s actually quick!

 

Read the full post on Malone Editorial Services.

 

Adjusting To Being A Full-Time Author – Part 2

This post by Michael Hicks originally appeared on his site on 1/30/12.

In this second installment of my musings about moving from a full-time day job to writing for a living, let’s take a look at some of the financial issues you need to be aware of in the rapidly evolving industry of self-publishing…

 

Keep The Faith, But Don’t Count On Next Month’s Income

Between February and August 2011, I made a ton of money, around $105,000, from my book royalties. Not like the big authors, but more than the “modest car payment” amount I’d been making before from month to month. I had stars in my eyes and money burning a big hole in my pocket. We already had some hefty financial obligations (I’d been a well-paid federal employee, remember, and had the payments to go with it), and made some financial decisions based on “projections” that, in hindsight, maybe weren’t such a good idea.

Because in September, a month after I left NSA, sales took a nosedive after Amazon (which is where I get over 95% of my royalties) apparently changed some of its algorithms. The royalties for that month were about $7,000. Yes, that’s a lot of money to a lot of people, but in terms of our existing financial commitments, that was not good at all. Even if Amazon hadn’t changed anything, eventually your bestsellers are going to drop off the list. Otherwise, there wouldn’t be any books in the top 100 except King, Koontz, and Patterson, right?

 

Read the full post on Michael Hicks’ site.

 

The Truth about Content-Writing Mastery

This post by James Chartrand originally appeared on Men With Pens on 1/5/15.

We all know how we’d like to feel when we write.

We want to be transcendent. We want to craft breathtakingly compelling content that brings us piles of comments and eager new clients. We want words to flow from our fingers and magically appear on the page, dashing genius from our brows after four hours of taking dictation from gods on high.

We just don’t want to do the work it takes to get there.

 

That’s the problem with writers.

 

I can’t tell you how many people in my writing course, Damn Fine Words, tell me that they want to use the class to elevate their writing. To master it. To bend words to their will.

They want to be completely unique. They want to write something new and exciting. They want to find a voice that’s all their own. They want to succeed.

There’s nothing wrong with that ambition. In fact, I encourage it. But it’s often painfully clear that some people are trying to tackle a level of mastery that’s far above their current capabilities.

They’re trying to skip the first step – the boring one, the one where you have to learn the basics and fundamentals. They want to cut to the head of the line, where they get to try cool new things.

Here’s the truth about writing:

There are no shortcuts. You can’t leapfrog your way to mastery.

You have to put in the work.

 

The 4 Stages of Mastery

 

Read the full post on Men With Pens.

 

The Four Essential Stages of Writing

This post by Ali Luke originally appeared on her Aliventures site on 2/12/14.

In last week’s post, 7 Habits of Serious Writers, I mentioned the importance of actually writing, plus the need to redraft. I thought it’d be worth putting those stages into context – because they’re not all you need for an effective piece.

Every finished piece of writing passes through four stages:

Planning
Drafting
Redrafting
Editing

Sure, you can publish a blog post without doing any planning, or any rewriting and editing. Unless you’re very lucky, though (or writing something extremely short), you’ll be lacking a clear focus, the structure won’t quite work, and there’ll be clumsy sentences all over the place.

I wouldn’t call that “finished”, myself. I’d call it a draft.

The four stages don’t always have to be tackled in order. Sometimes, you’ll find that they can be combined – rewriting and editing, for instance. They don’t even have to be carried out by the same person. (I’ve written blog posts to other people’s plans, and I’ve had my work edited by others.)

But it’s crucial to be clear about what each stage involves. If you’re struggling with a particular piece of writing, there’s a good chance that you’ve skipped a step somewhere – or that you’ve tried to do everything at once.

 

Stage #1: Planning

 

Read the full post on Aliventures.

 

On Being “Discontinued”

This post by Deb Baker originally appeared on bookconscious on 12/17/14.

I’ve been writing The Mindful Reader column for The Concord Monitor since April 2012. Thirty-three columns, one a month on the Sunday book page, reviewing dozens of books, all by New Hampshire or northern New England authors, many published by small presses. It’s been a wonderful experience.

People often stop me when I’m out and about to tell me how much they liked a column, or to ask my opinion about some aspect of one of the books I read. They come into the library, where I am the librarian in charge of adult services, and our local indie bookstore, where I was once event coordinator and bookseller, to ask for the books. That’s been a thrill — there is nothing better for a writer than knowing your work not only reached someone, but moved them enough that they wanted to participate in the thing you’ve written about. And the authors I’ve heard from who are so grateful to get a published review, when so much book publicity is focused on a handful of “it” titles — that’s been great too.

This week I received a brief reply to my monthly invoice from the Monitor’s editor, who has been with the paper a few months and had never communicated with me previously. He let me know my column is discontinued and invited me to chat with him about the direction the paper would be taking. I cried — I admit it. But the next day I called him and he called me back and we had that chat.

 

Read the full post on bookconscious.

 

Living The Stuff Of Novels: The Ghostwriter’s Lot

This post by Roz Morris originally appeared on her Nail Your Novel site on 12/14/14.

In this season of the notorious Zoella ghostwritten novel, I’m getting deluged with questions from people who know I ghostwrite. What’s it like? Who have I done? Well, I can’t tell you that because it’s a trade secret. Also because to divulge the details might get me shot. (Though I can give advice on how you get into it – here’s my recent post on that.) As the nation sings Zoella, Zoella, I thought you might like this piece on ghostwriting, originally penned for Authors Electric.

Write what you know? Ho ho ho

An acquaintance from my dance classes read My Memories of a Future Life last month and has since been seeing me in a whole new light. I can tell by the thoughtful looks he gives me as we wince through stretches and wobble through pirouettes; an expression that says ‘I never knew you had that weird stuff going on…’

After class the other day he said to me: ‘that freaky scene with the hypnosis in the underground theatre… you must have been to something like that?’

‘No,’ I said. ‘It’s research and imagination.’ He looked a little disappointed.

 

Read the full post on Nail Your Novel.

 

The Death of the Artist—and the Birth of the Creative Entrepreneur

This article by William Deresiewicz originally appeared on The Atlantic on 12/28/14.

Hard-working artisan, solitary genius, credentialed professional—the image of the artist has changed radically over the centuries. What if the latest model to emerge means the end of art as we have known it?

Pronounce the word artist, to conjure up the image of a solitary genius. A sacred aura still attaches to the word, a sense of one in contact with the numinous. “He’s an artist,” we’ll say in tones of reverence about an actor or musician or director. “A true artist,” we’ll solemnly proclaim our favorite singer or photographer, meaning someone who appears to dwell upon a higher plane. Vision, inspiration, mysterious gifts as from above: such are some of the associations that continue to adorn the word.

Yet the notion of the artist as a solitary genius—so potent a cultural force, so determinative, still, of the way we think of creativity in general—is decades out of date. So out of date, in fact, that the model that replaced it is itself already out of date. A new paradigm is emerging, and has been since about the turn of the millennium, one that’s in the process of reshaping what artists are: how they work, train, trade, collaborate, think of themselves and are thought of—even what art is—just as the solitary-genius model did two centuries ago. The new paradigm may finally destroy the very notion of “art” as such—that sacred spiritual substance—which the older one created.

Before we thought of artists as geniuses, we thought of them as artisans. The words, by no coincidence, are virtually the same. Art itself derives from a root that means to “join” or “fit together”—that is, to make or craft, a sense that survives in phrases like the art of cooking and words like artful, in the sense of “crafty.” We may think of Bach as a genius, but he thought of himself as an artisan, a maker. Shakespeare wasn’t an artist, he was a poet, a denotation that is rooted in another word for make. He was also a playwright, a term worth pausing over. A playwright isn’t someone who writes plays; he is someone who fashions them, like a wheelwright or shipwright.

A whole constellation of ideas and practices accompanied this conception. Artists served apprenticeships, like other craftsmen, to learn the customary methods (hence the attributions one sees in museums: “workshop of Bellini” or “studio of Rembrandt”). Creativity was prized, but credibility and value derived, above all, from tradition. In a world still governed by a fairly rigid social structure, artists were grouped with the other artisans, somewhere in the middle or lower middle, below the merchants, let alone the aristocracy. Individual practitioners could come to be esteemed—think of the Dutch masters—but they were, precisely, masters, as in master craftsmen. The distinction between art and craft, in short, was weak at best. Indeed, the very concept of art as it was later understood—of Art—did not exist.

 

Read the full article on The Atlantic.

 

Business Musings: Things Indie Writers Learned in 2014

This post by Kristine Kathryn Rusch originally appeared on her site on 12/23/14.

I’d love to say nothing, but that’s not true—if we’re discussing indie writers who have remained in the business for several years. There will always be new indie writers who know very little, and there will always be those with “experience” who turn a year or two worth of sales into a know-it-all platform.

However, those indie writers who’ve been at this since the beginning of the self-publishing revolution in 2009 have learned a lot in 2014. Like last week’s piece, “What Traditional Publishing Learned in 2014,” this week’s will be my opinion. Next week, I’ll examine what I learned (or relearned) in 2014, before moving to brand-new topics.

A few bits of organizational business: Unlike my previous two blog series, The Freelancer’s Survival Guide  and The Business Rusch, Business Musings will appear irregularly. Sometimes it’ll show up in the old Thursday slot like last week’s, and sometimes it’ll show up on a different day like this week’s. Sometimes it’ll be long (like this week), sometimes there will be two or three posts in a week, and sometimes there will be none. If you worry that you might miss one, check back and look at the tab Business Musings under either the Business Resources or Writer Resources in the header.

Also, please note that, as in the past, I’ll be using “indie writer” instead of “self-published writer,” following the music model. I’ll also talk about “indie publishing” instead of “self publishing,” because so many writers who are not with traditional publishers have started their own presses. It’s not accurate to lump all writers who are not following the traditional route into the self-publishing basket any longer, if it ever was.

So, back to the topic at hand. What did indie writers learn in 2014? I wish they all learned the same things simultaneously, but they didn’t (and won’t). I also wish that there were indie writer financial statements, like there are financial statements for the big traditional publishers (which is what I based much of last week’s piece on).

Even if indie writers have formed corporations, those corporations are privately held, and therefore the quarterly financial reports are not public. Privately held companies do not need to list their earnings to anyone outside of the company (except the IRS), and therefore the smart ones do not.

So, in this blog post, I’m piecing together a lot of other people’s blog posts, anecdotal evidence, and just plain common sense. In other words, good old journalist me feels a bit uncomfortable, even though this is an opinion piece, because I don’t have as much quantifiable information as I’m used to for these blogs.

What have indie writers learned?

 

Read the full, very lengthy (and very much worth reading in full) post, which goes into detail on 15 specific lessons learned, on Kristine Kathryn Rusch’s site.

 

Amazon Offers All-You-Can-Eat Books. Authors Turn Up Noses.

This article by David Streitfeld originally appeared on The New York Times on 12/27/14.

Authors are upset with Amazon. Again.

For much of the last year, mainstream novelists were furious that Amazon was discouraging the sale of some titles in its confrontation with the publisher Hachette over e-books.

Now self-published writers, who owe much of their audience to the retailer’s publishing platform, are unhappy.

One problem is too much competition. But a new complaint is about Kindle Unlimited, a new Amazon subscription service that offers access to 700,000 books — both self-published and traditionally published — for $9.99 a month.

It may bring in readers, but the writers say they earn less. And in interviews and online forums, they have voiced their complaints.

“Six months ago people were quitting their day job, convinced they could make a career out of writing,” said Bob Mayer, an e-book consultant and publisher who has written 50 books. “Now people are having to go back to that job or are scraping to get by. That’s how quickly things have changed.”

 

Read the full article on The New York Times.

 

Finding Your Genre: An Epiphany

This post by Christa Allan originally appeared on Jamie Chavez’ site on 12/22/14.

If you’re not from New Orleans and you find yourself plopped in the Big Easy one day, it’s likely one of the first questions you’ll hear is “Where did you go to school?”

Here’s a “quirk alert” that will navigate you through this disarmingly simple question. If you answer with the name of a college or city or state, we’ll know you’re definitely someone who lives outside the greater New Orleans area.

When locals ask that question of one another, we respond with the name of our high school. You may have attended Harvard, been selected as a Rhodes Scholar, or graduated from the University of Paris-Sorbonne. To us, those distinctions provide little, if any, information about the real you.

But a high school? Say a name and we’ll know if it’s public, private, religious, the demographics of the neighborhood in which you were raised, where you shopped and ate, your friends … For the most part, our high schools defined us and were reference points for those who didn’t know us well. And there were anomalies, like the kids awarded scholarships to private schools or the ones who transferred to schools whose football teams won championships.

So finishing my first novel and being asked about genre was as disarming as a tourist being asked about school.

 

Read the full post on Jamie Chavez’ site.

 

13 Female Nobel Laureates In Literature

This infographic from Fresh Essays is reproduced here in its entirety with that site’s permission.

13 Female Nobel Laureates In Literature

Courtesy of: http://www.freshessays.com

 

NaNoWriMo Doesn’t Matter

This post by Chuck Wendig originally appeared on his terribleminds blog on 12/1/14. Warning: strong language.

On November 1st, NaNoWriMo matters.

On November 8th, it still matters.

On November 13th, 18th, 24th, mmm, yep, it matters.

(Thanksgiving? Only pie matters. Do not argue this.)

On November 30th? Still matters!

December 1st?

*the quiet sound of crickets fucking*

Today, it doesn’t matter.

This isn’t a dismissal of National Novel Writing Month. Not at all. I’ve come around to love the spirit around that month — a 30 day descent into the lunacy of being a novelist, equal parts fun and frustration (“funstration!”). A hard dive into creative waters. Let it fill your lungs. Drown in it.

Rock the fuck on.

But right now? It doesn’t matter. NaNoWriMo is just the wrapping, the trapping, the springboard, the diving board. It’s what got you going, but it isn’t what matters.

What matters is you. What matters is the work.

And right now, you’ve got something.

I don’t know if it’s finished or not. Did you win or lose?

Forget winning and losing.

You left those words behind when NaNoWriMo ended. What matters now is what happens next.

Don’t know what happens next? Here. I’m going to tell you. Or, at least, I’m going to give you a general idea of what happens next — a menu of permutations and possibilities.

If you didn’t finish what you started, you’re going to finish it. (Why? I told you that last week.)

And if you did finish it?

 

Read the full post on Chuck Wendig’s terribleminds blog.