Friday Fridge Clean-Out: Links for Writers, July 15, 2011 Edition

►Sandra Beckwith, of Build Book Buzz, is offering a free download of her guide to virtual author tour basics. She knows her stuff.

►I am a big proponent of maintaining a submission/rejection tracking system, and I like this author's – a tracker-with-a-trackside-twist.

►Interesting advice from Marion Roach Smith about structure and the memoir at Gotham Writers' Workshop.

► I was reminded recently what a terrific resource exists for writers on the hunt for scholarships to attend conferences, residencies and retreats. (hat tip Practicing Writing).

►I'm not a huge fan of sites that post freelance writing jobs, simply because most aren't really jobs (they pay nothing or pennies) and often the poster is clueless about reasonable rates, turn-around time, what experience matters, or other issues. But some writing friends tell me I just haven't found the right sites yet. So here's a list of 65 places that post freelance jobs. Who knows?

►Check out odd writing habits of famous writers over at Flavorwire, which also notes some of their writing philosophies, too, such as this: “I write one page of masterpiece to ninety-one pages of shit. I try to put the shit in the wastebasket." Guess who?

►Looks like there's a lot to be learned over at Pitch University, about getting ready to send that manuscript or proposal to an agent or publisher.

►Some writers who've heard "no thanks" from the New York Times' Modern Love column are posting their essays, and in some cases, a note about their submission experience, over at Modern Love Rejects.

►Talk about short. At one forty fiction, they want your Tweet-sized, 140-character story.

►Kudos to two of my writing students/writing coaching clients whose work has appeared around the web: this piece by a mother of an autistic child, on her experience watching James Durbin on American Idol this past season; and this short contribution to the Eckhart Tolle newsletter, by a health care worker, on compassion and listening.

► Finally, in this fun speeded-up video, watch as an empty space becomes a book store (via GalleyCat).

Have a great weekend!

Stuff My Writing Students Say, Part 11 -- On getting casual, lazy, sloppy.

"I realized that I had become a very casual writer. With texting, emails and Facebook, I've gotten sloppy and lazy."

So many writers have, and of course, it's helpful to be aware of this tendency and guard against a too-casual, even sloppy approach to the creative work we write in the hopes of publication. Just as we take care that the easy, sketchy, rough-note aspects of first drafts don't cross over into more polished pieces, it's also a good idea to create a mental boundary around the kind of sloppy, casual way we write in emails and social media, and the way we approach how we write when we are writing for real.

But it's perhaps not all bad news. In fact, several times over the past six months, I've actually advised a few writers to look to their casual, sloppy, social correspondence in order to get to a new place in their memoir manuscripts and/or personal essays.

Some nonfiction writers find it difficult to dig down deeper than surface level and express sometimes uncomfortable feelings, or to describe potentially embarrassing or painful personal moments in an essay or memoir form; and yet, sometimes these are the very same people who tell me they can however, easily express themselves and tell the real story underneath a surface situation, when writing an email to a very close friend.

When I hear this, I make what to me seems a very logical suggestion, but one which many seem to find a bit odd: Gather up those emails -- they are kindling, fodder, the ingredients for a from-scratch creative meal. Yes, they will be wordy and rambling and not always on point. But that's okay. It's in the spaces between the tangents and the sprawling, long-winded rants and prose pity parties, where the valuable stuff resides.

It's not that I want these writers to copy and paste this material directly into their pieces, but I do want them to take a look at it, think about what they've written there, and consider what they've told their best friend and why and how they first wrote it. If they are lucky, those emails go back to the time in question they are trying to write about. Why wouldn't you study them? The way, say, you'd go back and re-read personal journals? What better memory trigger?

In this way, I've seen a few writers make the leap from hiding behind vague descriptions and imprecise emotional language, to getting their more elusive, emotional stories on the page.

Sure, we want to be aware that today's modes of communication encourage sloppy writing, and keep our standards high for our more meaningful work. One effective but oh-so-difficult habit is to clearly separate the time we spend really writing, from the time we are participating in any online activities (as in, turn off the damn internet when writing!). But these newer communication methods also encourage writing, period. And encourage us to tell our stories, sloppy as they may be, to our first read readers, our confidants. Sometimes, sloppy – in an emotional sense -- is what you want, at critical points in working as a creative nonfiction writer.

You can read the rest of the Stuff My Writing Students Say series here.

Friday Fridge Clean-Out -- Links for Writers, July 8, 2011 Edition

► If funding develops, Chicago will become home one day to a planned American Writers Museum.

► Attention memoir writers and personal essayists who are sincerely concerned about how what we write will affect other people – Rights of Others is a blog you'll want to bookmark.

► Shelf Awareness, the excellent daily enewsletter for those in the book trade, now publishes a not-so-frequent, but equally wonderful one for readers, chock full of reviews and other news.

► I wonder why more out-of-work, experience investigative journalists have not applied for these grants, which are still available.

► Promoting a book of poetry can test even the most creative sort. That's why I love this idea: For a week or so, you can call the author, Heather Christie, and she reads you a poem. Maybe she was trying to avoid the (reality or perception?) that "no one cares about your (bookstore) reading"?

► Whether you are a closet science geek, or need new places to find ideas about science-related topics for your writing, you'll be interested in Scientific American's new venture, grouping some 60 science blogs in one place. I took a very brief, casual tour around and read some truly interesting stuff.

►There are so many places, ways and reasons to teach writing outside of academia, and I am always interested in the people who do so, like this woman.

► I love, love this comingling of poetry, prose, brevity and developing a daily writing practice. Think about joining me - dive into the river and write a "small stone" every day that remains in July.

► In 21 days, you could transform some aspect of your life, by breaking an old habit or creating a new one, according to loopchange (and science); so I'm thinking, for those struggling to establish a daily writing habit – might noting your intention on this new social site, cheering others on in their new habit goals, and reaping members' encouragement, get you going?

►Finally, just for fun, what if a women's magazine wrote headlines and articles that truly reflected real lives?

Have a great weekend.

Not the Friday Fridge Clean-Out

Last night, putting together the Friday Fridge Clean-Out, I was checking out the eight links I'd set aside, and here's what I thought as I opened each link to reread the item and decide what to say about it: Nah. Never mind. Old news. Not so funny after all. Who cares? Overexposed. Don't think anyone but me will care. And, must-have-copied-the-link-wrong-have-no-idea-where-this-was-supposed-to-lead.

And there, my friends, went the Friday Fridge Clean-Out down the garbage disposal. Instead of flailing around for more, fresher, newer, better links, I said, "eh," and decided instead to post a sample of what piled up in my own fridge this week. Here goes:

>Really, Mr. Editor, you're not going to run the piece you asked me to turn around so, so fast, which I did because we've worked together before and you'd always treated me fairly, and I didn't even stop long enough to get a letter of assignment or contract? And you "can't" (or won't) tell me why the piece has been killed? And I get no kill fee? Really?

>Really, writing student, you are dropping the class because the material is outside of the parameters of peaceful existence a sentient human being, but I shouldn't worry, it's not me?

>Really, former writing student, you sold two articles to that nice regional magazine and you are so charged up about your rebooted freelancing career and you want to thank me, for the editing and writing advice, and the vote of confidence? Really? You're so welcome – and you go, girl!

>Really, washing machine, you die and need to be replaced after only 7 years just when I have one kid heading in from camp and another heading out? Really? (Sorry, off topic I guess…except for the need to write/teach/edit/sell something to cover the costs, and…wait, what's that? Really, university where I teach on campus only twice a month, you want me to do what? To purchase a 24/7/365 parking permit? Really?)

>Really, literary journal editor, you love and want to discuss the piece I sent you 17 months ago (and received no response), and you want to discuss it "very soon"? The same piece I tried to follow-up on twice (and received no response), and then formally withdrew (and received no response), and then resubmitted elsewhere (and received a quick, polite response) – that piece? And when I explain that the piece is no longer available, I get an email lecture about submission protocol? Really?

>Really, writer who writes well and who seems like a good person, an interesting person, you do want me to edit that memoir manuscript we first talked about a year ago? And you did not ask me to chop my fee in half, nor did you ask me to turn it around way too quickly? And, you sent me a perfectly formatted, spell-checked, proofread manuscript which I don't want to stop reading – really? Thank you. My washing machine and wallet thank you. My tired brain thanks you. My empty fridge thanks you.

And next week, Friday Fridge Clean-Out returns. Really.

Have a great weekend!

What a Self-Published Editing Client Taught Me

I have been of two (maybe three) minds about self-publishing: It's totally right for some people, completely wrong for certain writers, and iffy for many others. Now that there are so many types, levels and options even within the world of self-publishing though, I find myself reassessing those blanket statements fairly frequently.

Whatever my own personal feelings about self-publishing, as an editor and sometime ghostwriter, I am always happy to help out planning-to-self-publish folks get their manuscripts ready. When I first began working with self-publishing writers a couple of years ago, one thing I hadn't anticipated was how much my involvement with their manuscripts might mean to me.

Recently, several former editing clients brought their projects to completion, and when each book arrived on my doorstep, I was surprised by my own excited reaction – and it took me a while to unravel why each one meant something different, and important, to me. Like this one.

Florida Artist: Wm. North, His Life and Art is jointly written by a local woman (who'd taken one of my writing classes three years ago), and her 83-year-old father, a well-respected, award-winning painter. Shorter text-wise than most other books I work on, it is also filled with photos of his paintings of Florida scenes, both natural and man-made, making it visually enticing.

During the editing process, I was impressed by Colleen's commitment to (before it's too late) help her father record his life story, explain his philosophy about art, and share his joy at living a full artist's life in retirement after a desk-bound career. The book was not only a labor of love between father and adult daughter, but a marketing tool too – something her dad could sell at his gallery and art book store and to the many fans of his work worldwide. That he is slowing losing his eyesight made it even more urgent to help Colleen bring the book to fruition quickly, and I was pleased that I could direct Colleen to a nearby publishing company so her cherished project remained local and completely within her control, fulfilling an important commitment she'd made to herself and her father.

All of these ingredients made for an excellent use of self-publishing, I thought. When I finally saw the finished book, and the art which I had only seen online, jumped off the pages at me, I had a new feeling of satisfaction for the small part I'd played in helping Colleen and her father. The feeling lingered, and it was about more than words, pictures and a lovely finished product in my hands. This book seemed to haunt me, and I was about to find out way.

Watching and listening to Colleen at her book launch party a few weeks later, I realized that for me, this project was also about something else, something sad and yet also wonderful to finally acknowledge: My own father was a frustrated artist who created pencil sketches, and wrote poems, short stories and essays, but almost always in secret; and I only realized after he'd died four years ago, that we may have had some interesting conversations about his creative endeavors (instead of mine) had I only stopped long enough to notice.

How lucky Colleen and her father were, I thought, to have had this book-length "conversation" while he's still here, and vibrant. Colleen thanked me on the book's acknowledgments page. But maybe I should be thanking her. And so I am.

Friday Fridge Clean-Out: Links for Writers, June 24, 2011 Edition

►I often refer writing students to Richard Goodman's craft advice, so I was glad to come across, via Gotham Writer's Workshop – four excerpts from his book, The Soul of Creative Writing.

► Susan Johnston's recent Urban Museletter has links to 15 posts/articles on writing craft.

►In issue 14 of Pen America, 50 writers talk about books in translation they recommend, and a few of the writers' choices are available over at the website. While there, you can read some pieces from the organization's 48th International Congress, including this essay on the writer's life by Alain de Botton.

►Lovers of long form journalism will want to explore Byliner. At the Neiman Journalism Lab, this post explains it all.

►In 2002, modest Poetry Magazine received a $200 million donation, and set up the Poetry Foundation to administer the whopping gift. This weekend the Foundation moves into a $21 million new home, and The Chicago Tribune reports on the good times -- and harsh criticism.

► Writers of memoir will want to check out agent Paula Blazer's Saturday Morning Memoir blog, and consider her upcoming (July 9) book, Writing and Selling Your Memoir.

►Finally, this is a new idea -- a literary journal, EdgePiece, edited by "emerging editors" who promise not to "fully reject" any submission, and to work with submitting "emerging writers" in order to polish pieces for publication. Huh. (via New Pages blog)

Have a great weekend!

Writers and the artifacts of publication: Who needs clips and copies?

When I was a teenager, writing for the school newspaper, I couldn't get my hands on enough copies of the final, printed product. The same held when I began writing for magazines and newspapers. Today, when an essay appears in a book, I want at least one copy. Ditto for literary journals; and for the work which appears only online, I want a nice print-out. (Yes, I have links to everyting that's link-able, but that's different.) On my bookshelves, in my file cabinet, and in my basement and attic (where they have not, I hope, been chewed by mice or mold), copies of almost everything I ever got published, reside. It's not that I take them out and reread them, and now that we're long past the days when postal-mailing photocopies of clips to editors was essential to getting new writing assignments, I still just like knowing they are there.

I thought this was what all writers did, post-publication.

But maybe not.

Recently, two experiences have reminded me that not every writer needs to have something tangible in order to savor the writing they've completed and sent out into the world. The first reminder came via a very frequently-published writer friend (16 books, thousands of magazine and journal pieces), who nonchalantly confided she often never bothers to secure copies of the magazines and journals her work appears in; that she must have a printed copy of books number two and five around somewhere, but maybe not; that she's just too busy to spend time or energy collecting and storing "that stuff."

Huh. I found this interesting, but it was also easy to discount, in the vein of…well, if I were as frequently published as she, and had a multiple-book contract, and had just optioned a novel for TV, and was routinely invited to write for major media outlets, I could afford to be that coolly casual too. But since those things don't apply to me, I simply can't understand.

Then, there's this: During the school year just ended, my elder son wrote two lengthy articles for his high school newspaper, both wrap-ups of a sport season. He reviewed coverage of past games, interviewed coaches and players, dug up (and calculated) many statistics, wrote several drafts, and worked hard to revise and polish (and only asked me to weigh in once, maybe twice).

On deadline days, he attached his story to an email to the newspaper's student editor, and hit send. I haven't seen the articles since. Oh, they appeared in the newspapers, he got some compliments (or so he said), and my son saw each of the newspapers. Once. But then very quickly, each edition landed in that mysterious place in every teenage boy's life (and backpack) where physical things go to die. And that's just fine, as far as he's concerned.

Not me.

"Don't you want to have copies to keep?" I've asked. (What I really mean, of course, is don't you want to show me and Dad and have us be impressed? Don't you need/want to hear us say how great they look in print? Don't you want me to make multiple photocopies to send to Nana?)

"It doesn't matter," he's said.

"It does," I try to convince him. I talk to him about clip files, an online portfolio, college applications, wanting one day to get an assignment to write for a college newspaper. Or even if he never writes another thing, I ask why he doesn't want to just have them, have something to show for his work? How will he feel in 20 years when he wants to show someone and has nothing to show?

It does no good.

Here's how he responds: He had a blast writing the articles. He worked hard. He loved doing it. He thinks he did a really good job (I think so too). It was fun. But it's just a few issues of the school newspaper, Mom. Get over it.

I think I get what he's telling me (and maybe what my writer friend above, was saying too): It's not about the publication, or at least not ALL about the publication.

It's about the process. The writing, as in writing-as-an-act, not writing as work, or writing as prelude to a product.

It's a useful reminder, and I get it. I do.

I still want those school newspapers, damn it.

I could send an email to the newspaper's faculty advisor. I could. With tremendous restraint, I don't.

Dad, Writing -- and Writing About Dad

Father's Day. It may be that on this day, those who have lost our fathers feel an even keener need to honor them. After my father died, I wrote several nonfiction narratives and essays about him, about us,about the distance and the connection between us. A few have been published, others are making the rounds, still more are in the memoir manuscript draft, and the to-be-finished file. Other to-be-written Dad-related material is lurking in notebooks.

Why? I have some ideas, but really I'm not completely sure; that's part of what makes it so interesting to write this stuff.

My parents retired to Las Vegas in the early 1980s, and when he died, nearly five years ago and I flew out there, I wrote Two Weeks in Vegas. Later, when I thought back on his decline, I wrote Tip Not Included. Two poems are in the pipeline, with publication upcoming.

I don't know if I'll ever be done writing about Dad, which makes sense, since it was he who showed me what it was like to read with a constant, daily, insatiable hunger. For him, I think it was because formal education was taken away at an early age; for me, well, I suppose I just wanted to be like Dad.

Friday Fridge Clean-Out: Links for Writers, June 17, 2011 Edition

►Like to muck around with metaphor? Head over to The Economist magazine's language blog for some news, and further links. (Who knew The Economist had a Language blog, huh?)

►What are you writing? Do you know what it's going to be, when you first start on a new piece? Short story? Poem? Novel? Personal narrative? Erika Dreifus considers.

►A few times a year, for six weeks or so, I send out daily writing prompts, and while that program is on hiatus for now, I found this great resource where creative writers can get a prompt fix.

►If you haven't already read Dani Shapiro's brilliant essay in n+1 about the intersection of her writing life and internet distraction, then you haven't….well gee, maybe you've been writing and not been sufficiently distracted on the internet.

►I should no longer be shocked by tales told by former web content slaves. But I'm still disturbed, mostly by statements like this, which I think are mostly, and sadly, true: "The Internet has created more readers than ever before in the history of the world. And yet, perversely, the actual writer is more undervalued than ever before. .. In the age of Internet news, Google 'keywords' matter…Regular old words, not so much."

►Let's see if I can write the following sentence without smirking. James Franco is busy doing The Thing. Not that thing. This thing – The Thing – is a sort-of "quarterly publication". Take a look and decide for yourself.

►The Writer Magazine is now available on Nook and via an iPad app.

►Not every author can go this far, but when the last independent bookstore in her area closed, novelist Anne Patchett had enough, and announced plans to open one herself.

►Poetry. Songwriting. One late summer week. The Cotwsolds region of England. Paul Muldoon. The home and gardens of T.S. Elliot. Enticing, no?

►Finally, do some folks take The Onion seriously? Apparently they do, and then post their hilariously inappropriate responses. (hat tip RexBlog)

Have a great weekend!

Writer's Guide to More Writing Time. You may not like it.

In the past few months, I have advised several writers with whom I'm working as a writing coach to lie, to cheat and to steal. Oh, we've also talked about other things – developing a submission tracking spreadsheet, choosing a writing conference, preparing critiques for an upcoming workshop, trying new structure ideas for a memoir.

Yet, some of the most interesting conversations have focused on treachery – the questionable things we are sometimes forced to do, in order to have the time to write. While it would be just dandy if into every writer's daily life, some sizable chunk of uninterrupted time were to magically appear, free of day job tasks, child rearing, commuting, household duties, pet care, spousal maintenance and meal preparation.

But since that's a fantasy, most writers need to instead wrestle time for their writing. When one has exhausted strategies for squeezing more time from the same 24 hours – getting up earlier, writing during the (public transit) commute or on lunch hours – it's time to get serious about getting a little bit (or maybe a lot) more cunning. Even deceitful.

When my first son was an infant, I had access to free daytime child care but only if it was for an "important reason," which I quickly understood to be exactly two things: bonafide paid work or a medical appointment. A walk in the park or a haircut to refresh my colic-baby brain and remind myself I was still human? Nope. Lunch and adult conversation with a friend? Not a chance. Writing creative work which had no sure market value? Are you daft?

So I lied.

I didn't go to the dentist. I went to my writing group.

I cheated.

I said I had to work for 4 hours, knowing the brochure I was finishing for a client would take only two hours.

I stole.

I did paid work late at night for two solid weeks and used the daytime child care time for my own writing instead.

Lately I find myself advising others to take similarly drastic action. Why?

Because otherwise no writing will occur. Because significant others who say they want to be "supportive" -- aren't. Because children who are old enough to make their own meals -- don't. Because bosses keep making unreasonable (and uncompensated) "requests" for ever more time. Because house guests keep wanting to arrive, or stay. Because the volunteer committee to whom one has always said "yes" just won't hear "no". Because a relative thinks writing falls into the same category as watching reality TV in the middle of the day.

Because in some homes a closed door, a person hunched over the keyboard writing (and not on Facebook), and/or a request for "some writing time" is the same as announcing to those within earshot (and everyone else who has your phone number or address): "Please interrupt me as often as possible for the most mundane, trivial reasons and then after I answer your silly question, by all means, please keep hanging around."

So toss your gym bag in the car, but head to the cafe next to the gym to write instead. Keep the sitter an extra hour (or two). Leave for that appointment 30 minutes early (traffic, you know?). Send the spouse and kids out so you can "rest."

Lie. Cheat. Steal. Get your writing time.