Publetariat staff will be off in observance of the American Thanksgiving holiday from now through the weekend. We will resume our normal editorial schedule of posting on Sunday, November 25 at 6pm PST. In the meantime the site will remain online and members can still use the Forum and post to their member blogs. We wish all who will be celebrating a safe and happy holiday.
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This post, by Dawn Goldberg, originally appeared on her Write Well Me blog.
No matter how much we want and love to write, unless we’re terribly disciplined or have deadlines (or an editor/agent looming over us), our default activity is not writing. In other words, if we have a spare minute, a break between activities, the rare gift of an unplanned hour, do we write? Or do we fill it in with stuff that "needs to be done"? Or take a much-needed nap? Or call a girlfriend and relax? Or make plans for dinner?
I will write – after I take a shower and get dressed – and after I make the bed – and after I do the dishes.
Why do I delay? Why do those things come before writing?
For one, those other things are calling at my attention, nagging me, so I tell myself that I’ll write better if those nags are quieted. But the list of nags must be quite long because there are a lot of times that I never seem to write.
Secondly, I might be afraid of writing. I’m not where I want to be in my project. It’s stalled. I want it to be perfect, compelling, and impactful, and I’m afraid it’s not. Or it feels hard to get started, so it’s much easier to do other things.
And – here’s what I’m afraid of the most – maybe I don’t want to write badly enough more than I want to take a shower, get dressed, make the bed, and do the dishes.
When I was teenager in Texas, I’d get up in the summer early and go run. The heat, no matter how early in the morning, was oppressive. Step outside, and one hits a wall of heat. Yet, I’d invariably get up and go run in that awful furnace. Why? Because I’d rather do that than deal with my parents when they got up in the morning. Running in the heat was preferable to being around my parents. I would rather run.
So what do we need to create so that writing IS the default activity and it is THE thing we would rather do than anything else?
1. Be aware of what DOES get in the way. Pay attention. Are they always the same things (chores like cleaning the house, work tasks like returning emails, etc.) that you do instead of writing?
2. Understand why you would rather do those things. Are they nagging items? Are they delaying tactics? Are you afraid of something?
Read the rest of the post, which includes 6 additional, informative bullet points, on Dawn Goldberg’s Write Well Me blog.
This post, by Dawn Thurston, originally appeared on MemoirMentor.
Thanksgiving is a week away and Christmas is not far behind. The holidays resurrect all kinds of childhood memories. Why not spend some time this season committing your memories to paper. Even if you don’t have time to write a complete story, jot down ideas as they come to you during the holidays, ideas that can be developed later into a polished piece. Here are some suggestions to guide your thinking:
Read the rest of the post on MemoirMentor.
This post, by Bear Weiter, originally appeared on Booklife.
I’m not a write everyday kind of guy. I wish I was, and I have been at times (working on a novel seems to bring that out of me). I read comments from other writers who put in at least a few hours every day (if not more), working on their craft. I kid myself at times by thinking “they’re professional writers, that’s their job,” and while there’s a kernel of truth there, I know they all suffer from the same hecticness and interruptions as I.
The ideal is just that—writing for several hours a day, uninterrupted, churning out so many thousands of words at each sitting. During these times there would be no email, or phone calls, and no other projects demanding their share of time.
The reality for most of us is that life can’t be put on hold. There’s family, and work, other commitments, and other distractions. For me specifically, I work for myself—which means I need to be responsive to clients if I wish to continue working for myself. My work is full of ups and downs (busyness wise), and when I’m busy it’s best that I remain busy.
It is during these times when you need to realize what your priorities are. Is writing—or some other creative endeavor—critical to you? Is it worth sacrificing at least a little time to keep it going? I assume if you’re reading this then it is—I know it is for me.
There’s the big solutions—organize your time, plan, prioritize, keep lists, block out your calendar, etc. Or, you can take smaller steps—take snippets of time from other activities: write while watching TV (if this is family time, join in on the TV watching but wear headphones so you can focus on your work), while eating breakfast or lunch, during your commute (please not while driving!), in bed before falling asleep or when you just get up. Steal a half an hour here, an hour there, whatever you can get away with.
Read the rest of the post on Booklife.
This post is from Steampunk.com.
This is a good question that is difficult to answer.
To me, Steampunk has always been first and foremost a literary genre, or least a subgenre of science fiction and fantasy that includes social or technological aspects of the 19th century (the steam) usually with some deconstruction of, reimagining of, or rebellion against parts of it (the punk). Unfortunately, it is a poorly defined subgenre, with plenty of disagreement about what is and is not included. For example, steampunk stories may:
– Take place in the Victorian era but include advanced machines based on 19th century technology (e.g. The Difference Engine by William Gibson and Bruce Sterling);
– Include the supernatural as well (e.g. The Parasol Protectorate by Gail Carriger);
– Include the supernatural and forego the technology (e.g. The Anubis Gates by Tim Powers, one of the works that inspired the term ‘steampunk’);
– Include the advanced machines, but take place later than the Victorian period, thereby assuming that the predomination by electricity and petroleum never happens (e.g. The Peshawar Lancers by S. M. Stirling); or
– Take place in an another world altogether, but featuring Victorian-like technology (e.g. Mainspring by Jay Lake).
“It’s sort of Victorian-industrial, but with more whimsy and fewer orphans.”
– Caitlin Kittredge
There are probably plenty of other combinations I’ve forgotten, but that’s steampunk as a genre in a nutshell. Steampunk has also cross-pollinated its way into other genres, so there is steampunk romance, steampunk erotica, and steampunk young adult fiction. I haven’t spotted any steampunk picture books yet, but I won’t be surprised when I do.
Read the rest of the post on Steampunk.com.
This post, by Gayle Carline, originally appeared on the Crime Fiction Collective blog and is reprinted here in its entirety with that site’s permission.
One thing all fiction writers must do is build tension in their stories. No matter the genre, the main character must have a goal and be thwarted at every turn from achieving that goal. The cop wants to catch the serial killer, but is given false leads. The sleuth opens a cabinet that holds an important clue, but is conked over the head with a teapot. The handsome cowboy is set to ask out the cute barmaid, but is told by her psycho-stalker roommate that she’s a lesbian.
It’s always something.
One of the things I have to do is put my P.I. in dangerous situations. I don’t like danger myself. I don’t walk down dark alleys, don’t snoop around where I’m not wanted, and have never been in a physical fight, unless you count the time my mare bit me and I smacked her with the hose. I don’t even open other people’s medicine cabinets when I’m visiting, unless I’m looking for dental floss to dig out that piece of overcooked brisket wedged in my molar.
Honest, that’s all I’m looking for.
If I made a horror movie, it would last exactly five minutes. When I heard the weird noise outside, I would not go out looking for the source, carrying a candle and wearing a negligee. For one thing I don’t own a negligee. What I would do is call 911, turn on all the lights, gather every weapon and sharp object in the house and barricade myself in the back bedroom. And… credits roll (police sirens in the background).
So putting Peri in the line of fire is not easy for me. I like Peri. I don’t want her to be injured or killed. But I’ve read armchair detective stories and I’m just not as interested in the action if the main character is not in the thick of things. Secondary characters in danger don’t get me as involved as when it’s happening to the protagonist. So Peri must go where I don’t want to tread.
Apart from my own fear, I confess, when I begin to write a scene where Peri is going down the dark alley or snooping around, I am actually afraid that the scene is going to get out of my control and Peri will be boxed into a corner with no escape. I have written plenty of scenes where I want them to go in one direction and my characters revolt and march off the opposite way. What if the danger doesn’t go the way I plan? What if the villain is a step ahead of her and she walks into an ambush?
I know what you’re thinking: just rewrite the scene. (Okay, you’re probably thinking I’m loony as a Toon, too, but let’s leave that for another post.)
I’d like to think I can rewrite the scene, but I can’t. I mean, I can, but the original version will haunt me. All the time that I spend revising that chapter so that she gets a phone call just before she opens the door, which delays her enough to figure out that she’s being set up, I’m still thinking: nice dream but I know she really walked straight into that gunfire.
So when I begin an action scene, I decide on the outcome first. Is Peri left unconscious? If she gets shot, where? Once I know how she will survive, then I imagine rewinding the scene and playing it backward, so to speak. This way, I can direct the action from the start so it ends my way.
After all, I can’t depend on my characters to do it for me.
So, writers, how do you thrust your characters into the line of fire? And readers, how much do you trust an author to take you to that edge without driving you over it?
Publetariat’s staff is off in observance of Veterans Day, which is a national holiday here in the United States and is also observed in some other countries as Remembrance Day or Armistice Day. No new content will be posted to the site until 6pm PST on Monday, 11/12/11, when we will resume our normal editorial schedule. Members can still post to their own Publetariat blogs, and the forum will remain open, but new registrations, moderated comments and contact form messages will not be processed during this break.
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This post, by Larry Brooks, originally appeared on his Storyfix site.
Also known as, “The Attack of the Whopper Coincidences.”
Or, “Four Plot Points and a Funeral.”
Or, “Dancing with the Deus ex Machina.”
A good story is very much like a romance. Not terms of genre – what you’re about to read applies to all genres – but in the sense that the relationship between concept and execution, as well as writer and reader, is a love story.
It’s about initial attraction and chemistry. Gratification, fascination, and soon, a deeper meaning and purpose.
It always starts out so… well.
Then, ultimately, it becomes about something else, too. Like, living together. The pursuit of harmony. Always the intention, rarely the case. Because the deeper you go, the harder it gets. The deeper you go together, the more it relies on work instead of the hormones that got you into this.
And that’s where the wheels come off in many stories. But you don’t see these stories… because they don’t get published. Not matter how sexy the original idea.
There are so many ways to mess up a great idea.
The first is to actually try to turn an idea into a story… before you turn it into a compelling concept. Maybe your idea arrived fully cooked as a viable concept, but that rarely happens (which begs the question, can you tell the difference?).
You can plan or you can pants, but the search for story is an inevitable part of the romance between you and your original idea. Skip that courtship phase and you’re likely to end up with a broken heart.
A story is never built on a single idea.
Launched, perhaps, but the ensuing exposition is nothing if not a series of subsequent and subordinated narrative ideas – decisions – along the way.
Each one is a chance to make or break the whole dramatic enchilada. Thus…
The second realm of story death comes with the inevitable challenge of making those ideas work. It’s a qualitative thing, the very essence of art (and you thought art was the sum of all those pretty sentences)… the difference between superstar authors and the rest of us.
This is where so many writers trip up, falling victim to the siren song of the original idea (which, you soon realize, was only in it for the money from that first sizzling glance across a crowded room…).
The mechanics of exposition can kill your concept.
Because this is where writers get desperate. They are in a corner (one into which they have written themselves) and they know it… so they jump the shark. They change lanes from credible to unlikely, from necessary to eye rolling.
Happens all the time. I know this because I read unpublished stories for a living. And I’m here to tell you, it’s a deal killer.
An effective story needs to change along the way to the climax.
It needs to evolve. Hidden things need to be unearthed. Old assumptions need to be overturned. Surprises need a door through which to enter the narrative.
Your hero needs to discover things. Find out stuff.
This is the machine of your story. The backbone of dramatic exposition. Every story is a machine, and it is the concept that defines the scope of what the machine needs to accomplish along the way.
Each story beat is a connection, a weight-bearing moment of forward-motion.
And too often, writers make those connections using the prize from a Crackerjack box or a page from an old comic book instead of a finely calibrated fire-forged, finely milled, ingenious steel bolt welded solidly, logically into place.
Read the rest of the post on Storyfix.
Introduction
Your book’s introduction is a quick way for you, the author, to explain how your book is going to help the reader. This explanation is what will make your introduction a powerful sales tool for you to use to hook the reader into buying your book and reading it. Buyers of your book don’t care why you wrote this book. They just want to know how your book can help them improve their life. Your book’s introduction gives you an opportunity to convince the buyer that your book is the best one out there that can help them. To do this you should include the following five parts in your book’s introduction.
1. The Hook – Why Should They Buy Your Book?
Answer this question properly, and you will sell more books. Here you must compel your potential buyer to read more of your book, so they will want to buy it. To do this you must grab the reader’s attention. Grab them with a telling snipped from your book, or a shocking news headline, or dramatic facts and statistics, or a famous quote. What are their concerns or challenges that your book will help them solve? Put yourself into their shoes, and explain why they should buy your book.
2. The Connection – Describe Your Reader’s Problem
Here you must make an emotional connection with your reader. You wrote the book, so you must really understand the challenges, problems, and risks, etc., that have caused your audience to seek out your book. Why is your audience having these issues? Why haven’t they been able to solve them? Why are these issues so hard to fix or solve? Explain to your audience why and how you know about these questions. Convince them that you are the one with the answers and that you want to share this information with them.
3. The Benefits – How Will Your Book Help The Reader?
The benefits to the reader are what will sell your book, so include several of your most important benefits. The reader is only considering buying your book and reading it because of the benefits that the reader will gain. Include some general benefits, and several specific benefits to reading your book. Keep explaining why they should buy your book. For example, “You will learn how to . . .”; Discover ways to . . .”; "You will improve your . . .".
4. The Format – What Will Happen In The Coming Chapters?
Here you will give the reader a quick idea about how your book is arranged. Your book’s table of contents has already given the reader a quick glimpse of how your book is arranged and what it will discuss. But here you will tell the reader about some of the other features that are not reflected in the table of contents. For example, tell the reader about the side-bars, tips, facts, stories, interviews, quotes, pictures, diagrams, appendix, etc., that you use to illustrate or enhance your chapters.
5. The Invitation – Entice The Reader To Read On
This is the conclusion to your introduction. Just like in a standard conclusion to an essay, quickly summarize what you have been saying in your introduction. Then close the paragraph quickly and enthusiastically with a very short invitation to turn the page and keep reading your book. For example, “Turn the page and let’s get started”; “Onto chapter one”; “Let’s get started”; “Turn the page and let our journey begin”.
Conclusion
If you don’t use these simple sections in your book’s introduction, you may never achieve the level of sales that you and your book deserve. On the other hand, write a simple and straight-forward introduction with these five sections, and readers will want to buy your book.
This article was written by Joseph C. Kunz, Jr. and originally posted on KunzOnPublishing.com
What Is The Purpose Of The Preface?
The book preface (PREF-iss, not PRE-face) is a short explanation about why you wrote your book. The book introduction, on the other hand, is all about the benefits the reader will get from reading your book. The preface is about you, and the introduction is about the reader. But never forget, both should be written by the book’s author, and that both must show your passion and thereby make an emotional connection with the reader. In contrast to the preface and introduction, the book’s foreword is not written by the book’s author. It is written by a guest author, generally a person that is well know within a certain industry, that can bring third-party credibility to you, the book’s author.
What Is The Structure Of The Preface?
The preface discusses the story of how your book came into being, or how the idea for your book was developed by you, the author. In order to be a successful marketing tool, it must be written to show your passion for the subject matter, and your inspiration for writing the book. Here is your chance to infect the reader with your passion for the topic you have written about. Show the reader that you are a kindred spirit and have a passion in common. Here your aim is to make the readers empathize with you and identify your genuineness in writing the book. Answer questions such as “How was the concept of the book born?”; “How did you think of writing the book?”; “What are you trying to achieve by writing this book?”; “What are your qualifications to write this book?”; “What other books have you written?” The explanation to these questions can be autobiographical. You can tell the background, the context, and the circumstances in which brought you to write this book. The bottom line must be, “Why did you write this book?”. Be very clear and honest about this. And always write in the first-person, and in a friendly manner. Also, use your own voice when writing this way, and speak directly to your audience.
How Do I Close The Preface?
The main body of the preface is followed by a statement of thanks and acknowledgments to people who were helpful to the author during the writing of the book. If the list of acknowledgements is too long, a separate section should be created just for the acknowledgements. Alternatively, some authors use both sections within the same book, and use the acknowledgements page for the most special contributions – and the lesser contributors are kept in the preface. Another alternative that some authors use it to combine the preface and the introduction into one section and label it as the introduction. And finally, the book preface is signed by the book’s author, along with the date and place of writing. Fini.
This article was written by Joseph C. Kunz, Jr. and originally posted on KunzOnPublishing.com
Introduction
Your book’s introduction is a quick way for you, the author, to explain how your book is going to help the reader. This explanation is what will make your introduction a powerful sales tool for you to use to hook the reader into buying your book and reading it. You must understand that buyers of your book don’t care why you wrote this book. They just want to know how your book can help them improve their life. Your book’s introduction gives you an opportunity to convince the buyer that your book is the best one out there that can help them. To do this you should include the following five parts in your book’s introduction.
1. The Hook – Why Should They Buy Your Book?
Answer this question properly, and you will sell more books. Here you must compel your potential buyer to read more of your book, so they will want to buy it. To do this you must grab the reader’s attention. Grab them with a telling snipped from your book, or a shocking news headline, or dramatic facts and statistics, or a famous quote. What are their concerns or challenges that your book will help them solve? Put yourself into their shoes, and explain why they should buy your book.
2. The Connection – Describe Your Reader’s Problem
Here you must make an emotional connection with your reader. You wrote the book, so you must really understand the challenges, problems, and risks, etc., that have caused your audience to seek out your book. Why is your audience having these issues? Why haven’t they been able to solve them? Why are these issues so hard to fix or solve? Explain to your audience why and how you know about these questions. Convince them that you are the one with the answers and that you want to share this information with them.
3. The Benefits – How Will Your Book Help The Reader?
The benefits to the reader are what will sell your book, so include several of your most important benefits. The reader is only considering buying your book and reading it because of the benefits that the reader will gain. Include some general benefits, and several specific benefits to reading your book. Keep explaining why they should buy your book. For example, “You will learn how to . . .”; Discover ways to . . .”; “You will improve your . . .”.
4. The Format – What Will Happen In The Coming Chapters?
Here you will give the reader a quick idea about how your book is arranged. Your book’s table of contents has already given the reader a quick glimpse of how your book is arranged and what it will discuss. But here you will tell the reader about some of the other features that are not reflected in the table of contents. For example, tell the reader about the side-bars, tips, facts, stories, interviews, quotes, pictures, diagrams, appendix, etc., that you use to illustrate or enhance your chapters.
5. The Invitation – Entice The Reader To Read On
This is the conclusion to your introduction. Just like in a standard conclusion to an essay, quickly summarize what you have been saying in your introduction. Then close the paragraph quickly and enthusiastically with a very short invitation to turn the page and keep reading your book. For example, “Turn the page and let’s get started”; “Onto chapter one”; “Let’s get started”; “Turn the page and let our journey begin”.
Conclusion
If you don’t use these simple sections in your book’s introduction, you may never achieve the level of sales that you and your book deserve. On the other hand, write a simple and straight-forward introduction with these five sections, and readers will want to buy your book.
This article was written by Joseph C. Kunz, Jr. and originally posted on KunzOnPublishing.com
This post, by Carolyn Jewel, originally appeared on Girlfriends Book Club.
Every year for the last several years, I’ve signed up for NaNoWriMo (National Novel Writing Month) and failed.
In case you don’t know, NaNoWriMo occurs during the month of November and participants all have the single goal of writing 50,000 words. That’s about 1,600 words a day.
My friend Rachel Herron (Check out her website at YarnAGoGo.com) sold her NaNoWriMo novel, by the way. She’s a wonderful writer. So am I, I swear! but I remain a NaNoWriMoFa.
I even failed the two years I was invigorated, inspired, and pumped up by attending talks by NaNoWriMo founder Chris Baty. He spoke at my Uni when I was in grad school, and a few years later, at my RWA chapter. He’s an inspiring speaker, so if you ever get the chance to hear him, GO!
I have copious excuses, of course. Some of them are lame and some of them are really good. When I was in grad school, my son was quite young, I was working full time, and I was under contract for more books. I was quite busy and I had my schedule worked out to the point where every moment was spoken for. There was no wiggle room for adding stuff.
A couple of years I was writing a book anyway, but when November hit, both times I was in the Deleting Crap Phase and I ended up with negative word count. And a way better book by the end of December when I was in the Writing Way Better Stuff phase.
Read the rest of the post on Girlfriends Book Club.
This post, by Ed Robertson, originally appeared on David Gaughran’s Let’s Get Digital site.
There’s a lot of talk at the moment that cheap books are destroying the industry.
In traditional publishing circles especially, fingers are being pointed at self-publishers (and their chief enablers, Amazon), who stand accused of encouraging a race to the bottom, of devaluing books, and training readers to pay ever-cheaper amounts – making the whole book business unsustainable.
Today, I have a guest post from Ed Robertson – author of Breakers and Melt Down – which takes issue with that view. His logic is compelling, based on a historical look at book prices. This is really worth the read:
Self-Publishers Aren’t Killing The Industry, They’re Saving It
I’m a self-publisher. An indie author. Whatever you want to call me. I’ve read many articles about how self-publishers are killing the book industry. I’ve heard it from big publishing houses. From the president of the Author’s Guild. From traditionally published novelists and agents and even other self-publishers. If I want, I bet I can find a new one of these articles every single day.
But I won’t, because I no longer believe them.
Self-publishers don’t have the power to kill the publishing industry. I don’t think anyone does. But we do have the power to change it. We already have – and paradoxically, this change isn’t a change at all. And instead of killing books, this change has helped resurrect them.
We aren’t the first to be accused of killing the industry. In 1939, Robert de Graff threatened to kill publishing, too. At the tail end of the Great Depression, when hardcovers regularly sold for between $2.50-$3.00, he started selling paperback Pocket Books for $0.25.
To put that in 2012 dollars, hardcovers cost roughly $40-50. The new paperbacks, the first of their kind in American markets, cost the equivalent of $4.16. In modern terms, a book that once cost as much as a coffee maker now cost as little as a cup of coffee. A book that once cost as much as a full tank of gas now cost as little as a gallon.
In just over five years from that 1939 launch date, Pocket Books sold 100 million paperbacks.
But it wasn’t all high fives around the burgeoning paperback business. One publisher at Penguin was so aghast at the tawdry covers on his books he wound up selling off the entire line. Others worried openly about the death of the hardcover industry. On the concept of skipping hardcovers entirely and printing straight to paperback, even Pocket Books’ own VP Freeman Lewis said, “Successful authors are not interested in original publishing at 25 cents.”
But they were, of course. Particularly genre writers who didn’t care if this new format was disgraceful. Because it sold. Readers bought their books by the millions. As the format was being denounced as the playground of hacks, authors like William S. Burroughs and Philip K. Dick got their start with bargain-priced paperback-only prints (specifically, with Ace Doubles that sold two novels bundled for $0.35). The history of the era is fascinating – a short yet rich article recaps it here – but what is most interesting to me is that initial $0.25 price.
Read the rest of the post on Let’s Get Digital.
So… I am someone who has long scorned the idea of “having a set of writing rituals before starting to write.” I didn’t like the idea of having these little OCD things I had to do before writing. Or these “stalling techniques”, however one chooses to look at them. But I’m thinking perhaps I was looking at the situation all wrong. Sure it ‘could’ become a little OCD. It ‘could’ be a form of procrastination. But it also ‘could’ be a way of training your brain to get you into the right frame of mind to write.
This is a little bit related to the question of ‘where to write’. I never considered that very important either. Have laptop, will travel. Anywhere and everywhere was “where to write”. But I’m beginning to look at that differently as well. Especially given my tendency to go long stretches of “working all the time” and then long stretches of “barely working at all” (which doesn’t balance out to optimum productivity in case you thought it did). I have no balance.
The benefit and the problem of working for yourself from home is that you can do anything you want. It’s a benefit for obvious reasons but it’s a problem because it can become this unstructured free-for-all where you don’t know where your work ends and your life begins or vice versa. And maybe these walls are all artificial anyway and unnecessary. That’s what I thought for awhile, until I started feeling like I was in constant limbo. While working I wanted to be or could be “not working”. While not working I wanted to be or could be “working”.
It started to become impossible to be in the moment of what I was doing because there were no boundaries. I’ve worked in nearly every room of my house at all sorts of wacky hours of the day, to the point that everything has blurred together and my home is my workplace. Not in the sense of: “it’s where I work”, but in the sense of seeing it more like a workplace than like a home. It would be like living in the back office of Amazon or something. Does Amazon even have a back office? They probably have 500 of them.
Anyway. So I was thinking… what I really need is some routine and structure in my life and a clear separation of work and home. So I thought about renting an office. Not like traditional commercial rental but a single SMALL office for one person to sit in with a desk and work. Or some kind of “coworking” situation where there are multiple cubicles and you’re only renting one of them. It would basically force me to get up and be up during normal work hours that other humans work, get ready, get out of the house, and “go to work”. Very clear separation.
I mean it’s not perfect. There is the tedium of getting ready and commuting and eating up time and gas money. And then the ongoing office expense. But it’s definitely a clear work/home separation and more mentally healthy than what I’ve been doing.
I called a few places that had the sort of thing I was looking for and talked to them but one of the places had no vacancies, and the other one only had large offices currently available (translation: expensive!) or a coworking situation but there weren’t even cubicles. And really… honestly… I need a door, or some sort of subdivided semi-private space in which to work.
I’m sure I could sublet some cubicle in some back corner or some small closet of an office somewhere. I’m sure there are plenty of businesses that have more space than they actually need/use and they wouldn’t mind someone subletting a little of that space from them for a few hundred bucks a month. But, I DO have a spare bedroom in my house.
I haven’t turned it into an office yet because at first I thought I didn’t really NEED a dedicated office because I can “work anywhere”. And then, once it became clear to me the perils involved in that… I thought that just setting up a home office surely wouldn’t/couldn’t be enough. But Tom says I’ll be surprised if I am consistent and don’t play in the office or work in any other part of the house and keep consistent office hours. (This is based on his personal experience going through what I’m going through and then having his own office when he worked from home for himself in the past.) Sure, this doesn’t get me out of the house, but if I can keep the routine and the separation, then I can shave off the time I’d spend commuting and be finished with work faster and have a bit longer free time for the rest of the day… time during which I can leave my house and interact with others.
So I’m going to try the home office thing first. I’ve got a great room that is literally a blank canvas with nothing in it. I’m going to set it up in a way where it is functional and has a ‘professional’ feeling but also where it has a creative feeling so that it’s a place I want to go to work and create. I’m going to spend a little on this because otherwise I was going to spend a lot spread out over indefinite months to rent space that I’d probably still want to spruce up a bit.
I’m going to try to be consistent with the room being specifically for work and not bringing work out into the rest of my life or the rest of my life into work, and keeping sane, consistent work hours. If I do these things, it may be enough structure/separation. If not, I could look into an off-site option. But I was also thinking about the kind of specific environment I want to create in, and the truth is that I have a lot more freedom to create that environment in space that is truly my own than in a rented cubicle or nook.
And then I got to thinking about how I’ll probably have my own coffee maker in my office so during work time I’m spending my time mainly “in my office” and not wandering all over the house in various procrastination exercises… like hot beverages. That was what led me to the idea of rituals and how I’ve poo pooed both the idea of pre-writing rituals and a specific space/room for writing.
But structure and routines are important both to make life feel more organized and manageable and also to get into the mindset you want to be in for various activities. So I’m going to try this space and ritual thing to see if that helps me to create the kind of structure and routine that I need to keep my writing sanity.
I’ve always felt writing was a form of magic. Why wouldn’t one have ritual and significant space for that?
This is a reprint from The Weblog of Zoe Winters.
This post, by Philip, originally appeared on YouOffendMeYouOffendMyFamily.
I met a couple of kids over the weekend who hope to grow up and become writers. That’s always inspiring to hear but I also wonder if they really understand the struggles and hardships that await. So for them and anyone else who writes or wants to write or loves writing, here are a few of the quotes I’ve collected over the years on this “noblest of professions.”
…I had decided that the only thing I was fit for was to be a writer, and this notion rested solely on my suspicion that I would never be fit for real work, and that writing didn’t require any.
– Russell Baker
When you start writing you’re 98% pure writer and 2% critic. After you’ve written for a length of time, you’ve learned a great deal about your craft, and you’ve become 2% pure writer and 98% critic. It’s like writing uphill.
– David Westheimer
As a writer, I need an enormous amount of time alone. Writing is 90 percent procrastination: reading magazines, eating cereal out of the box, watching infomercials. It’s a matter of doing everything you can to avoid writing, until it is about four in the morning and you reach the point where you have to write. Having anybody watching that or attempting to share it with me would be grisly.
– Paul Rudnick
Make visible what, without you, might never have been seen.
– Robert Bresson
Writing is easy. All you do is sit staring at a blank sheet of paper until the drops of blood form on your forehead.
– Gene Fowler
Most playwrights go wrong on the fifth word. When you start a play and you type ‘Act one, scene one,’ your writing is every bit as good as Arthur Miller or Eugene O’Neill or anyone. It’s that fifth word where amateurs start to go wrong.
– Meredith Willson
There was a time when making ‘Barney Miller’ a hit on the air was my life. I cared about nothing else. That was all I was concerned with. And I told my wife and I told my children if it costs me my relationship with my family, I’m committing five years of my life to making the best television show I can possibly make. Whatever it costs, under any circumstance. And I hocked my house, and I gave up my salary and I did everything to give the show a chance to start going. And that’s what you have to do.
– Danny Arnold
Hollywood is the only town where you cannot fail. You can only quit trying.
– Dennis Foley
Millions are to be grabbed out here and your only competition is idiots. Don’t let this get around.
– Herman Mankiewicz telling fellow journalist Ben Hecht about Hollywood
My chief memory of movieland is of asking in the producer’s office why I must change the script, eviscerate it, cripple and hamstring it? Why must I strip the hero of his few semi-intelligent remarks and why must I tack on a corny ending that makes the stomach shudder? Half of all the movie writers argue in this fashion. The other half writhe in silence, and the psychoanalysts couch or the liquor bottle claim them both.
– Ben Hecht
Writers are lucky. Whatever the mood, no matter the longing, the writer can use his words to connect himself to any world he wishes to visit.
– Alan Zweibel from “Bunny Bunny: Gilda Radner: A Sort of Love Story.”
Whenever you write, whatever you write, never make the mistake of assuming the audience is any less intelligent than you are.
– Rod Serling
Read the rest of the post on YouOffendMeYouOffendMyFamily.