Back to School... for Writers

[Here's a post I wrote for amwriting.com, republished here with permission.]

Over the next few weeks, across the country, students (and teachers) will be going back to school. Writers, in contrast, never stop writing, so the event has no bearing on our writing life whatsoever… except that maybe it does. Maybe, if we’re really honest, we admit that we don’t always follow Stephen King’s writing regimen perfectly. We take breaks. Sometimes those breaks are longer than they should be. Or maybe we’ve been pounding out our daily wordcount, but we need to be reinvigorated. Remembering how to “go back to school” can inform our practice as writers.

Summer Break

Hopefully the cause for our hiatus from our writing regimen isn’t seasonal. As a teacher, I’m struggling not to launch into one of my rants about how summer vacation is a throwback to an agrarian economy, how summer breaks don’t prepare students for a working world where no adults get them (not even teachers), and about how it’s amazing that our schools measure up as well as they do when compared to the schools in countries where students go to school for eleven months a year, six days a week. I won’t go into that. Except to say that it is analogous to taking a long hiatus from writing in that both are terrible ideas. Try to avoid taking long breaks from your writing. Get back to work. If that means ditching that novel which seems to be set in the nation of Writer’s-block-istan and tells the story of Prince Spamlet who is dithering about whether to choose chocolate or vanilla ice cream, drop that project and write a short story about someone in a more interesting place who actually does something that has real consequences. Or go outside and write some Haikus. It doesn’t matter. Just tell yourself, “Break’s over. Time to go back to school.”

Back to School Shopping

Students waste exorbitant amounts of their parents’ money when they beg for trendy, gaudy clothing to wear the first day of school, especially when you consider that the only thing changing faster than fashion is the size of clothes those kids fit into. Then they turn around and forget to buy paper and pencils to put in their flashy new backpacks. Some writers make the same mistake, in a way. We worry about what kinds of novels are selling and try to write the next Harry PotterHarry Potter Paperback Box Set (Books 1-7) or TwilightThe Twilight Saga Collection or The HelpThe Help (Movie Tie-In) instead of worrying about the way we’ll actually do our work. Stephen King, in On WritingOn Writing: 10th Anniversary Edition: A Memoir of the Craft, tells the story of his uncle’s toolbox, and uses it as a metaphor for the collection of skills we acquire as writers. A student’s backpack will serve the same function. Those flashy sets of 300 colored pens of all shades; that’s an overly flowery vocabulary. The student doesn’t need all those pens, and you don’t need to use a thesaurus to find words your reader won’t know. Something drawn with a simple dollar-store box of crayons can be beautiful, and something drawn with nothing but black ink on paper can be powerful. Save those weird words for Scrabble. They don’t belong in your writer’s backpack.

Proper grammar and mechanics, on the other hand, are your notebook paper, the means to pass your work to someone else in a way that’s intelligible. If you’re really good (and sure you’re not going to create a cultural caricature or simply look like a fool) you can get away with fancy notebook paper, like writing in dialect or a character’s voice which breaks the rules. But even then, you need to know them. You can’t go to school without paper.

Make sure you have an eraser, too. The tiny little multi-colored erasers on your pencils are garbage. Get a big, fat pink eraser. You will need to edit brutally, bravely, and with some elbow grease, so make sure you’ve got an eraser that shows your commitment to that part of the process. In fact, buy more than one.

You also need to be willing to refine your skills. That’s your pencil sharpener. You don’t need a five pound electronic device that plugs into the wall. Getting better, as a writer, takes time and effort. Get a tiny little sharpener and work that pencil to a sharp point. Those little ones really work. Read some Oscar Wilde, George Bernard Shaw, or Voltaire. Those guy’s pencils were lethal. Grab some Cormac McCarthy. He’s ground his pencil down to a tiny little nub of metal and graphite. There’s barely any cheap pine left when he goes to work. Be inspired by that, and sharpen your own tools until your words cut the paper to shreds.

Don’t worry too much about what you’ll write about. Textbooks might not even be distributed until the second week. The ideas will come. When you’re shopping for your writing skills, focus on being prepared so you can do excellent work when your muse finally gives you that big assignment.

First Day Jitters

After a break of any length, you’ll come back to writing with a mixture of anxiety and excitement. The writer’s vocation is not mandatory, so if you weren’t somewhat eager, you would just watch daytime TV all year. You’ve come to this because some part of you loves it, but you also know that it will entail some struggle and possibly some heartbreak. That’s okay. Just be grateful that you attend an academic establishment with a student body of one. The teachers are not identifying the behavioral issues. The mean girls aren’t sizing up the threats to their popularity. The bullies aren’t figuring out who is skinny enough to fit in a locker and who is fat enough to create suction when tossed in a trash can. You can come back to school, write something more embarrassing than that nightmare where you forgot to wear pants one day, and no one will ever know. Rejoice in the privacy of the writer’s life.

But save everything. Your draft might be a pimple-faced kid with no pants on, but later you could put some leather pants on those scrawny legs and he’ll be a rock star.

Reconnecting with Old Friends and Making New Ones

Your summer break may have been caused by a story that was a dud. It happens. But you may also find that you and your characters just needed some time apart. Going back to school provides an opportunity to reevaluate those relationships. Sometimes, when students come back to school, they find that their inner circle is changing shape as people grow apart. This doesn’t have to mean that your characters were worthless. It just might mean that some of your acquaintances could turn out to be better friends than last year’s BFFs. Try identifying that interesting ancillary character who was more fun to write about than your protagonist. Maybe, now that you’re back in school, it’s a good time to take a whack at telling her story, or telling the same story from her point of view. Even if you maintain the same relationships you had back in the spring of your writing life, this fall provides an opportunity to get to know those characters better. As a writing exercise, imagine how they spent their summer vacations. What kinds of things did they do to fill those long, hot months? How were their family relationships? What kind of trouble were they most tempted to get into, and did they avoid that temptation, succumb to it reluctantly, or revel in it? What did they learn about themselves (or choose not to learn about themselves)? Maybe this exercise will drive you back into the story. Maybe it will drive you out, and you’ll realize you need an all-new circle of friends for the upcoming school year. That’s okay. It can be hard to make new friends and hard to say goodbye to old ones as you grow apart, but take comfort in the fact that the same thing is happening to millions of kids all over the country. They’ll get through it, and so will you.

Hitting the Books

Despite what some of my students might tell you, school isn’t just about your social life. Now that you’re back, there’s work to be done. Just in case you’re still stuck, in the vein of our return from summer vacation, allow me to give you a writing prompt to begin the school year. Consider this your “back to school” countdown:

“Nothing forced him to return. He could have hidden forever. But he made the four step voyage across the porch. Three months was too long to run away from life, from love, from consequences. He took two long, careful breaths, ran his fingers through his hair just once, and knocked…”

Hopefully that will get you going. Welcome back!

Killing the Pain of Rejection: A Writer’s Failed Experiment

Today I shot my rejection letters. It didn’t make me feel better.

Sharing this story may be a mistake. It’s very bad form to whine about rejection letters. For one thing, it is whining, and that’s bad enough. No one likes whiners. But it’s even worse when it seems that a writer is slagging on an agent, so let me be very up-front about this: I am not angry with the two agents who rejected my most recent novel this week.

I have a great deal of respect for literary agents. This isn’t some form of brown-nosing because I want one of them to accept my work. I respect them because I understand what they do. Even this knowledge has been gleaned thanks to the generosity of agents; I’ve never been an agent nor do I know any personally beyond a few evenings’ conversation, but some agents keep great blogs about their work, and these give insights into why agents do what they do. First of all, agents love books, love writers, and love connecting writers with readers. They’re our advocates. They’re on our side. The trick is getting a generic someone who is generally on the side of writers to become a very specific someone who is advocating for you, personally. That’s arduous, to say the least. But I believe it’s worthwhile, and not just because of the dollars and cents (though I’ll be the first to argue that taking 15% off of something is better than keeping 100% of nothing). But agents also make our work better, and not just once we’ve acquired one. Trying to please these gatekeepers forces us to ask important questions as we write. “Who will the agent sell this to?” forces us to think about audience. “Will this grab an agent on page 1?” forces us to write a first page that will also hold a reader. “Can I pitch this to an agent in under thirty seconds?” forces us to think about theme and character in a way that can increase the coherence of a novel. Agents serve us before they ever hear from us.

And then, when they do hear from us, they try to do right by us. If they love our work and believe they can sell it, “doing right” involves signing us, helping us edit the manuscript again, and pitching it to publishers. But when they have to reject us (and they do), they really are concerned about our feelings. I’ve never met or read about an agent who took that duty lightly.

So why do rejection letters seem so curt and even callous? There are a few good reasons, none of which make a lie of the agents’ concern for the writers they deal with. First of all, if agents wrote lengthy, detailed rejection letters, they’d be wasting the time they owe to the writers they’ve already signed. An agent who writes you a five page rejection letter is an agent you wouldn’t want signing you, because she would then spend her time writing five page rejection letters to everybody else in her slush pile instead of selling your work. Besides the time management issue, agents don’t write long letters because they are making a clean break with you. Think of that horrible ex-boyfriend your friend was dating. Instead of breaking off the relationship, he acted like a jerk until she finally did it. He was a coward, and it hurt her more than if he’d come clean when he didn’t want to be in the relationship. Agents don’t want to send the false impression that they might say yes if you tweak this or that part of the manuscript. When they write “It isn’t right for me,” by “it” they mean the whole thing. That doesn’t mean they hate you or that the book is garbage. They mean they can’t enter into a relationship with that book, even if it stops leaving the toilet seat up or does the dishes more often.

I was lucky. I’d met both of the agents who rejected me at last week’s Willamette Writers Conference. They were kind and encouraging in person and followed up with supportive letters that were much longer than necessary. I would have understood if they’d sent me a one line reply, but one of them gave me two paragraphs. Both of them are on my short-list for future novels if this one doesn’t pan out. I sent them short thank you notes in which I said I was genuinely grateful for their time and consideration, and guess what? I was being genuinely genuine.

And there’s the rub. Rejection hurts. Some writers hide from that pain by blaming the agent. “She didn’t recognize my genius!” they seem to say. Bull. First of all, appreciation for any given novel is subjective. What one person my find brilliant, another may find tiresome or confusing or in need of major revision. That’s not the agent’s fault. Criticizing her for that is like saying she has the wrong favorite color. Also, agents are working, not just reading for pleasure. Maybe she enjoyed your book but didn’t think any publisher would buy it. More specifically, maybe she didn’t think any editor would buy it from her, in which case she’s done you a favor by directing you to find someone who thinks she can sell it.

Some writers blame the whole industry. I think this inclines some people to look to e-publishing, indie-publishing, or vanity publishing (not the same things, mind you). That decision should be based on other factors, like platform and audience, rather than on a knee-jerk reaction to rejection. The great thing about the self-publishing world is that there are no gatekeepers. Consequently, some readers who wouldn’t have been served by the traditional market are being connected with some writers who would have been barred by that system. But those readers have to wade through a sea of mediocrity and worse to get there, and that sea just gets more polluted when writers who fear rejection throw their muck into it without concern for who their audience might be and why the traditional publishing industry isn’t snapping them up.

Some writers turn that rejection inward. “She’s saying I’m a worthless human being.” Again, writing is subjective. Plus, she’s not saying anything at all about you. She’s saying something about your manuscript. It’s not personal. Of course it feels personal to us, because we poured our soul into that book, but, at this stage, it’s important to remember that we’re more than one novel. Faced with the choice between blaming the agent and blaming myself, I think it’s healthier and more honest to take responsibility, as long as it motivates me to write a better book next time, but not if it makes me want to reach for the bottle of vodka in the back of the cupboard.

But the pain is still there. I can’t let it consume me, and I can’t direct it at the agent who sent me the letter. So what am I to do with this feeling?

I had an idea. I decided to try to externalize it and attack the feeling directly. I printed out the rejection letters, then added a digital “REJECTED” stamp and crosshairs. They looked like this:

Even before I shot at them, I suspected it wouldn’t work. For one thing, I don’t go target shooting out of anger. I’ve only recently become a gun-owner, and I bought them for a number of reasons. First and foremost, I want to be prepared should I ever need them to feed or protect my family. Second, firearms are an interesting subject to learn about, and I’m only now realizing how completely ignorant I’ve been regarding this vast area of study I’ve completely neglected. Third, I’d like to come across as at least somewhat believable when I write about people using guns in my fiction. Finally, I admit, it’s a lot of fun. None of these reasons inclines me toward any kind of hostility involving firearms. They were the wrong tool for my purposes. I’d brought a gun to a feeling fight.

But I tried. I shot the ever-loving s--- out of those rejection letters.

As I’d expected, the exercise did little for my emotional well-being. It got a few chuckles out of some friends and family when I explained my plans. But once I was shooting, the pleasure of the experience came from trying to hit the target. I completely forgot about the abstract emotional goal. I could have been doing any other fun, competitive task. I might as well have been practicing my free throws or trying to learn a musical instrument. It had no effect on my feelings about rejection in general, or the specific disappointment those letters produced.

That shouldn’t surprise me. I’m sure there are more emotionally evolved people who can export specific feelings, physicalize them, and confront them. They’re probably mostly Buddhists, and they are unlikely to project those emotional constructs into paper targets and shoot at them.

I’m not a Buddhist. I’m just a writer. I shape feelings into letters and words and sentences. Then I hope that someone is willing to read those sentences. A reader’s empathy provides the comfort that small, singed holes in paper never can.

That’s the moral of the story: To confront rejection, put the gun away and get back to work.

"Writers Create Worlds" Poster

Inspired by an excellent speech by author Chris Humphreys, which included a delivery of one of Theseus' monologues from A Midsummer Night's Dream, I thought I'd make a poster for my classroom. Teachers (and writers), let me know what you think and feel free to steal the image if you'd like it.

Can hostage-takers blame a hostage situation on the President?

Yesterday I received an email, one of those supposedly "funny" forwards that are sent on by well-meaning family, which quoted an anonymous stock broker blaming the current state of the economy on "this administration." The email went on to encourage me to see if my broker agreed.

Let's ignore, for a moment, the tone-deafness of a plea to the general public encouraging us to talk to the stock brokers most of us don't have. Blaming this administration for all our economic woes is not only ignorant, but it's insulting in that it's part of a transparent agenda that depends on our stupidity.

But it takes two to tango, right? Obama can certainly be blamed for not making a case clearly to the American people. I can't argue with that. He's done a terrible job of framing the issues. Too many Americans thought the debt ceiling was about increasing the size of government, rather than paying the bills we'd already incurred, mostly under Republicans. It's worth wondering what compulsion drives him to such weak negotiating positions. Is it cowardice? Is it an obsessive desire for bipartisanship? Is he too in bed with Wall Street to call them on their role in the economic downturn, and too dependent on wealthy donors to ask them to pay their fair share? Is it a hyper-focus on the independent voter and on re-election? If so, he may very well be doomed to fail in the next election precisely because he sought to placate the middle and thus compromised his way to their right, demotivating enough of the left to erode his own base.

But blaming this economy on the ineptitude of the administration's negotiating abilities ignores something that deserves more of our attention. If we're in the state we're in because Obama can't properly negotiate with Republicans, why should we possibly consider turning the keys to the car over to the people who pulled us into a ditch because they really wanted to drive us off a cliff? Bi-partisan compromise deserves bi-partisan blame. If we acknowledge that Obama got rolled, then the bulk of the blame needs to be with the side that pulled him so far away from what he wanted.

It takes two to tango, but hostage-takers are not dance partners. Saying the Republicans are hostage-takers is not liberal propaganda. Mitch McConnell, the most moderate of the Republicans involved in leading these debt negotiations, admitted to the strategy. “I think some of our members may have thought the default issue was a hostage you might take a chance at shooting,” he said. “Most of us didn’t think that. What we did learn is this — it’s a hostage that’s worth ransoming. And it focuses the Congress on something that must be done.” In essence, "most" didn't want to bankrupt the country by refusing to pay our bills, but they knew Democrats cared more about preserving the economy than they did, and would be willing to give in to their demands. It's smart strategy. It's also shocking he would be so honest about it. But then, this is the same moderate Republican who admitted “The single most important thing we want to achieve is for President Obama to be a one-term president.” Not jobs. Not the security of the country. Undermining the President is the number one goal.

McConnell's honesty is refreshing, but it makes the email I received all the more infuriating. Imagine if someone walked up to you and said, is the clearest possible terms, "I'm going to punch you in the face. After I do, I want you to blame that guy over there for any pain you feel."

Wham! Stars.

As you reel back, would you ignore the man standing right in front of you with your blood on his fist and say, "What just happened? I don't understand what is causing this pain, but I seem to remember something about that guy across the room. He must have done this to me!"

Obama is certainly to blame for not confronting far-right Tea Party rhetoric more directly. He should have crossed the room and defended the American middle class from the guy threatening to punch us in the face. If we decide we need someone else to protect us because of his failure, that's sensible. We're bleeding, after all. But if we choose to look for protection from the very people who bloodied our collective nose just because they point at the President, we are responsible for the pummeling we're gonna' get.

Willamette Writers Conference

Here's why I'm not going to be blogging just yet about the Willamette Writers Conference: I'm an idiot. I forgot the power cord to my laptop at home, so when the battery runs out in a moment, I'll be limited to my phone. Suffice it to say that the experience has been wonderful already. We're only through the first day, and I've already exceeded my personal goals here. It's all gravy from now on. When I get home and can plug in, I'll scream to the digital heavens about how great Willamette Writers is (are?). Until then, keep your fingers crossed for me that it just keeps getting better.