Category Archives: Motivation

Being Creative While Working a Full-Time Job

A guest post by Nick Ruva.

One piece of advice you will hear repeatedly as you embark on a writing career is, “Don’t quit your day job.” Many of us know that all too well. Either you do not make enough as a writer to pay the bills, or you need the security of a consistent paycheck and those much appreciated health benefits. Whatever your reason may be, trying to squeeze in your writing time while working a full-time job can be difficult. It is harder if you are working a job that challenges you to find creative solutions to problems. I cannot prescribe a way to squeeze more time out of your day to write. I am a staunch believer in the idea that when we say we do not have time to write, what we are really saying is there are other things we would rather spend our time on. I get that, and by all means if you would rather spend time unwinding after a long day by watching the tube or shooting baddies online, I cannot blame you. I have been there a million times. When I was asked to write an article about working a job that consumes you night and day, but still finding time to write, I had to sit down and think about it. Sure, I am busy often, and I work some long hours, but at the end of my day I still have time I could be writing, but sometimes I mentally cannot. I have found that there is a limit to the creative output I can muster in a day. Some nights all I want to do is flop on the couch and nullify my brain watching TV. The trick for me has been finding a balance.

I work as a Configuration Management Engineer, which is a fancy way of saying I manage the automated building and release of software. My job requires me to research and solve complicated problems. We need a product to build faster, or a process improved so it is more stable or does something else. It is a job where you are constantly being presented with a problem and asked to find a fast and elegant solution. It is a lot like creative writing, and it ticks a lot the same creative pleasure centers in the brain. Over the years I have had several jobs that did not challenge me, such as my early years in retail, or doing simplistic quality assurance testing. Now, some QA testers need to be deviously creative, but my stint was ticking boxes on a checklist as either pass or fail. Do this, record result, repeat. I would not say it was mind-numbing, but it did make me desire to be more creative during my downtime. As the skill and creativity necessary for my day job increased, my writing productivity took a hit. Again, it was not for a lack of time. I have the time to write, and I feel guilty if I am not working on a story, but finding the drive when I am already creatively satiated during the day means I need to use other criteria to motivate me. So what do you do if you find yourself in a similar situation?

The first thing I would recommend is to reach out and meet other writers. Writing groups can be incredibly helpful. While at the University of Southern California, I took a few creative writing courses which allowed me to meet other writers on campus and establish critique groups with other newbie writers. After school, I went to a few local bookstores and looked for fliers for writing groups in the area. I am still in a group thanks to a post I found years ago. Likewise, I have met writers online and at classes and workshops, and we have created an online critique group that is still in its infancy, but is already having a huge effect on my writing. A good writing group will help you on so many levels. First, and maybe most important for us busy folks, a writing group will encourage you to write more. I feel extremely guilty if I do not bring something to my critique groups, and shame writing is still writing. If that is what you need to motivate you, I am right there with you.

A critique group also offers a network of writers you can grow and learn from. I have received some amazing critiques over the years, and my writing gets stronger every time I submit. For instance, I had a horrible tendency to write characters who stare. They would stare at everything and everyone, and it drove someone in my critique group up the wall. Looking back over my work, it was a pattern, and a problem, that I have corrected. Likewise, I like my fiction sparse, but that’s a fine line to walk, and if I submit a piece and get too many “white room” comments, I know I have not gotten the balance right. The writers in my critique groups have been instrumental in making me a better writer.

Just meeting and being around other writers can be an enormous help. My writer friends and I like to commiserate and daydream about writing. It helps when you have an all-consuming job, especially if you can talk with other writers in similar situations. If you’re having trouble meeting writers locally, I recommend the more networking heavy seminars, such as the Superstars Writing Seminar. Superstars, and other seminars like it, throw you in an incubator with around fifty other writers. Thanks to social networking sites, we have kept in touch and continue to help promote and nurture each other’s work. Seeing status updates from other writers, yes, even those: “I just wrote 5,000 words this morning,” that shame me into writing, are wonderful motivators. When you are feeling burned out, and all you want to do is click yourself numb on the Internet, having some streaming encouragement definitely helps.

I know what you are thinking. I am telling you the way I find more time to write is by hanging out in writing groups, meeting other writers, and going online to Facebook. OK, so, those are motivators, but what about actually writing. For me, it is trying to find the right mix of time to productivity. I have tried to schedule daily writing times. Early morning before work, during a lunch break, right after work, before bed. When I try to make a set schedule, especially at a set time, I normally start strong and fail miserably in a few days. The biggest issue I have is making the time to write when I am actually feeling inspired. If I am feeling especially creative, and I am excited about a story, I will fly through a couple thousand words. If I am feeling tired, or forced to write, I will resist even opening my manuscript.

I am also leery of setting daily word count goals. I know they work for many of my writer friends, but if I set a goal for a thousand words a day, I will probably slack off thinking, “I can do that in an hour. I’ll just bang out a few paragraphs before bed.” Never happens. If I am crunching, for say NaNoWriMo, I will do hourly goals. For instance, instead of shooting for a thousand words a day, I will force myself to it sit down for two hours and set a goal of five hundred words an hour. Something about moving the goal up and making it smaller, and more immediate, helps me stay accountable. It is not perfect, and sometimes I will balk at that two-hour window, but it helps. For the most part, I am against the writing word count goals as they normally make me less productive, and I sometimes feel defeated if I miss too many in a row.

What has worked for me was creating a little leeway for creative time during the day. I know this may not work for everyone, and maybe you can schedule a solid block of time and work like a champ, but if you are like me, do not feel guilty stopping your daily work here or there for a few minutes to write a paragraph of fiction when you’re inspired. I started doing that a few years ago, and barring a meeting or a catastrophe at work, I can usually find fifteen or twenty-minutes each day to work on some prose. I have also found that it energizes me when I return to my day job, especially if I am stumped on a particularly hard problem, or if I am simply not in the mood to be 100% productive for the nine to five. Completing a few writing goals has worked wonders and I have hammered out a few solid short stories recently on work breaks that have gone over well in my critique groups. Again, your mileage will vary, and make sure that your writing does not jeopardize your day to day. I know how easy it can be to get lost in your writing and lose a few hours of time. You need to find that balance, but I have found writing during my day as a great tool that has made me more productive in my day job and my writing life.

Finally, you need to ask why you are doing this. Over the past year I have been putting my writing life into better perspective. I look at myself as a small business owner, and my writing as a product I need to ready for release. Every time I skip a writing session, or get nothing done for the day, I am pushing my release date out. If I want to get my product on the shelf, I have to put in consistent work. You need to find that big, juicy carrot to dangle in order to keep you motivated even when there is a full DVR to distract you. For me it is simply to write when inspiration hits. I cannot count on having an hour of quality brain-time later. If I can put things on pause for a few, write that scene, and then go on about my day I am that much closer to my finished product.

Nick Ruva Bio:
Nick Ruva is a literary writer who dabbles in Sci-Fi and Fantasy. While he is not practicing the dark arts of fiction, he manages the release and build process of software products and specializes in process control and automation. A Los Angeles transplant, Nick has worked with local LA writers, editors and publishers who are working to promote the independent L.A. writing and arts scene. Nick is a Superstars Writing Seminars alum, David Farland Death Camp survivor, and was a member of the inaugural Writing Excuses “Out of Excuses” Retreat.

Business Plans for Writers

A business plan for writers – what an absurd idea! That may be your first reaction, but chances are that you already know how you want to your writing career to evolve. A business plan is the road map to launching and growing your career in a strategic, efficient manner. Everything you’re doing now – networking, writing, learning craft, blogging – it’s all part of a plan but let’s face it, we’re writers first and the less time we spend floundering or making mistakes with the business part of our career, the more time we’ll have for writing.

Here are the key elements for a writer’s business plan:

1. Company Description
Yup, you’re a company with accompanying tax write offs but let’s be more specific than that. Does your business include writing, editing, holding workshops, attending trade fairs, or other activities related to writing and promotion? As a writer, do you write short stories, novellas, novels, magazine articles, or some combination? What is your genre? Who is the target audience?

2. Operations Plan
This is a one person company, right? Wrong. For tax purposes you may be a sole proprietor or an incorporated entity but your company is bigger than one person. For example, who are your support groups – writers’ groups, critique groups, book clubs, blog group? Do you belong to interest groups locally or on-line such as science, knitting, bird watching, Sherlock Holmes fan club? These are important to note because they not only inspire you and provide valuable input they may also be part of your readership. Who are your mentors, critiquers and editors?

Bestselling authors have an organization. Take a look at the Acknowledgements page of their books. Most Acknowledgement pages list editors, research contacts, readers – anyone who helped them. For ease of organization, you can divide your support network into four categories: craft, business (contracts, taxes, editors, finances, etc), networking (conferences, on-line, writers groups, readers groups), and market access. Note any deficiencies you have in these areas and develop a strategic plan to deal with that aspect. For example, I need to know more about marketing strategies and so I’ve chosen to attend a seminar on marketing rather than a critique workshop to fill this gap. Finding the experts I need fills a gap in my organization and allows me to use my use my limited budget wisely.

Remember – it takes one person to have the idea and write the story, but it takes a community to support a writer and make the work available to the reader. Who is in your community?

3. Products and Services
We touched briefly on this in the Company Description, but now we need to get specific. You may be writing in one genre or several writing poetry, short stories or novels and writing for the children’s, young adult or adult markets. In the market you’re writing for, who exactly is the audience? For example, not all people who read mysteries love the same type of mystery or the same degree of graphic language. Those loving cozy mysteries (think Stephanie Plum series) may not like Ian Rankin’s gritty detective or James Patterson’s thrillers. What type of mystery/fantasy/romance do you write? Who will it appeal to? What are the sensibilities of the genre and does your writing reflect that? Where will your work be placed on the bookshelf?

If you’re editing or involved in some other aspect of writing (volunteer or paid), note that too. Depending on the level of your involvement, you may need to create separate business plans. However, having them listed in one spot will help you manage your time better when setting goals.

4. Marketing
It’s so easy to want to stay at home and only write or at most, to go to a writing meeting where we chat with like minded people. Marketing means getting out of our comfort zone and reaching out. The easiest way to do this is to have a plan and to follow it. A haphazard approach erodes confidence and the ability to present things in a comfortable confident manner.

For every product you need to have your elevator pitch, synopsis, chapter by chapter plot line, a great manuscript before you promote. Having these will help you understand your product so you can differentiate it and create a unique selling proposition. In other words, what distinguishes your story from others it the market? Why will your target market (children, young adults, mystery/romance/horror fans) like it?

Describe how your stories will be sold – book stores (which ones?), on-line, book clubs, and how you intend to get the books there. Even if you have a traditional publisher, you still have to market and sell, so be prepared to do that.

What are your promotional tactics? In other words, how will you reach your audience? Some examples are: tradeshows, school appearances, readings, book tour, social media marketing (Twitter, Facebook, etc,), reading clubs (local, Goodreads, etc), on-line advertising, conventions, local advertising and book trailers. Your website should appeal to the book buyer. One writer I know designed her site for teachers because they’re the ones who will be buying her books and will be allowing her to make school presentations. Who is your website designed for – readers, teachers, technical users (how to books), other writers?

There have been many good posts on marketing at Fictorians so just click on the Marketing category and you’ll receive a ton of information. Just remember to choose a few things to do (for example you can’t belong to every book club and effectively utilize all social media) and do them well.

5. Finances
Having a budget will focus your marketing strategy and allow you to develop and manage your business more effectively by allowing you to prioritize. Which convention/workshop can I afford to go to? Do I purchase business cards or have a professional design my website? What can I do for free?

After all the work we do to write our wonderful books, we can’t afford to fail now because we failed to plan the business part of our passion.

 

How Writing Badly Can Help Your Career

Sounds a bit silly, doesn’t it? But as I’m sure everyone here knows, one of the biggest stumbling blocks for any aspiring author isn’t really how good their book is. It’s how finished their book is.

After all, you can’t have a business without a product, which is, in our cases, a completed story.

The key is to be productive and with just about everyone I know, one of the biggest obstacles to their productivity (right next to the two hour commute or the kids who can’t seem to do anything without parental help) is that voice in their head that keeps popping up to say, “What are you thinking? That comma’s ruining the emotional thread of this scene!” or “Jeez, this is crap. Let’s go play on the Playstation where it at least feels like I’m accomplishing something.”

A recurring session during the Superstars Writing Seminars is Kevin J. Anderson’s productivity tips (which he is currently covering on his website for NaNoWriMo). This is where I first heard his #3 tip: Dare to Be Bad (At First)…Then Fix It.

And the guy must be on to something because he makes prolific authors look lazy.

Now, I do spend some time prewriting to figure stuff out, for the most part I find my story as I’m writing it. For the longest time, I’d get stuck in that loop that made me want to re-read what I’d already written and tweek the text until I had to force myself to move on to the next scene. And then I gave myself permission to write badly. This was incredibly freeing. Now, when I’m doing a first draft, I can write upwards of 20-25k words a week, knowing that I’m going to edit it like crazy once the first draft is done. They aren’t great words, sometimes they’re downright horrendous, but they come together to form a completed work.

Now, your process might be different. But ask yourself, is your book stalled because you keep going back to that one or two scenes that seem so pivotal but your inner editor keeps telling you it’s just not right and if you don’t fix it now the whole book will fail utterly?

Stop that.

A house builder doesn’t sit there working on the same bathroom for years because they can’t get the shower to the perfect dimensions. They have a whole house to build and if someone isn’t living in it, it has no purpose. The same goes for you. Don’t let a desire to write perfection stop you from finishing the book, because if no one reads it, it also has no purpose.

Once the first draft is done, then you can let your inner editor run amuck…somewhat.

I usually have to step away for a bit before diving in the editing/revision process, otherwise, I’m just polishing the punctuation. Some people go ahead and send it out to alpha readers to get feeback. You’re process should be whatever works for you, but the real key to editing your own work, I think, is honesty.

Yes, that scene in your epic fantasy between the hero and his pet parakeet makes you cry every time, but does it move your story forward? Yes, you skipped that escape scene in your adventure to get to the emotional angst, but is the reader still engaged? Yes, you left out the detailed description of your cyborgs in your SF because it slowed the pacing, but can the reader really understand your world?

They may be you and your critique group’s favorite scenes. They might be hard to write. But if the story and the reader isn’t served, be honest. You’re going to have to fix it. The nice thing is that you’ll probably like the result better.

It’s actually kind of funny how often I tell someone that a scene isn’t working, or the story is missing something, and they say, “Yeah, I was kind of thinking that, too.” If something doesn’t ring true, or a scene doesn’t seem right, don’t wait for someone to remind you of something you already know. This instinct might take some time figuring out on your own, but the only way you’re going to learn how to tell what works and what doesn’t, is to keep writing and reading your genre.

It’s all so much work, I know. But that the difference between a hobbiest and a professional: get the work done, then make it the best you possibly can.

Dare to be bad. Fix it later.

Get on the Train

Train3I have a few different fingers in the publishing pie. I wouldn’t be writing for the Fictorians if I wasn’t a writer, but that’s not the aspect of publishing that dominates my time. I’m also a professional editor, something I don’t often talk about in my Fictorian blog posts. In addition, I am a typesetter. Occasionally I’ve even served as a slush pile reader, though that torturous (and tortuous) experience hasn’t always been a high point.

Recently, while on an afternoon walk through my neighbourhood, I realized that I’m kind of unemployable in the “real world.” I’ve been a full-time, self-employed contract worker since the age of twenty-four, and all of my skills are in publishing. Sure, I could wait tables and wash dishes, but I am pointedly leaving those items off my resume. To say the least, I’m firmly enmeshed in the business of publishing.

This is a pretty surprising career development, at least from the perspective of ten-years-ago me, who didn’t set out a specific goal to get to where I am today.

However, I wouldn’t go so far as to call it accidental. Rather, I started making choices that allowed me to follow my publishing dream, and those choices led to opportunities, and those opportunities, when seized, led to my current reality. In short, I got on the train.

But I’m getting ahead of myself.

The watershed moment happened in Pasadena, California in the winter of 2010—the first annual Superstars Writing Seminar, which we’ve devoted a lot of digital ink to on this blog. Over the course of the next couple of years, I went from trying really hard to be a writer in a hostile world to being surrounded by writers all the time. The world doesn’t seem so hostile now. The proportion of my Facebook friends who are writers is truly out of control. I used to read my newsfeed for updates from old high school buddies. I can hardly do that anymore, because the newsfeed has gradually been swallowed up by publishing business.

I call it business, because that’s what it is. Every day, my friends are asking for advice, providing advice (because some of my friends are seasoned pros), posting articles from trade magazines and blogs, providing sneak peeks of cover art, hunting for beta readers, and on and on and on. This level of immersion, I think, is crucial in a writer’s life because it marks the point when education becomes continuous—and almost automatic. I live and breathe this stuff.

The first conventions and seminars I went to were all about learning new things. Attending Superstars in Pasadena was an overwhelming experience, because ninety-five percent of what I heard there was totally brand-new information. I came home with over forty pages of notes. The notes were important, but the forty friends I picked up were actually much more helpful, because they got the ball rolling. Instead of cramming years’ worth of learning into one weekend in a convention centre meeting room, I started getting it piecemeal every day of my life.

This last spring, I went back to Superstars for the first time in four years. In 2010, attending Superstars was like attending a computer programmer’s convention without any computing knowledge beyond how to boot up Windows. I could barely follow along half the time; I hung out at the fringes of conversations, snatching up scraps like a hungry dog beneath the family dinner table. I was hopelessly lost. This time, I was the guy talking contract terms, market trends, and business practices. It’s impossible to pinpoint where and when it happened, but I came to speak the language.

The information at Superstars 2013 had changed probably sixty percent from the first year—because that’s how quickly this industry is shifting under our very feet—but I went from forty pages of notes to four. Maybe fewer. It’s not that the information wasn’t timely and valuable, and yet I absorbed very little that I didn’t already know—well, that’s not true; there was plenty that I didn’t know, but I was so well primed for it this time around. The benefit was not all of the advice and new-fangled information. It was having so many of my business friends and contacts in the same place at the same time.

That’s what will happen once you start down this track. You don’t need to have a step-by-step plan for how you’re going to succeed. The industry changes too fast for step-by-step plans to be practical, anyway.

Think of the publishing industry as a train. One day, it motors past your station, so you hop aboard. At first, you don’t know any of your fellow passengers and you don’t have the context to understand their insider conversations. But there are only so many people on this moving train, so unless you hide in your cabin all day and refuse to talk to anyone, it’s only a matter of time before you’re caught up in the hustle and bustle of daily train life.

So just get on the train.