Takeaways from Elizabeth Gilbert's BIG MAGIC and my favorite books on craft by Joanna Roddy

I'm forever reading books from other writers about the craft of writing. Writing is solitary in many ways. I'm always looking for coyotes of the borderlands to show my wandering writer's soul the way into the land of plenty. 

This spring I read Elizabeth Gilbert's BIG MAGIC. I never read EAT, PRAY, LOVE, but I fell utterly in love with Gilbert's TED talk on creative genius, in which she argues for the classical idea of the muse. She says that the modern concept of artistic genius is too much pressure and is silently killing off our artists through addiction, self-destruction, and despair. She offers instead the ancient idea of having a genius: a creative entity that brings inspiration to collaborate with the artist. Today we typically think of this as a muse. The artist is the servant of the muse, offering the grunt labor to bring the idea into being. As a co-collaborator, the artist is only partially responsible for the success or failure of the work.  

The video is 20 minutes long, but if you can give yourself a learning/ inspiration break today, it's worth the watch.

BIG MAGIC expands on the TED talk, and it is a rich, nurturing baptism into the good news of creative living free from fear. It may be the psychologically healthiest thing I've ever read about being an artist. A lot of writers on craft focus on all the barriers to creativity--resistance, apathy, difficulty, fear. I think this can sometimes lead to the paradigm of the tortured artist who believes that their creative work requires brutal sacrifice and torture. Gilbert reminds us that ideas want to be brought to life by artists and that our creativity chose us and is dependent on us to produce anything in the world. So why would we think it hates us and is trying to punish us? One line from BIG MAGIC I quite like on this theme is this:

“I’ve always had the sense that the muse of the tormented artist—while the artist himself is throwing temper tantrums—is sitting quietly in a corner of the studio, buffing its fingernails, patiently waiting for the guy to calm down and sober up so everyone can get back to work.”

Here are my main takeaways from the book:

• Ideas are seekers of human collaboration and we have the freedom to say yes or no to them. If you say no, someone else will get that idea and run with it. If you say yes, but don't show up to do the work, eventually the power of that idea will leave you, looking for another collaborator.
• You're never too old to begin.
• Take the long view of failure and rejection: I plan to do this for the rest of my life. Many years of rejection is only short-term. 
• Do not pressure your creative work to succeed or provide for you financially. That's the quickest way to kill it off. You provide for both yourself and your creative work. (Don't quit your day job.)
• Stop complaining. Complaining about your creative life is bad juju and ideas will not want to collaborate with you. Treat your work with respect, approach it with love, and see how that alters your experience of doing the work.
• Create because you love to do it. There may be no other reward.
• Your work is not your baby. Cut, change, adapt if you must. Your creative power is precious, but your projects will never find their way in the world if you feel that you must forever hover over them protectively. 
•  You are unlikely to get the outcome in the world that you desire from your work. Not that you will never succeed. But even success takes longer and comes in unexpected ways. You cannot control the outcome. Create anyway.
• Put fierce trust in the love you bear for your creativity, trust for which the qualifiers of success or failure effectively lose their meaning.

This mantra toward the end of the book brought me to tears:

"Fierce trust asks you to stand strong within this truth: You are worthy, dear one, regardless of the outcome. You will keep making your work, regardless of the outcome. You will keep sharing your work, regardless of the outcome. You were born to create, regardless of the outcome. And you will never lose trust in the creative process, even when you don't understand the outcome."

I can't recommend this book more. It's a gem, unlike anything in its class.

Here are a list of other books I've enjoyed as creative inspiration and writing craft:

On Writing, Stephen King: The most practical and helpful book on writing and craft I've read. The memoir portion feels erroneous to the reader looking for writing advice, until you realize it's integral. Try not to feel as though you too must produce 2000 words a day after reading it. 

Bird by Bird, Anne Lamott: This was the first book of writing advice I ever read. It's hilarious and honest and focuses on getting past our own hang-ups in order to do the work. 

Walking on Water, Madeleine L’Engle: A Christian spiritual reflection on writing by the author of A WRINKLE IN TIME. Deep and moving, abstract but inspiring. 

The Artist’s Way, Julia Cameron: A twelve week creative recovery workbook, not unlike a twelve step program. Great for digging deep into oneself and mining out the reasons for blockage and reconnecting with your creative dreams.

Reflections on the Magic of Writing, Diana Wynne Jones: A hodge-podge of lectures and essays by the great children's fantasy writer who studied under Lewis and Tolkein at Oxford and authored many books, including HOWL'S MOVING CASTLE. The latest edition has an introduction by Neil Gaiman. 

The Writing Life, Annie Dillard: A soulful memoir by the Pulitzer Prize winning Dillard, reflecting on the experience of her own writing life. 

Writing Down the Bones, Natalie Goldberg: This is a book filled with practical exercises and the exhortation to keep the pen moving! A huge proponent of free writing, Goldberg, a Zen Buddhist, approaches writing as a practice, much like yoga or meditation.

Question for you: What are your favorite books of writing advice? (I'm always adding to my reading list.) If you've read BIG MAGIC, what was your number one takeaway?

Rituals, Creative Work, and You

Daily Rituals: How Artists Work

Mason Currey

Knopf, 2013 

978-0307273604

As one year winds down and another begins, I like to reflect on how I've used my writing time and what changes I might need to make in the year ahead. Because the creative life is often a solitary one, I love looking in on others' lives for inspiration. Here's a peek into Mason Currey's Daily Rituals: How Artists Work, a book I found impossible to put down.

Ludwig van Beethoven* poured water over his hands while humming scales. Jonathan Edwards pinned bits of paper to his clothing to remember ideas while horseback riding. Anthony Trollope paid a groom five extra pounds a year to bring him coffee each morning at 5:30.

Daily Rituals: How Artists Work is a collection of dozens of vignettes about "writers, composers, painters, choreographers, playwrights, sculptors, filmmakers, poets, philosophers and scientists on how they create.” I’ve always been curious about the processes and acts of self-discipline artists bring to their work. As an author who has sometimes struggled to find a rhythm to my writing, this book’s glimpse into everyday lives was both inspiring and familiar. While there were differences in each artist’s daily rituals, some habits were repeated in most creative processes**:

structure

solitude

simplicity

exercise

Structure allowed Trollope to "tutor his mind" and write for three hours before going to work at the Post Office. Gustave Flaubert believed being "regular and orderly in your life [allows you to be] violent and original in your work." In other words, when the structure is established, you are freed to focus on what counts.

Solitude and simplicity are two disciplines that often function hand in hand. Time alone, free of distraction, is necessary to create. A stripping away of extraneous things gives a creative the space to work. Some artists deliberately would forgo social commitments or would choose a hermit-like existence. Others would make room for community but keep those hours separate from the work. "What you need to do is clear all distraction," Anne Rice says. "That's the bottom line."

I was surprised how many artists engaged in daily exercise -- calisthenics, swimming, and the like -- long before this was considered the ideal. Walking was by far the exercise of choice, serving as both a break from the work and sometimes a new way to view it. Those walks I take with the dog when I'm feeling stuck? I'm in good company.

This book has inspired me to think about how I might best keep my days simple and distraction free. In the midst of my daily solitude it has made me feel a part of something bigger than myself. I’m carrying the creative torch like those before me and those who will come after -- important work indeed!

*Guess what? Today is Beethoven's 245 birthday.

*I'm focusing on the positive here. Many artists relied on various vices to (supposedly) bring out their best work. A few, like George Sand, felt "the work of the imagination is exciting enough...Whether you are secluded in your study or performing on the planks of a stage, you must be in total possession of yourself.”

REACHING UP by Joanna Roddy

Photo by Charles Sharp, courtesy of wikimedia commons

You've heard it before: writing is a solitary endeavor. 

Except that it doesn't have to be.

I mean it's true--no one but you can sit in that chair (or walk on that treadmill, if you're Paul) and write all the words. But don't the great story-tellers sit vigil with us when we do? Don't great lines, great moments in treasured stories echo back to us, even as we create something new?

Yet there's something to be said for reaching out to flesh and blood writers who are further along the path. Call it reaching up. 

My first experience of this was when a member of my writing group met a local author and pitch expert and invited her to meet with us. The author did a pitching clinic, shared her writing journey, and offered writerly advice. We paid her for her time and brought yummy snacks, but we definitely got the better end of the deal. We've done this several times now with local authors who've crossed our paths. They've always been thrilled to do it and the experience has always been invaluable.

When I hit a wall with my first novel, I gathered my courage and asked a couple of authors I know (one a friend, the other an acquaintance) if they would be willing to point me toward good resources. Both kindly offered to meet with me and talk things out, and both took time to close read some of my manuscript. I was blown away by their generosity. The perspective they offered both from their own journey as well as the experiences of other authors they knew set me off in new directions that breathed life into my work and my discouraged writer's soul.

I know that these examples sound a little like lucky happenstance, but I think you can cultivate these opportunities. How?

-Keep your eyes open:  Brainstorm the sage wisdom you already have around you. A beloved writing professor from college? A local author? A friend of a friend? What about the worthy organizations in your area, like SCBWI or a local Writer's Association? Not only do many of these groups offer critique circles, they have seasoned writers at the helm who are passionate about bringing writers together! Even Craigslist can have writing group opportunities.

Joy had an article a few weeks ago discussing the power of mentorship and the willingness of this Middle Grade community to support each other. Don't underestimate the power of your online world to connect you to people willing to take a personal interest in your work. Look for places you might be able to submit your query or first page for critique, or reach out to a favorite blogger. 

-Be ready, be brave: The second step is being open to reach out to these people when the opportunity or the need arises. The danger for many of us is to assume that we would be a drain on the other person, so we shut down the idea before we've even asked. We must be brave and mentally open before the chance meeting or the deep dark funk, otherwise we'll hesitate and miss it. 

-Don't act entitled: On the other side of things, we need to be careful not to accost someone for their expertise. Utilize tact and respect for their time. Don't assume, demand, or make the other person feel obligated. A key phrase to use: "Can you point me to a resource who could help me with ___?" (whatever your need may be). This gives them a chance to offer to help you if they can, or to kick the ball down the field a bit, but still get you closer to someone who can help you.

-Be willing to pay: It should go without saying that people like literary agents, book doctors, and professional editors should not be approached for personal input unless you are their client--be willing to pay them or query them through their preferred channels. 

Writing is hard and often lonely, but most successful writers will tell you they had key players who helped them along the way. You won't know who yours are until you're willing to reach out and find them. 

I'd love to know: Have you experienced helpful input from other writers and how? 

What kind of help would you most like to see our community offer? Query/ first page critiques? Mentoring opportunities? Local meet-ups? We'd love your ideas! 

A PMGM TRIBUTE TO TERRY PRATCHETT (Eden Unger Bowditch, et al)

 “It is often said that before you die your life passes before your eyes. It is in fact true. It's called living.”

-Terry Pratchett

The world is simply that much lighter now. Losing Terry Pratchett is no small thing, in this world- the world of words. There are many writers whom we love, but few are as universal (literally, creating a universe or ‘multiverse’, I should say) as Terry Pratchett. We at PMGM have each had an experience with Pratchett, either loving his work, firsthand, finding his influence in our work, or seeing its influence in other authors we read. A few of us would like to share our thoughts of Terry Pratchett.

-eden

“If you trust in yourself…. and believe in your dreams…. and follow your star… you’ll still get beaten by people who spent their time working hard and learning things and weren’t so lazy.”

Dianne K. Salerni:

My first introduction to Terry Pratchett's books was NIGHT WATCH -- which was the wrong place to start, what with a character going back in time and referencing the back stories of numerous characters I'd never met. But Pratchett's comic genius was such that I loved it anyway and had to then dive into GUARDS, GUARDS to understand what I'd just read in NIGHT WATCH. 

My husband and daughters and I all love fantasy, but don't often agree on actual books and movies. But all four of us are united on the brilliance of GOING POSTAL, and at least half of us are in love with Carrot. 

 “It’s still magic even if you know how it’s done.”

Kelly Andrews:
I first read the Wee Free Men a few years ago when I immersed myself in reading middle grade fantasy after spending most of my adulthood on "grownup" books. I liked it a lot, but I was intimidated by the sheer size of Terry Pratchett's body of work. Now finding myself with far too many "grownup" problems, I turned back to Pratchett and Tiffany Aching. It's just what I need -- immersive, subversive, and complex, dealing with the big problems of life with good humor. Now I only wish Pratchett's world would grow still larger -- I'm relieved that there will be another book in the Tiffany Aching series, but the end will come too soon.

“There are times in life when people must know when not to let go. Balloons are designed to teach small children this.”

Michael Gettel-Gilmartin:

I am embarrassed to admit that I have read only one book by Terry Pratchett. I know, I know: he was one of England's greatest contemporary writers, and a Sir, and hugely prolific. I'm not quite sure what I was doing in the 80s, when the Discworld series began in earnest, except living a roisterous life in Asia and singing way too much karaoke. After the 80s were but an ill-remembered blur, I was aware that Terry Pratchett was doing good work and becoming very popular, and I told myself sporadically that I should read him, just as I should read The Hitchhiker's Guide to the Galaxy. (Still on the TBR pile.)

I did end up reading Good Omens, the novel Terry Pratchett co-authored with his good friend, Neil Gaiman. It is a rip-roaring production, with two wildly comic minds going at it. (If you doubt me, look up all the quotes on Goodreads.)

In fact, let me end with a quotation, now that Terry Pratchett has begun his journey beyond the stars: “DON'T THINK OF IT AS DYING," said Death. "JUST THINK OF IT AS LEAVING EARLY TO AVOID THE RUSH.”

It has been said that Death has all the good lines--but don't think for a moment that Terry Pratchett won't be at his side now, making them even funnier!
 

“The pen is mightier than the sword if the sword is very short, and the pen is very sharp.”

Marissa Burt

Alas! I haven't read any Terry Pratchett. I did see GOING POSTAL while doing some steampunk research and enjoyed it very much. In fact, watching that made me realize I needed to add his work to my to-read pile immediately! I loved the humor and world-building - very masterfully done. 

“Sometimes it's better to light a flamethrower than curse the darkness.”

Eden Unger Bowditch:

My eldest son, my youngest son, my sister, my friends, my last publicist (who once accidentally spilled a pitcher of water in Mr. Pratchett’s lap) were fans of Terry Pratchett when I was newly discovering his magic. My husband and I had our mystery-loving hearts at the bursting with Going Postal. It felt like every aspect of everyday life was introduced through a convex mirror. Utter silliness, raised eyebrows, a wink, a nod, an affect of the natural among the completely ridiculous, and characters you simply adore …this could be found on every page. Once you start, it is hard to stop. THUD!, Reaper Man, The Color of Magic...an impossible list. The thought that the furiously prolific Pratchett pen is now still and the ink pot is dry must give us pause. In the magical world of the word, however, Terry Pratchett will be alive and offering to fill our brains with magic.

“The trouble with having an open mind, of course, is that people will insist on coming along and trying to put things in it.”

Terry Pratchett lovers, share your favorite books and stories with us.

 

Rules to Tweet By: Social Media and You!

Okay, so these aren't exactly rules. I mean, who likes rules anyway? Not us writers, that's for sure! I just like to use these as guidelines when it comes to social media and writers. Please feel free to add to these as needed.

Keep it real!

I don't know about you guys, but I can't stand automated posts a la twitter, etc. They come off as entirely fake and obvious plugs to sell books. If you want to sell books, forge real relationships with people. Also, if you're only posting about links to your books or your great reviews I have zero interest in you. Clearly you have no interest in getting to know me, you just want my money. Social Media is about being social. It's not a link factory.

Remember you're human!

No one expects you to post every day. No one expects every single Facebook post to be chock full of witticism and wisdom. Sometimes you just want to comment about the crazy guy in front of you in the Starbucks line, sometimes you want to comment on laundry. It's okay!

Don't go overboard

You don't need to be on every platform. Pick one or two of your favorite platforms and stick with them. If you're on Facebook, Twitter, Tumblr, Google+, Instagram, etc, how can you possibly keep up? If you can, good for you, but when the heck do you write? ;)

Don't get offended if....

You reply to someone's post on Blogger or Facebook, etc, and they don't respond. Sometimes an email is missed. Sometimes the person has seven million other things going on and it can't be helped. Just like you're only human other social media peeps are stuck in that category too, except for that super intelligent cat who manages to always keep up his Facebook page.

Don't get mortally wounded if....

Someone unfriends you or unfollows you. There are generally really good reasons why someone drops someone from their contacts on social media and it has nothing to do with the person personally. They may be cutting down to people they only talk to regularly or maybe they just want it to be family. Perhaps they noticed you're a middle-grade writer and they realized they only want to be connected to romance writers for the sake of their craft. Think about it before you get too upset. In reality, it's no big deal and you probably did nothing wrong, so don't sweat it.

Don't be a mass unfollower!

Nothing...and I mean nothing disgusts me more when someone on Twitter, generally a writer follows me, I follow them back, and then months later, they unfollow myself and every other writer that's followed them back in a lame effort to make themselves look "popular" by having a few people they keep following (and I mean a few) and then hundreds to thousands of alleged fans (those they mass unfollowed). It doesn't make you look popular and it's pretty despicable. We all know the truth and we'll all eventually unfollow you. Sorry, but it just makes you look like a tool. Please don't do this!

Don't comment on your reviews!

Here's another huge no-no in my book. We've all seen the public meltdowns from authors commenting on bad reviews, blowing up at the reviewer. It's shocking and horrible to watch. Please stay away from this. If you feel your emotions will get the better of you, then you've got to stop reading reviews of your books, plain and simple. Nothing will make you lose credibility faster--even if you're comments have validity--then an author who cannot control themselves.

Okay, so these are my "rules". What are some things you might add? Social Media can be tricky, but it can also be lots of fun. I like to keep it light. I don't discuss my political views or religious beliefs, but that's just me. What's your social media advice?

Why Write Middle Grade?

Since the holiday season is the perfect time for reflection, I thought I’d use my December post to reflect upon why I write middle grade. I get asked this question from time to time. Most people are genuinely curious, although sometimes the question comes, unfortunately, with a hint of condescension. (Why would you want to write something like middle grade when you could be writing more substantive and important works like adult literature?)

For me, the decision to write middle grade was an especially easy one. My middle-grade years were when I first fell in love with reading, and when I first learned to appreciate everything a good book had to offer. I was a military brat, and when I look back on my middle-grade years, I have to confess, they were kind of lonely. My family moved every two years or so. I was always the new kid at school, and I was never able to have lasting friendships. It didn’t help that I was painfully shy, so it wasn’t exactly easy for me to make friends in the first place. Usually, just about the time I started to feel settled some place, just about the time it started to feel like home, it was time to move again.

I didn’t have any siblings at home, so after school and on weekends, I often found I had to find ways to entertain myself. I quickly learned what wonderful company books could be. I had an affinity for the classics. I loved Laura Ingalls Wilder’s Little House on the Prairie books, Frances Hodgson Burnett’s The Secret Garden and The Little Princess, and Misty of Chincoteague by Marguerite Henry. Susan Cooper’s The Dark is Rising series and Lloyd Alexander’s Chronicles of Prydain swept me away with their magic and made me love fantasy and adventure.  My copies of all these favorites followed me wherever I went, whether my family moved to the other side of the country or the other side of the world. I still have them today, a little worse for wear but still much loved. They’re actually gazing down on me from the top shelf of my bookshelf as I type this now.

And then there was the feeling I got every time I walked into the local library. A great sense of excitement always washed over me—all those wonderful stories right at my fingertips!

If, as a writer of middle grade, I can give young readers that same sense of excitement, offer them stories and adventures they can get lost in, that can make them feel a little less lonely or help them forget their real-world worries for an hour or two, I consider that a worthwhile endeavor indeed.

Please share. Why do you write middle grade?

-Dawn Lairamore

photo credit: shawncalhoun via photopin cc

Oh, Those Maddening Morals! by Dawn Lairamore

When it comes to morals in kid lit, the agents, editors, and industry professionals I’ve heard address this issue seem to be in agreement—don’t do it! Or, more specifically, don’t do it in a way that’s obvious or preachy. If you’re going to have morals in your story, it should be done so subtly, young readers shouldn’t realize they’re being taught a lesson.

I understand the logic behind this. Kids are constantly being lectured—by parents, relatives, teachers, and other adult authority figures. The last thing they want when reading a book is the author lecturing at the them, too, especially if it’s a book they picked up for fun.

While I personally like stories that have a moral to them, I agree it shouldn’t be thrown in the reader’s face. One of the best examples of a subtle moral I’ve read comes from The Trolls by Polly Horvath. (If you haven’t read this award-winning book, by the way, you really should. It’s a great middle-grade read—clever, quirky, hilarious, with some extraordinarily memorable characters.) Aunt Sally has come to watch Melissa, Amanda, and Pee Wee while their parents are out of town, and although she has been left with strict instructions to make them eat their vegetables, Aunt Sally surprises them by giving in to their disdain for the green beans served at dinner. She decides to eat them all herself. Since there’s only a limited number of green beans in the house, she points out, shouldn’t they go to the green-bean lover instead of the green-bean haters?

But over dinner, as Aunt Sally tells a hilarious story about a health nut relative obsessed with eating his vegetables (fiddlehead ferns, to be exact), she seems to be having a great deal of fun eating her green beans. She makes walrus tusks out of the them, eating one out of each side of her mouth at the same time. She scratches her nose with a bean and pretends to use a pair of them as knitting needles. She tilts her head back and drops beans into her open mouth like clothespins into a bottle.

The kids take notice that she’s having so much fun. By the end of dinner, they want green beans, too. But—oh dear!—Aunt Sally’s eaten them all.  The kids are now so desperate for green beans, they try to think up ways to get more.

Aunt Sally points out there are no more beans and suggest they have some ice cream instead, but the children frantically search the kitchen shelves and the fridge and the freezer for green beans. The chapter ends with them pleading with Aunt Sally to shop for more beans tomorrow.

Now Polly Horvath could have had Aunt Sally gone the expected route and lectured the kids about the importance of eating their vegetables, trying new foods, getting a balanced diet, etc., but Horvath is far more clever than that. And although there’s never an explicit lecture, there is the definite sense that Melissa, Amanda, and Pee Wee have left this chapter having learned a lesson. They won’t turn down green beans the next time they end up on their plates. It’s hilariously and beautifully done!

How do you feel about morals in children’s lit? Are there any books out there you feel handle this issue particularly well?

-Dawn Lairamore