10 things writers wish that non-writers understood

OneDoesNotSimplyExplainTheBook

Being a writer is a profession nobody seems to understand. Do you sit around all day in your pajamas? Do you use a fancy pants typewriter? Are you just making elaborate fantasy maps all day?

The answer to all of these is “usually no.”

So what’s the deal? Well … let me clear up a few misconceptions.

Nobody has time to write

We make time. That’s how it happens. Magic, right?

Pretty much all of us have day jobs, social obligations, errands to run, and various other life responsibilities.

Writing the book is the easy part

You heard me. Writing the book is the easy part.

What’s hard is revising it multiple times based on feedback from critique partners and betas, perfecting your query, snagging an agent even after they request a partial or full manuscript, staying motivated / patient while you receive a lot of criticism and rejection or radio silence, getting a book sold to a publisher, etc. etc.

It takes more than an idea

Trust me, just because you have cool ideas and great life stories and your friends love them does not mean they will be golden when you sit down to write them out.

Telling a good story out loud and writing a good story are two very different tasks.

Sailor Moon Writing

We don’t do it to get rich

There’s very little money in writing. The Stephen Kings and J.K. Rowlings of the world are the 1 percent.

Nobody becomes an author to make millions. Most don’t even make enough to quit their day job. We write because we love it — because writing, though incredibly hard most of the time, gives us an incredibly genuine sense of fulfillment.

Mental illness is not a prerequisite

We all know the stereotype: Writers are loners, losers, drunks, cat ladies/guys, and all-around crazy people who stick their heads in ovens.

While many famous authors have suffered from mental illness, most research on the link between mental illness and creativity is lacking. Writers can be gorgeous, happy, social people. They can be short, tall, skinny, fat, gay, straight, white, black, and every shade in between. Yes, they can also have depression, anxiety, or any other number of mental health issues. And yes, there’s a lot of self-doubt, self-criticism, and self-loathing that accompanies the writing life.

But it’s important not to glamorize mental illness or position it as a prerequisite to being a legitimate creative person. A mentally ill person won’t “lose” their creativity if they get better. If anything, their illness is as much a detriment, if not more so, to their writing (and their life) as it is a factor in their success.

Asking us what we’re writing is a BIG question

Um, so, I don’t know if you realize this, but asking writers what our books are about is a question that FILLS US WITH DREAD.

Summarizing tens of thousands of words into a few sentences and making them sound cool is super hard. So hard that writers call that summary “the elevator pitch,” and it takes a lot of thinking and effort to make it good.

Of course, that means we need to actually create and memorize our elevator pitch before we can tell you it. So try to be understanding and kind if we’re not quite ready to share.

We work even when we’re not feeling inspired

Key word being “work.” Writers have deadlines. Yes, sometimes, if we’re un-agented, we set deadlines and goals for ourselves because otherwise we’d never finish our books — but rest assured, these are real deadlines and goals, and we appreciate when you respect them.

What we don’t do is write only when we’re feeling inspired or are on vacation or enjoying a perfect day or the kids are out. “This shit is easy,” said no writer ever. We write whenever we can, as often as we can, even when the words don’t want to flow and we’d rather be watching Netflix because writing is fucking difficult.

Writing is actual work. Legitimate work. Like, there’s business involved and stuff.

Being unpublished doesn’t mean we’ve failed

Probably one of my biggest fears — and I think a lot of writers’ fears — is that if we don’t have a big agent or a three-figure book deal and our books aren’t being made into movies (reality: 99 percent chance all that is not going to happen), then people will think we’re hacks and that we’re cute for trying but we should probably give up now and find a nice office job.

This is not a realistic measure of our success.

1) It takes years to write and revise a manuscript. Years. It’s a slow process.

2) Most writers’ debut books are not the first book they’ve ever written.

3) Sometimes, after you get an agent, your book goes on submission but then nothing happens.

4) Even if a publisher picks up your book, it takes years before it’s actually in print.

So if we don’t have “good news” or any real update for you and it’s been months since we last talked, please be patient. We have to be.

We really, really wish you’d buy our books

If we are lucky enough to get our book published, you buying it means more than you know. After all, as you just learned, we work on these things forever.

If you buy and read the book, extra points!

If you leave a review online — we’ll love you forever!

There are a lot of real, meaningful ways you can show your support beyond a simple congratulations.

What Real Writing Looks Like

What real writing looks like.

Writing is ‘boring’

If you haven’t picked up on this yet, the writer’s life is kind of boring. It involves a lot of waiting. In fact, when we’re querying or our books are on submission, we refresh our inboxes a lot. Like, A LOT.

It’s certainly not glamorous like on TV. Most of us aren’t Richard Castle.

So please, please, please — don’t ask us when the movie is coming out.


If you have any questions about what it’s like to be a writer, please leave them in the comments below, and I’ll do my best to answer them.

The 8 most important lessons about writing you’ll ever learn

Lisa Cron’s Story Genius is one of my favorite books on writing, and it packs so much invaluable, hard-hitting advice into the beginning that it’s worth reading for the first 40 pages alone.

Story is imperative to our biology

Story Genius BookWhen it comes to story, we’re getting more than entertainment. We want to be engrossed because we’re asking ourselves, according to Cron, “What am I going to learn here that will help me not only survive, but prosper?”

Cron explains that humans evolved to work together, and storytelling plays a big role in doing that. “Don’t pet the lions” is an important message to communicate for our survival, but we need more help navigating the social world. “Sure, we can see what people do,” Cron writes, “but knowing why they’re doing it — which is what matters most — is elusive … That’s what we’re dying to know, and what we’re wired to respond to in every story we hear, especially novels.”

We don’t read to escape reality, Cron argues. We read in order to learn how to navigate it.

Story is not plot

Plot is what happens. Story is something bigger.

“A story is about how the things that happen affect someone in pursuit of a difficult goal, and how that person changes internally as a result,” Cron writes.

But, Cron argues, we’re learning the wrong understanding of story when we’re kids and our teachers give us prompts along the lines of, “What if Freddy woke up and discovered that there’s a castle in his backyard? He hears a strong sound coming from inside … and then … Write a story about what would happen next.”

What happens next isn’t the story; it’s the plot. Context — the meaning those events have for the protagonist — is what makes a story.

Good writing does not equal a good story

Cron says most of us mistakenly believe that the trick to writing a good story is to learn how to write well. So we study grammar and strive to emulate beautifully crafted sentences.

But that’s backward. We should be first learning how to tell a good story and worry about getting the writing right later.

“The conventions of writing — voice, structure, drama, plot, all of it — are the handmaidens of story, not the other way around,” Cron writes. “It’s the story that gives those beautiful words, those interesting characters and all that drama, their power.”

If all we wanted was beautiful prose, Fifty Shades of Grey wouldn’t be so popular.

Beautifully crafted sentences are just shells without context and meaning — without the story. When we read a book that moves us, we mistakenly think, “I want to learn to write luscious sentences like that!” when we should be thinking, “I want to learn to write the kind of story that would give sentences like that their power!”

‘Writing is like driving a car at night’ (pantsing) is bullshit

There’s an E. L. Doctorow quote that says, “Writing is like driving a car at night. You can only see as far as your headlights, but you can make the whole trip that way.”

That’s bullshit, according to Cron.

Most people aren’t natural storytellers. The best example I can think of here is Stephen King, who vehemently argues against plotting your novel — of instead “pantsing” your way through it, which has always struck me as terrible advice.

King is a natural storyteller, someone whose “cognitive unconscious has the innate knack of offering up prose in story form.” King might be able to sit down and starting writing a great story without knowing where it’s headed, “but when the rest of us follow suit, our stories almost always end up taking a meandering, disjointed, episodic route that often ends abruptly when we inadvertently drive off a dimly lit cliff.”

If you can move things around, your novel is in trouble

Rough drafts are supposed to be shitty, Hemingway said. And Cron agrees. She just has a problem with taking that too far — to, as author Anne Lamott says, “let it all pour out and then let it romp all over the place, knowing that no one is going to see it and that you can shape it later.”

Cron says that “chances are, after months of pantsing what you’ll see is a collection of events that don’t add up to anything — just a sprawling, aimless frolic. And trying to shape it only makes it worse, because there’s nothing to shape. … The very fact that you can move things around is a telltale sign that the novel has no internal logic.”

Yeah, Cron is a hardass. I kind of love her.

Plotters sometimes do it wrong, too

Plotting your novel is mostly right. But a lot of writers, Cron says, focus on plotting the wrong thing first: the external events rather than the internal story.

“Thus plotters begin by laying out the surface events of the story — beginning on page one — with little regard to the protagonist’s specific past, which is the very thing that determines not only what will happen in the plot, but how she sees her world, what she does, and most importantly, why.”

Or to put it more simply, “Outlining the plot first is like saying, ‘I’m going to write about the most difficult, life-altering series of events in the life of someone whom I know absolutely nothing about.”

BOOM.

The Hero’s Journey structure is misleading

External story structure models only contribute to the problem. Cron says “it’s deceptively easy to believe that all you have to do is ape the shape” — something big happens here, something dangerous there, instant gold — “and you’ve got a story.”

But story is more than a paint-by-numbers plot. The problem is, these models like The Hero’s Journey analyze finished works, not works in progress.

Writers follow these story models beat by beat, Cron says, and then wonder why their novel isn’t “nearly as engaging as all those novels, movies, and myths that the ‘story structure model’ was based on.”

In other words, you can’t create a good story from the outside in.

Be careful with ‘in medias res’

It’s good to start your story in medias res, meaning “in the middle of the thing” — as long as you understand that you still have to know the why.

Too many writers take in medias res to mean “plunge us into current action and explain it later,” Cron says. “… By leaving the ‘why’ out of the picture, the action often reads as a bunch of things that happen” — which we know is plot, not story.

Yep, this is how schools kill creativity

poetry gene Phil Nel

So you’re a high school student. At that time in your life, maybe you’re writing poetry about lots of darkness and death, or maybe you’re a football player who gives little thought to anything inside the classroom.

Emily Dickinson 1Or, okay — let’s ditch the stereotypes. Say you’re a football player who writes a poem with actual emotion behind it. That’s more than a lot of people can do when they’re being forced to churn out a poem for a grade. To the untrained, creativity — writing — isn’t something that can be done on command, without the spark of inspiration.

But one high school football player from Rittman, Ohio actually channeled his thoughts and feelings (in this case, frustration) into his poetry assignment — and he got punished for it. The 16-year-old Nick Andre wrote about his team’s losing season and how the star wide receiver gets more perks than he should because he’s the coach’s son and quarterback’s friend. Andre titled his poem “Stupid.”

Emily Dickinson 2The school called it “hazing” and “harassment,” suspended him for four days, and made him sit out the last two games of the season.

Andre’s response is actually smart, which isn’t surprising considering what he did with his poem. “Who am I harassing or hazing?” he told local news. “I mean, I didn’t state any names.

“It’s like wow, just over doing my school work, I get in trouble, get thrown off the football team, you know get suspended for four days, which could potentially really mess up my grades” (emphasis mine).

So this is how schools kill creativity — by misinterpreting it as misbehavior. It’s like the kid in the back of the class who draws nasty pictures of his teacher, but the art is really, really good. Should that be confiscated and discouraged, or should the teacher make an exception? The difference to a future could be huge.

God forbid a kid write a poem and like it.