Tag: writing

I’m peripatetic, finding many places in the house, on the porch, and occasionally in a library to sit and put pen to paper or fingers to keyboard. Sometimes I wonder if I shouldn’t re-think this. What did the greats do? P.D. James worked anywhere she could rest her notepad. Wallace Stevens and Emily Dickenson composed poetry in their heads while at work and doing chores respectively and wrote them down at night. (I know I can’t manage that.) Henrik Ibsen sat at his desk facing a portrait of August Strindberg, so that his countryman and “mortal enemy” could “hang there and watch” while he wrote. It’s tempting to come up with a mortal enemy, but likely not worth the effort. What if they didn’t inspire me? What if they intimidated me? Although if you have a mortal enemy who inspires your creativity, I’d suggest investing in a good portrait right away. There are a few examples that I think might be workable… or at least aspirational. Edith Wharton wrote in bed, tossing the pages on the floor for her secretary to pick up. In a nice parallel, Victor Hugo often wrote naked, after telling his valet to not bring clothes until his writing was complete. The problem with these examples is that I lack the household staff to fill all the roles. I’m better off sticking to the example of John Keats who rose early, dressed as if going out, and sat down to write. Simple, diligent and clearly effective. Actually, not so different from what I do. Perhaps I’ve found my inspiration. What works for you? 

 This quote is from an interview in the Paris Review with author Claudia Rankine. The entire interview, conducted by David Ulin and published in Winter 2016, is worth reading. Rankine’s poetry focuses on social issues ranging from micro aggression, to racism to the aftermath of Hurricane Katrina. To her, words matter. She recounts listening to the recording of the shooting of Philando Castile and hearing the words of the little girl in the backseat of the car say, “It’s okay, Mommy, I’m right here with you.” She talks about the ability of the words to transport her to the point where she is literally experiencing the child and her words. Rankine is a poet who writes across many formats. She is a writer for social justice. How does that compare with writing mysteries? Should it compare? I’d like to think that it can. Not every page of a 300 page novel will stand up to the scrutiny of a poem. Not every word will achieve a lyrical meaning, but that doesn’t mean we can’t aspire to this. Words matter has resonated across the country this year for many reasons. Whether high oratory, poetry, or a hastily written note in a lunch box, words matter. As I work on final revisions, where it sometimes feels like there are too many words to care about, I’ll keep this as an aspirational goal even if only means I get it about one third right. To read the full Rankine interview visit: https://www.theparisreview.org/interviews/6905/claudia-rankine-the-art-of-poetry-no-102-claudia-rankine

My Beta readers are the unsung heroes of the writing process. Every author has them, a fixed group or changeable one, dependable or sporadic, they are the kind souls who are willing to read a draft and speak honestly about it. I have a crew and what a group they are. Scattered around the globe I usually send the chapters to them all at the same time. Then I keep working on something else and wait. Not patiently. After all, shouldn’t they drop everything they are doing – work, family, vacation, other books and read what I have suggested? In all fairness, they are unfailingly excited to receive their email with attachment. And they do read quickly (anything outside of a 24 hour turn around for me feels like a nail biting trip to Mars and back. I have actually Tweeted a Beta reader that she needed to start reading faster. Did that smack of desperation?!). Some readers are naturals – they read carefully, thoughtfully and don’t hesitate to make ‘suggestions’. Others must be trained. Yes, you really do want their opinion. You may not take all their suggestions, but each and every idea is welcome and plays a part in strengthening the final book. My Betas fall into two broad types. Some are the nit-picky comma and word choice gurus. Amazing! (I’m always surprised how many typos go undiscovered. Did logic REALLY look like topic each and every one of the 10 times I read it? Yes, it must have.). The other readers are big picture. Their emails critiques start off “some typos and weird punctuation to fix but what really concerns me is….” Honestly, I couldn’t live without either group. Each word and comma is important and needs a second set of eyes. At the same time the words and commas won’t matter if the plot point fails, or if the chapters drag on too long or (there are many ‘ors’ here). People are busy, your Beta readers are friends, they’re not doing this for a pay check and yet they read something that isn’t as polished as it will eventually be, and then they agree to read it again (hopefully more polished). And, bless them, they read the final version to see how you’ve changed it (even after I assure them that they read was the final version with the exception of a few very minor word changes). More shocking is what they notice. They have read and absorbed and remembered more than I did. Writers are used to reading drafts. Most readers aren’t. Those who take this on willingly should be saluted. It’s a beautiful thing. What kind of a Beta reader are you? 

The first book was difficult because I didn’t have a publisher. I spent hours each day writing it without knowing whether anyone besides my mother and husband would ever read my work. Without a deadline, I had to apply pressure on myself to get it finished, making up deadlines as I went along and justifying to myself why I had to stay up late or wake up early in order to make them. After it was done, I had to hold my breath and pray that my agent would be able to sell it. The anxiety was horrible. The second book was difficult because I did have a publisher. I had to write it while also tearing up chapters in my first book that my editor found boring or distracting. I had to rejigger secondary plot lines and beef up character arcs in between penning chapters for the second book. Essentially, I wrote two books at the same time. When book one was with my editor, I went back to book number two. When my editor gave book one back to me, I put down book number two to rework another chapter or review another copy edit.  While doing this, I also had to read the books in my genre and do what I normally do each day as a stay at home mom of two children who, at the time, were both under five-years-old. I’m not alone in this. Most writers I know are juggling day jobs or full-time family responsibilities with writing multiple books at a time and publicizing previously published books.  Now, I’m on my third and fourth books. My third is in with my publisher and I am two-thirds of the way done with the first draft of my fourth. I am also in the midst of publicity for the second book which includes blogging and radio interviews and writing guest posts for other people’s publications.  I know that the edit for the third will come back soon and I’ll have to start the two book trade-off. I also have a list of must-read books (many by fellow authors on this blog) that I intend to finish before the year is out.  Writing is 10% inspiration, 60% perspiration and 30% time management.