Rules For Success As A Writer by Steve Bramucci

Every year, someone writes a think piece about how MFAs are a waste of time because writing can't be taught, or maybe it's that writing shouldn't be taught because there aren't enough book deals out there and we're all living a pipe dream, or maybe it's that...actually I don't know what these think piece writers say after the first two points. By then my eyes have glazed over and rolled into the back of my head.

Some writers still reside in the camp of people who think talent is "as natural as the pattern that was made by the dust on a butterfly's wings," as Hemingway once said of Fitzgerald.

To which I respond with another Hemingway line, the last words of The Sun Also Rises, "Isn't it pretty to think so?"

It is "pretty" to think that talent is innate. But it's definitely not logical. Everything can be taught, every skill can be improved, and practice can close any "natural talent" gap at a scary-quick rate. How precious we writers must be to think that brain surgery and ballet can be learned, but that our beloved art is inborn. I won't argue about this anymore because people who take time to string together words about who is and who isn't a writer bore me immensely. Lines in the sand that separate creative people from one another are the one thing that I scoff at unapologetically -- and I hate scoffing!

But enough of this rant! If it's success you seek, I have the rules to achieving it. There are others...but you already know them.

1. Be an age. It doesn't really matter what age. I recommend somewhere in the 3-99 range. Anywhere in that 96-year span should be fine. The guy from The Stranger essay thinks you have to make it when you're young but that nonsense is counteracted by loads of examples. Including a little someone named Raymond Chandler who wrote some of the best detective novels in the history of the genre or Toni Morrison, who wrote her first book at 39. 
2. Make marks on a document. Use a Mac or a PC or a pencil or a crayon. George R.R. Martin uses a computer that runs DOS -- so don't sweat it if your laptop is a year old. I remember being at big waterski tournament and telling my coach that I was thinking about buying a new ski. He looked at my old ski, lying in the grass, and said, "World records have been set on that ski. Have you set any of them?" I shook my head and the coach patted my shoulder. "When you do," he said, "you can think about a new ski."
3. Work hard. This doesn't always mean you have to bang the keyboard 24-7. The ever-lovely Robin Benway once said to me at lunch, "We're writers, alive in the world, this is part of our work." If work always looks like sitting at a desk, you'll become the sort of writer who writes about writing or writes essays about who can and can't write -- neither of which are things that I personally like to read. I believe firmly in the following video, with the word "work" being something that we each have to define for ourselves. 
4.   Be grateful. For God's sake be grateful. When good things happen say "thanks," be excited, and allow yourself room to smile. As a wise man once taught us, "gratitude reciprocates." 
5.  Have fun. We've been told writing is thankless, that it'll leave us broke, that it's the hardest job on earth, and yet we have to compete with a million new writers every year who want to take the hardest job from us. We get told we can't make it by people writing think pieces who are also surely afraid that they won't make it. All of this makes writing pretty daunting. So if it's not fun, if there's no joy in it...then the juice might not be worth the squeeze.

Those are my rules, but what do I know? I went to grad school, my first book is being released when I'm 37, and I don't think I was born with any particular talent.

But here I am, still writing.

Steve Bramucci is a full time writer and the managing editor of Uproxx.com's Life section. His first book, Ronald Zupan and the Pirates of Borneo, will be released in January, 2017. 

To MFA or Not to MFA?

I’m on a listserv of writing teachers, and the question recently came up of the value of MFA programs. Though none of us are questioning that people get a good education – and often great networking with publishing professionals – these programs can be expensive. Like $36,000 plus travel expenses for one of the best-known low residency children’s book writing MFA programs.

Obviously, that’s not realistic for everyone, especially if you don’t want to go into debt for your education. And although you occasionally hear about six-figure deals, advances for children’s books are much more likely to be in the $5000-$20,000 range. You’d have to sell several to make back the money you put into the MFA. There’s no guarantee you’ll sell a book just because you have an MFA, and I’ve heard of people getting so burned out and stop writing altogether.

So what if you feel like you need a better education – or the contacts that come with a respected MFA program?

On the list, we discussed other options. Kristi Holl said she interviewed MFA grads about what their program involved and how they learned the most. The three main components:

• Reading an extensive list of current and classic children’s books
• Studying craft books
• Writing and being critiqued

How about doing that on your own? You should be reading extensively anyway.

You can find many lists of “best” books. The American Library Association has many annual awards, including the Newbery (for middle grade books), Caldecott (for picture books), and Prinz (for young adult books). The international reading Association has the Children’s Choice Reading List. The Society of Children’s Book Writers and Illustrators has the Golden Kite Award and the Crystal Kite Award, which is based on a vote by peers. Visit your local bookstore or library, pick up a stack of books, read, and analyze – perhaps with A Copy of “Reading like a Writer“ or this online guide to “How to Read like a Writer.”

The craft books Kristi found most helpful include:

THE ANATOMY OF STORY, by John Truby
WRITING SUBTEXT, by Linda Seger
WRITING FOR EMOTIONAL IMPACT, by Karl Iglesias
WRITING 21ST CENTURY FICTION, by Donald Maass

Other books which are favorites of writing teachers:

THE PLOT WHISPERER, by Martha Alderson

ADVANCED PLOTTING, by yours truly, Chris Eboch

SELF-EDITING FOR FICTION WRITERS, by Renni Browne and Dave King

SCENE & SEQUENCE, by Jack Bickham,

MANUSCRIPT MAKEOVER, by Elizabeth Lyon

The WRITER’S JOURNEY: MYTHICAL STRUCTURE FOR STORYTELLERS & SCREEN WRITERS, Christopher Vogler
THE HERO WITH A THOUSAND FACES by Joseph Campbell

And that’s just a small selection of what’s available. You can also follow blogs on the craft of writing. One of my favorites for craft is Janice Hardy’s The Other Side of the Story. Many of the members of this blog also have individual sites. I’m no longer regularly posting new information, but you can see past posts on topics ranging from developing secondary characters to improving your pacing at my Write like a Pro blog.

And finally, writing and critiquing.

Some people work better with deadlines and penalties for failure. If that’s you, consider starting a group with some other writers where you share your weekly word count and keep each other on task. Or get your family involved by making a schedule and “due dates.” Maybe your kids will like seeing you do your “homework” and start to understand that you need work time!

Getting quality feedback can be a challenge. But even if you live in a remote place, you can try to connect with a critique group online, perhaps through the Children’s Writer’s & Illustrator’s Chat Board, now run through SCBWI.

You may reach a point where your critique group can no longer help you. This often happens when your work is very strong – but not quite strong enough. Then consider hiring a freelance editor. Some of the big-name former editors from the publishing industry now work freelance. Or for lower rates, look for experienced writing teachers. (You can see my rates and recommendations here.)

There are also plenty of online classes, like those offered through the Institute of Children’s Literature, which pair you with experienced teachers at a much lower cost than MFA program.

As Kristi commented, “While this isn’t the same as getting an MFA, you CAN study and practice and do a reading list and get a critique group and create your own home-study pseudo-MFA program—and have no debt when you’re finished.”

But what about the business side of the industry?

The Idiot’s Guide to Children’s Book Publishing, by Harold Underdown, is an excellent overview of the business. It explains the different genres, the difference between a magazine story and a picture book manuscript, how to find a publisher, etc.

There’s a good book by Nancy Sanders called Yes! You Can Learn How To Write Children’s Books, Get Them Published, and Build a Successful Writing Career. She points out that we typically write for three reasons—the emotional satisfaction of getting published, to make money, and for the love of writing. She suggests separating those three goals, so you don’t put pressure on yourself to sell what you are writing for love, and you find more practical ways of approaching the other two goals. She then addresses how to target each goal. This is a great book if you are interested in making writing a career.

You can find lots of other books on writing for children, or writing in general. SCBWI provides members with THE BOOK: The Essential Guide to Publishing for Children, with information on preparing and submitting your work, market surveys, and resources.

And then there’s networking.

This is an important part of being a professional writer. But you don’t need to go to an MFA program to connect. I’ve gotten lots of job leads from list serves. I’ve met editors and agents at writing conferences and retreats, such as those offered all over the country by SCBWI. Personally, I recommend the retreat format, as it’s typically a smaller group and you have more one-on-one time with the speakers. Check out events in your state, or where you have friends and family, to save money. Some people even successfully network by following editor/agent blogs or Twitter feeds.

There’s one final advantage to a degree program: It’s “legitimate” and therefore could be taken more seriously by the family. That might be a reason to set up a “curriculum” on one’s own, with twice a year events, time scheduled for homework, etc. – and to tally up the cost to show how much cheaper it is than a MFA program. That might help you protect your writing time and counter any grumbles about the expense of a few hundred dollar retreat.

I’ve heard great things about writing MFA programs, but if you want some of the benefits with little of the cost, consider creating your own. You might even get your critique group or other writing friends to join in. And then you can hold your own writing retreats! But that’s a topic for another post….