9 Great Gifts For Writers

Got a temperamental writer on your holiday list and don't know what to buy him/her? Here are some of my favorite tools of the trade.

1. Great Pens.  My husband picked up a few of these awesome MUJI Gel-Ink Pens ($1.50 each) for me during a layover at JFK. The ink doesn't skip, bleed, or leak and writes like buttah. He brought back three different points, but the .7mm point was my favorite--especially for the Sunday New York Times crossword puzzle. The pens quickly disappeared as soon as my daughters discovered them which had me reaching for my second favorite pens, the Uni-Ball 207 Impact Gel Pen, Bold Point.

2. Travel Notebook.  Although I do most of my writing on my computer, I try to keep a small notebook handy to jot down ideas. I love Moleskin journals--especially for travel. They are so beautifully made, it's a pleasure to write in them. This Moleskin Classic Reporter Notebook ($12.95) appeals to me because it opens flat and has a slim profile.

3. Writing Software. I'm not a shill for the company, but I would be if they asked. Scrivener 2 for Mac OSX or Windows ($38-$45) is the best writing tool I've ever purchased. It's a very deep program and and requires a little time investment in watching some free online tutorials before you get started, but the hours this program has saved me is totally worth it. Whether you're a novelist, screenwriter, non-fiction writer, or student, Scrivener keeps your ideas, notes, and sources organized. My favorite feature: moving scenes is as easy as a quick drag-and-drop instead of the cumbersome cut and paste routine found in traditional word processing programs.

4. A Hot Beverage. It's impossible to start the writing day without some sort of hot beverage to get the gears turning. I like to fill my little FORLIFE: Q Teapot with Jasmine Silver Needle or Earl Grey Lavender tea. I was never a coffee drinker until a trip to Europe, when a friend introduced me to the world of espresso and now I have an unreasonable attachment to my Nespresso Citiz Machine ($249) and their Roma coffee.

5. Reading Journal.  I received this adorable little What I Read Reading Journal ($8) for Christmas last year and I just love it. Think of it as Goodreads for Luddites. It helps me keep track of what I read and my impressions of each book--a crucial aspect of the writing process. 

6. Membership to a Professional Writers' Association.  There are writers guilds and associations on both a state and national level that exist solely to promote the interests of authors. Some offer of group medical insurance, legal and contract advice, opportunities for  education, promotion and networking. Memberships vary from $25-100. No working writer should be without a guild membership!

7. Gift Card to a Favorite Café. I usually work at home. I resisted working at a café for a long time because I'm easily distracted by noise and the thought of someone reading over my shoulder. A week of cabin fever several months ago, however, forced me out of the house. I couldn't believe how much work I got done. Two things I had failed to realize about the beauty of working in cafés: 1) Your butt stays in the chair because you're not about to go wandering off without your computer, and 2) If you don't go out of your way to establish WiFi access, you can't get distracted by the Internet. Now I like working in cafés, especially when I have a deadline looming. And it sure is nice to have a gift card tucked in my wallet, waiting for me.

8. A Private Office. This one is for you big spenders. The ultimate luxury for a writer is a private retreat and I've been eyeballing this customizable, pre-fab beauty from Studio Shed for years. While I won't be able to afford it anytime soon, maybe some lucky reader can get one and tell me how wonderful it is. Just looking at it makes me feel peaceful and productive.

9. A Book on Writing. Nearly every writer loves reading about the process--it makes us feel we're accomplishing something, even when we're not. What are my favorite writing books? You'll have to check my next blog post, when I list my 9 Favorite Books for Writers. 

What are your favorite tools of the trade? Please share!

Unless You're an Apple Pie, Not Everyone Is Going to Love You

Who is your audience? Do you write to please everyone?

Genre writers have a pretty good handle on who their readers are, but those of us who write in the more nebulous categories of general or literary fiction don't always have a good grasp of our audience. Since our work transcends literary boundaries we sometimes make the mistake of thinking it transcends demographic boundaries, too. We want our book to be the one that everyone is reading in the subway car, on the beach, in the airport. We want our book to be the one that cuts across all audiences, that appeals to grandmas, hipsters, and middle-aged men alike. We secretly hope that our book will be the one that will unite the world and usher in a period of world peace--or at the very least, be at the top of the bestseller list for an obscene length of time.

I'm a firm believer in dreaming big, but there's no point in shooting for the unattainable. You can't be everything to everyone. There's almost nothing you can create that will hold universal appeal. Take the demographic groups I cited above--grandmas, hipsters, and middle-aged men--what common interests could these three diverse groups possibly share?

Universal appeal is rare and usually contains sugar.

Stereotypes aside, the point I'm trying to make is that unless you're a homemade apple pie, odds are you're not going to be able to make everyone love you or your work. And that's okay.

In a recent interview with America's Test Kitchen, celebrity chef Mario Batali discussed his process for designing a restaurant. His advice to budding restauranteurs? Articulate your concept in two or three sentences so that potential customers can decide if they want to be part of that experience or not.

Likewise, the very successful big box store, Target, designs their stores to appeal to college-educated, female consumers aged 30-50, many with children still living at home. What do Mario Batali and Target have in common? They are not trying to be everything to everybody. 

This is not to say that you should pick a demographic and then write toward that particular group. As writers, our audience tends to pick us--not the other way around. When I was working on a publicity strategy for THE GREATEST MAN IN CEDAR HOLE, I imagined my audience would be made up of middle-aged ladies who were avid readers. When I attended a few book groups, however, the older ladies had a tepid response compared to the younger members of the group. Now, several years removed from the release of that book I have a much clearer (and surprising) idea of who made up the core audience--95% of my fan mail, positive reviews, and mentions in favorite book lists has come from men, ages 25-35. Not that I Google my book or anything...

The take away here is obvious, but worth remembering: You should always write for yourself first, but when your work reaches the wider world don't feel slighted if it doesn't suit some people's tastes. Having a narrow audience can be a good thing. In the words of author Paul Coehlo, "If you try to please everyone, you will be respected by no one."

Company and a Deadline

The book club I belong to just finished reading NIGHT CIRCUS by Erin Morgenstern. It's a beautifully written novel about a circus that appears out of nowhere in the middle of the night. The visual and fantasy elements are just breathtaking. I don't want to give anything away, so let's just say that this is Morgenstern's first novel and it is so highly accomplished for a young writer that I can't wait to see what she'll do next.

During the course of the book club's discussion, one of the members mentioned that NIGHT CIRCUS had been a NaNoWriMo project. For those of you who are unfamiliar with NaNoWriMo, it stands for National Novel Writing Month--which just so happens to be November. Writers who are up for the challenge pledge to write 50,000 words during the course of the month. For accountability and commiseration, you can register your project at the NaNoWriMo website and discuss your work on the message boards.

When it was revealed that NIGHT CIRCUS was a NaNoWriMo project, the reaction among the book club members was interesting. "She wrote all this in a month?" one woman said, waving the thick novel in the air. The members were astounded by such a feat but fully believed it was possible. The two writers in the group (I, being one of them) shook our heads. "No, she didn't," we assured them. "You can't write something like that in a month."

But how could I be so sure? Just because I couldn't pull it off doesn't mean someone else wasn't capable of it. I mean, anything is possible, right? Literary history is peppered with stories of writers hitting a vein just right and having the story pour out in one quick burst. Still, it was highly unlikely. If the book club believed it was possible to complete a novel in a month, then I started thinking that many NaNoWriMo writers must believe the same thing. It begs the question, "Just how much did Erin Morgenstern manage to write in a month?

Apparently, I'm not the only reader who's wondered the same thing, because Morgenstern's website has a FAQ page that addresses the NaNoWriMo question. Basically, she participated in the NaNoWriMo challenge over the course of three Novembers and then took the writing she produced and spent the next two years discovering the story. During that time, the manuscript went through countless changes. In fact, Morgenstern says that she wrote over 100,000 words that don't even contain the main character of the finished novel.

I'm not going to say "Told you so"...but....

Morgenstern writes on her website: "I think NaNoWriMo is a brilliant idea and gives you two magical things: company and a deadline."

Well put. All this, fellow writers, is a roundabout way of saying that while the NaNoWriMo challenge is a valuable exercise, it's important to keep it in a proper perspective. If you are expecting to produce a finished manuscript by the end of the month, you will most likely be disappointed. Doing so would verge on the superhuman. The one goal to keep in mind is to produce a lot of words and to push forward without listening to the inner perfectionist that loves to keep you paralyzed with self-doubt. If you work hard, at the end of the month you will end up a wonderful jumping off point. And that's when the real work begins. Who knows? Maybe you'll write something as wonderful as NIGHT CIRCUS.

Are you participating in NaNoWriMo? Have you had success with it? What is the value of it for you?

Will Write For Food

I'm a latecomer to artist/musician Amanda Palmer's TED talk, but her thoughts on the changing relationship between artists and fans may be even more relevant now than it was in 2013. In her talk, Ms. Palmer argues that artists shouldn't sell their work--instead, they should give it away for free and trust that their fans will be generous enough to support them.

Ms. Palmer gives numerous touching examples from her own life where this patron/artist model has worked for her: an immigrant family that gave up their beds for the night so her crew could have a place to stay; a nurse that drove across town to deliver a neti pot when Ms. Palmer requested one on Twitter; a sheepish downloader who handed her a $10 bill by way of apology. It's clear that Ms. Palmer has many fans and this system really works for her.

I love her message of allowing people into your life and not being afraid to ask for help. I'm a firm believer that most people have generous hearts and jump at the chance to help when given the opportunity. I admire the close relationships she's developed with her fans and how she uses social media to connect with them.

Still, I have to admit I'm struggling a bit with the overall message. Somehow, it feels like this barter-economy cheapens art.

Part of the reason why the music and publishing industries are experiencing growing pains is that no one can seem to agree on how much a creative work is worth.  Even Hachette and Amazon can't agree on the price of an ebook. We can price out the cost of paper, bindings, and distribution to determine the physical cost of production, but when the book is turned into a digital format it becomes immaterial. We are forced to put a value exclusively on the content.

How do we quantify the personal experience, the imagination, the skill that goes into writing a book? Even if we determined that a writer should only be reimbursed an hourly wage--say, for the sake of argument, a paltry $1 per hour--most books would costs thousands of dollars to produce. As a culture, we view the artist's time as free, and by extension, their work, too. We balk at $24 hardcovers and $12 ebooks, but happily fork over the same amount for a meal out, alcoholic drinks, or another t-shirt that we probably don't need.

Ms. Palmer touches upon an economic truth--an object's value is based on what someone is willing to pay for it. Sadly, a great many of us have decided that we don't want to pay much at all for books or music. Has our collective attitude toward artists gotten so low that Ms. Palmer's barter system looks like a viable option? Why must the artistic economy be any different than any other form of commerce? When we see the doctor, he doesn't treat us for free in hopes that we'll offer him a chicken dinner in exchange. At a store we don't grab a pair of jeans off the rack and offer the cashier what we think it's worth. Shouldn't we view artists and their works with the same respect?

What do you think? Is Amanda Palmer's patronage model a clever solution to a shifting paradigm    or does it devalue art?

Never Begin at the Beginning

Start as close to the end as possible.

--Kurt Vonnegut 

Right now I'm in the midst of a heavy re-write and my first task is to cut to the chase, both literally and figuratively. My novel is broken up into three parts and involves an elderly art history professor named Ovid who is no longer able to care for himself. In the first third of the novel, I establish Ovid's current living situation, the relationships within his family, and pertinent information about his past. In the second part, Ovid decides he doesn't like that he's losing control over his life and makes a break for it. The last third involves the family's search for him.

I love writing from Ovid's point of view. He's verbose, a little cranky, well-read, and sees the world through the lens of art. His voice is very rich. The problem with loving a character too much is that you run the risk of falling in love with him and then he can do no wrong. While he yammers on apropos of nothing, boring your audience to tears, all you do is sigh and say, "Isn't he dreamy?"

When I was writing the first draft, I thought I had enough writing experience under my belt to recognize when I was spending too much time setting the stage for a story--but apparently not. After reading the first third of the manuscript, my agent told me the story was "a little slow." Really? This surprised me. I thought it actually moved at a pretty good clip. "Just wait until you get to Part II when he runs away," I said. "That's where it really starts to pick up."

Bingo! And just like that, we found the real beginning of the story.

So now I'm trying to condense, clarify, eliminate, and combine scenes from the first third to get to the real beginning as quickly as I can. Now that I know where the real story begins, I can see that so much of what I thought was the real beginning was just a lot of thinking out loud. It was more of an exercise in discovering character and not entirely pertinent to what was happening. While this exercise was useful to me, it wasn't necessarily useful to the reader.

I have to wonder though--how much of the problem here is me being long-winded and how much is the impatience of the modern audience? Is it absolutely crucial that I cut to the chase right away? Couldn't I just dabble a little bit in character or mood like Henry James? It makes me think back to the mid-1990's when record stores started putting in listening stations. Customers would skim through the first few songs on an album and if they weren't impressed would walk away. Musicians responded by "front loading" their albums--putting their best songs first in order to grab the listener right away, instead of putting the songs in an order that shaped the listening experience.

Are writers now expected to "front load" their novels in order to capture the short attention spans of today's readers? Are today's story beginnings much further into the plot than they used to be?

What are your thoughts on story beginnings as a writer? As a reader?

Immortality

A friend once said he envied me. "You're immortal now. Your books will be on the shelf forever."

Exactly whose shelf are we speaking about here? I wondered.

It's not the shelf at my local bookstore, which has to constantly turn over its stock to make room for all the new books published every month.

It's not the shelves of our local libraries--they, too, have limited space. Every few years they look to see which books haven't been circulated in a very long time and give them the heave-ho.

It's not the infinite virtual shelves of Amazon or Barnes and Noble.com. Most books eventually go out of print and become unavailable. Sometimes it takes a few years, sometimes it happens sooner. When I worked at the literary agency in New York, a bestselling YA author released her first adult novel and it went out of print in six months. It can happen quick--even to well-known authors.

It's definitely not my own bookshelves, which I've stocked with all the books I'm dying to read but never have enough hours in the day to get through. Like anyone else, only the books that really make a lasting impact on me have a place in my permanent collection. All the others are donated to charity.
Copies of my own books are in a box somewhere in the basement.

I guess my friend must have been talking about my mother's bookshelf. I can guarantee my books are sitting there right now, in a prominent place, loving dusted from time to time.

Basically, being a published author is a pretty lousy way to achieve immortality--unless, of course, your last name is Dickens, or Twain, or Shakespeare.

Book publishing has exploded over the last decade, despite grim sales. The market is flooded with traditional and self-published books alike. More titles = higher turnover = shorter shelf life. Even when a book makes it to a shelf for a short period, it's hard to grab the attention of the book-buying public. This is especially true of E-books. Even though they technically hang around for a long time, they are part of a very crowded marketplace. There are so many forms of entertainment competing for our attention. It's like being at a stadium concert and trying to get the lead singer of the band to notice you.

Ooooh! Over here! Read me! Read me!

If immortality is your thing, there's actually a pretty simple way to achieve it these days: Post something on the Internet.

I've been told that every little comment, Facebook post, Tweet, Instagram photo, etc. lasts forever in the digital abyss. The opinions, mistakes, and experiences we share end up being written in virtual stone, ready to be called up at any time to be used against us. It makes me terrified every time I hit the 'publish' button on my blog. 

At least if I make a mistake in a book it will eventually be forgotten.

The Summer of Crazy

It's been an interesting summer.

In early May I turned in the "first draft" of my second adult novel. "First draft" is in quotes because I've rewritten it more times than I can count but this is the first time my agent is seeing it, so for all intents and purposes it's considered a first draft. There will be many, many more drafts to follow.

My expectations were high when I turned it in. This draft took me nine years to write, mainly because I was raising twins and writing wasn't my biggest priority. Still, I worked on it consistently. I adored my main character. I was certain my writing skills had reached a whole new level. Except for showing a scene or two to a few friends, I kept it all to myself. Finally being able to hand in the finished draft to my agent left me euphoric. It was like keeping a secret for nine years and finally being able to share it with someone.

As many of you already know, submitting an unsolicited manuscript and waiting to hear back is tough. You throw your work out into the void and wait...and wait...and wait. Believe me--the wait doesn't get any easier even after you sign on with an agent. Conventional wisdom says that you need to dive immediately into another writing project to take your mind off of the wait. I knew this, but purposely ignored it. It was party time. I caught up with friends. I went out for lunch. I read. I cooked. I spent time with my family. I enjoyed my freedom. I didn't write a thing.

A month went by, then two. Then the crazy started to settle in. I constantly checked my phone, my email. Why wasn't he calling? It could have been any number of reasons: Book Expo America....a heavy work load...summer vacation (after all, the publishing industry switches to a four-day week from Memorial Day to Labor Day).  I used to work at an agency as an assistant and I know how hard agents work and how long it can take to hear back...and yet I felt like I was a teenager all over again, waiting for a boy to call.

Did I do something wrong? OMG do you think he hates me? 

When my agent finally got back to me, the news wasn't what I wanted to hear. He loved my writing, but he didn't love the book--at least not the way I did. Even though I've worked to toughen my hide, I took it hard. Really hard. I was baffled. I thought this was the best work I'd ever done--how could he not agree? I tried to write something new but my well had run completely dry.

After I had a little time to digest the news, my agent and I had a long conversation about the manuscript. I was afraid we wouldn't agree on some major elements, but I kept an open mind. It turns out, everything he said was right on the money.  I was blown away by his skill as a reader. The changes he proposed had the potential to crack the story wide open and make it so much better and weren't nearly as daunting as I thought they were going to be. Instead of nursing my hurt ego, I turned my energy toward creating the best story I could.

There was so much I took away from this experience: 

1) Communicate. If your agent is taking a wee bit too long to respond, don't be afraid to reach out with an email (this only applies to those who are already signed with an agent--if you've submitted a manuscript on spec it's better to sit tight and wait to be contacted). It turns out that my agent was inundated with manuscripts from many of his clients at the same time. Had I known this, I would have done a better job of keeping the crazy at bay. I communicated this to him and he apologized for not telling me why there was a delay. Don't be afraid to politely let your agent know what you need!

2) Don't freak out until you have all the facts. This applies to all things in life. Often the scenario in our heads is worse than reality.

3) Publishing might be even harder than I thought. Even if your agent loves your first book, there's no guarantee that he'll love everything you ever do. Even if you've been accepted by a major publisher there's no guarantee that you'll ever be published again. Even if you've kind of made it (heck, I had a great review in The New York Times! My book was on CBS's Sunday Morning!) there's never a point when you can sit back and relax--the battle is continuous and uphill all the way. Which is actually kind of a good thing, I suppose. It keeps us from getting lazy.


And finally...

4) Appreciate every little bit of success that comes your way.  I've always appreciated my success, but maybe I didn't appreciate that luck played a part, too. Will luck come my way again? I hope so. All I know is that I'm going to work hard to be prepared should it decide to make another appearance.