Carnations for Jessica

July 27th, 2010

So. Wow.  I wrote “For Jessica” as a way to describe to friends what is happening with my daughter and how I’m feeling about it, since it’s very hard for me to talk about it. 

 

Then I shared the link on Twitter and Facebook.  Of the few hundred people to whom I’m linked by these sites, I figured ten of the people closest to me would read the post, and maybe three would leave encouraging remarks.

 

The next thing I knew, I was moderating hundreds of comments and my web master was e-mailing me, going, “You got twenty-two thousand hits in one day.”

 

So. Wow.

 

Lessons learned:

  1. The universe may on occasion suck, but it is full of kind-hearted people who would, in the words of one commenter, give a small piece of their souls to make it better. I don’t think it’s possible for me to express how much the support, generosity, and kindness of absolute strangers has buoyed me and given me more much faith in the future than I have had in a long time. Thank you.
  2. My ex-husband was not barking questions.  He was asking them.
  3. All teasing aside, my ex-husband is, in fact, amazingly tolerant when you e-mail him, saying, “You should probably read this before the rest of the universe does.”  My daughter is lucky to have him as a father, and I’m lucky to have him as a friend.
  4. You are not alone. I am not alone.  Before I break out into a verse of “Kumbaya,” let me just say that what touched me most was when people wrote to me and said, “I thought I was the only . . .” and how glad they were to find out they are not.
  5. Spam comments are pretty funny when taken in the context of the intensity of this post and the response it generated. The spam comments are like little clueless space aliens wandering around Earth.
  6. My friends mock me for having the plainest blog in the universe.  I have always said that the words matter. Not that I don’t appreciate design as much as the next person. Just that when you have a limited amount of time, resources, and energy, you have to put them in the words, not in the bells and whistles. Thank you for helping me prove that it’s the words that matter.
  7. You guys have so many stories to tell.  I hope you will tell them, and that you will tell me when you’ve told them. One commenter remarked that it isn’t “Welcome to Holland,” it’s “Welcome to Cambodia.” I want to read her story. I want to read all of them.

Many of you have asked where you can send carnations to Jessica at the hospital. I am so moved by how so many people want to make one little girl’s day a little brighter.  I have given information to several people whom I know personally, so rest assured that Jessica will be surrounded by red carnations as soon as she wakes up from surgery. For anyone else feeling moved to do something for Jessica, I would love it if you would donate what flowers would cost to the Tuberous Sclerosis Alliance instead. This is the organization that supports research into the congenital disease Jessica has.  You can find out more information, including ways to donate, at www.tsalliance.org.

 

If there is another cause dear to your heart, please give to that instead. And call it a carnation for Jessica.

 

Many of you have also asked why I don’t write a book about my experiences with Jessica.  I have.  My agent, the indomitable Neil Salkind, has been trying to find a publisher for it since last August. We have received many rejections, mostly on the grounds of “it’s too painful; it won’t find an audience.”

 

I have never believed that, and your response to “For Jessica” is my validation. People want to read the truth, even if it is raw and makes them cry.  They want to be moved, to feel that there is more to life than just another bathroom to clean or a new pair of shoes to buy.

 

That does not mean there is an instant book deal, however. (I’m being rejected at the same brisk pace as always.) (That’s the life of a working writer, so I’m used to it.) But my agent did say, “Make this into an e-book, and sell it on your website, so the people who want to read it can read it.”

 

A good guy, Neil.  So, that’s what I’ve done.  I’ve saved the manuscript as a pdf file, so, again, no bells and whistles.  I uploaded it to e-junkie.  Some of the proceeds will go to the Tuberous Sclerosis Alliance; the rest will help defray the expenses associated with Jessica’s hospital stay.

Here’s the link.

 

 

Thank you–all of you–for your warm thoughts, wishes, and prayers. (Hey, I may not believe in a supreme Deity, but that doesn’t mean One doesn’t believe in me.)

I will post here once we’re back home from the hospital.  I’m deeply grateful to all of you.

 

 

 

 

For Jessica

July 19th, 2010

A couple of weeks ago, a friend of mine and I were talking about a study she’d just read, which concluded that people without children were happier than people with children; or, to put it more precisely, despite what conventional wisdom holds, the study found that having children did not increase anyone’s happiness.

 

At which all I could do was burst out laughing.  Because, well.  Duh. 

 

Only an academic would undertake a study like this, defining happiness as something along the lines of “satisfaction with life” and “feeling rewarded by your work.” If there’s an occupation more likely to make you feel incompetent and unrewarded than being a parent, I have never heard of it.

 

If you weren’t an academic, you might define happiness as the experience of being fully alive. To know grace, and despair, and the kind of hardness you have to learn to stand against; to watch your family fail you when you need them the most, and have your ex-husband look around, shrug his shoulders, and hold out his hand to help you up again.

 

Right.  Your ex-husband, so that you can learn a bit of gratitude, just enough to appreciate him, which you didn’t manage the first time around.

 

These are things you’d never know if you hadn’t had your daughter.  Things you wouldn’t have had to know, and learn the hard way, bitterly.

 

If the medical resident hadn’t sat down while you held your baby girl in the neonatal intensive care unit and said, “Your daughter’s brain is massively deformed.”

 

The daughter you loved even before she was born.  When she was an abstraction, a positive sign on a pregnancy test, before she kicked you in the ribs, long before she ever drew her first breath. Love you did not know you were capable of feeling, primal and angry and powerful, you would kill ten men and Satan if you had to.

 

But the universe doesn’t ask that from you. 

 

When your daughter is nine months old, a neurosurgeon will say to you, “We believe resecting the left side of her brain will help control the seizures.”

 

The seizures that she has all day, every day, dozens, hundreds; she was born with a massively deformed brain, what did you expect?

 

You think a minute, and you realize the doctor is saying they are going to take out half your daughter’s brain, and throw it away, so much trash, and you’re supposed to sign the consent form for this. 

 

And after the surgery, when the seizures come back, you will sit across the table from the man who is now your ex-husband, the man you adored, but life can kick the ass out of any romance, even yours, and you will order a very large glass of tequila, and you will say, “What the hell are we supposed to do now?”

 

And you hope the answer is going to be about slaying ten men and Satan, because you’re capable of that.  Yes.  Heroic action? You are totally down with that. But the answer is, you are going to go home and do the best you can to make a life out of what you’ve been given. 

 

And no one is going to give you any instructions, or any feedback, so no matter how well you’re doing, or how badly you’re screwing up, you won’t know either thing until maybe – maybe – at the end of your life, fifty years from now, you’ll be able to look back with some perspective and go, “Eh, should have done that differently.”

 

So you do the best you can.  You raise your daughter, and she is three years old before she learns to walk, seven years old before she learns to use a toilet, and mothers all around you are blathering their worry that their babies aren’t talking by twelve months, and you don’t even know what universe they live in, because in your universe, you had surgeons take out the left side of your daughter’s brain and throw it away.

 

You just got back from the hospital the fourth time or maybe the sixth time your daughter’s shunt has had to be revised – that is, yanked out and a new one put in because it stopped working, which means the pressure builds inside her skull, which could kill her – and the man (the man, you weren’t picking any goddamned boys this time, this time you found yourself a man) he says he’s not ready for someone like you. It’s just too intense.

 

What he means is he can’t deal with your daughter.  This is a story you will go through more agonizing times than you can count, with friends, with family, with work, with other men who don’t trust you when you say all you really want is to just get laid.  They will all say it differently, but you know why they’ve cut and run.  Hell, you would have, too.  If someone had told you ahead of time what was going to happen now?  Baby, you would have been on the next plane to Bolivia and fighting extradition every step of the way.

 

But they didn’t tell you ahead of time, and by the time you figured out that being her mother was going to make your life look like a nuclear bomb had detonated in the middle of it, it was too late, because she’s your daughter and you loved her even before she was born, so you’re a little biased and you can’t always see her clearly, and what you see is a high-spirited, ebullient girl with a stubborn streak, and other people see a slow-moving, cognitively-impaired kid who can’t be budged once she makes up her mind.

 

Well, screw them.

 

You say that a lot.  Screw them.

 

So, no, most times you’re not thinking about how happy this is making you. 

 

Sometimes, in fact, you’re thinking about how a long time ago, you were kind of a charming young woman who read a lot and married a nice guy, and you planned to go to Paris. 

 

And you never got there.

 

And somehow, maybe during the thirteenth hospital stay, or perhaps the fifteenth, your life had narrowed down to a few good things.  Your work, and your daughter.  Your three old friends, who knew you way back when you were kind of charming, and your three new friends, whom you refer to as the one who calls you “hard,” the one who calls you “contentious,” and the one who calls you “inflexible.”

 

Because it’s funny, and while they mean it, they don’t mind it, they even seem to admire it.  Your friends are warped, too.  Hey, it happens.

 

“You need to get some Mike’s hard lemonade,” your daughter says when you’re at the grocery store, because you once told her that you had one at your friend Diane’s house, and you liked it, and in your daughter’s world, if you do anything you like once, you must do it many many times, because that is wonderful.

 

People look at you funny when she points to the Mike’s, like you’re an alcoholic raising one, but you think screw them, and you buy the Mike’s and it stays in the fridge for three months before you throw it out, but it makes your daughter happy.

 

You would do anything to make your daughter happy.  To make her whole, and to promise her that she will never have to go to the hospital again, but despite all the effort and practice, you’re just not that good at lying.

 

When you bring her to the hospital for the eighteenth time, or maybe it’s the twentieth, and she says, “I want roses, like a princess.  Red ones,” you make sure she has them, even though it destroys your budget for the month.  Raising your daughter makes it impossible to also hold a steady job, so you freelance, despite the fact that you’re not really cut out for writing about things normal people are interested in.

 

And you find out, interestingly enough, that there are so many not-normal people in the world that you don’t ever have to write for the normal ones if you don’t want to.  Which is a huge relief.  It’s a club and the password requires an appreciation for dark humor, and you have to have been through gut-wrenching grief to get here, and you look at the people who don’t know, and you realize, for the first time, that you don’t want to be them: innocent, unknowing, unformed, unrealized, their lives entirely unlived.

 

You bring your daughter home from the hospital, and she says, “Next time I want carnations,” and you know there will be a next time, and it makes your heart hurt.

 

Still, you are so not ready when the next time comes.  It’s a mugger, and you’re not even walking after dark.

 

You’re at the hospital for another MRI, routine. You know all the rules by now, and the names of the nurses, and the questions they’re going to ask.  And you know the MRI is going to take one hour, ninety minutes tops, because it always has.

 

And you know from long experience that when something deviates from the norm, the news will not be good.  In the world you don’t get to live in, people get good news all the time, but not in the universe that made your daughter.

 

Three hours later, the nurse comes in and makes some remark about it taking a while to get the pictures, and you know she’s lying but you don’t push, because she’s not allowed to say, and she won’t.

 

So even though no one tells you that you should, you wait by the phone the next day, and the neurologist calls just like you knew he would, and he says, “There’s been an unexpected finding,” and even though you knew it would happen, it catches you in the gut and you sit down, hard, and you think I can’t stand it.

 

The sky has fallen down many times in your daughter’s short life, the sky with all the stars in it, and you have picked up the pieces more times than you can remember, and you have climbed the ladder and put them back in place, where you think they should go, and you get things in backwards and out of sequence, but you do the best you can, and you climb down off the ladder, and you’re at peace with your work.  You wish it could be better, but there’s only one of you, and the sky is so vast, it takes a while to put it back together again, and you did the best you could.

 

And you just went through all that work, and here is the goddamned sky scattered all over the carpet again. 

 

The neurologist describes the new problem, like having a massively deformed brain is not enough for one child to bear.  You process what he is saying: there’s a hole in your daughter’s spinal cord.  He calls it a channel, and he gives the medical name for it, so you can look it up on the computer and give yourself a heart attack, and then he says he would like a neurosurgeon to consult, and you say, sure, because what are you going to say?  I can’t do this anymore?

 

So you tell your daughter she has a hole in her spine, and she takes the news gracefully, the way she has taken everything you’ve ever told her about herself, you have a massively deformed brain, you have seizure disorder, there is no cure for your disease, and oh yes, your all-time favorite surgeons took out the left side of your brain when you were nine months old.  

 

There is one secret thing you never tell her.  You never tell her how afraid you are that this is the last time.  The last birthday.  The last kiss good night.  The last time you will ever sing the Mockingbird Song to her, the way you have done every night for thirteen years. 

 

You have never done anything for thirteen years before.

 

The neurosurgeon is a pleasant man, which is a change from the usual run of neurosurgeons, and he describes what sounds to you like a horrifyingly high-risk surgical procedure, and which he calls an intervention that he has performed before.  You don’t push him with questions like, How many times? Because you don’t want to know.  Because it will break your heart or terrify you, and you don’t have the stamina for that.  Not today.

 

He turns to the computer, calling up the MRI, and you focus on his hands, and you decide that he has competent hands, artist’s hands, and it’s a good thing, too, because you are trusting your daughter to those hands.

 

He wants you to look at the image on the computer, but the image makes you want to throw up, you don’t want to look at it, but the doctors always make you look.

 

And you see the place where they took out the left side of her brain and threw it away, and he shows you the hole in her spinal cord that goes on and on and on, tracing it the length of her spine, and you can’t stand it anymore, not even to be polite, so you stare at the floor, and you notice your sandal is scuffed and you wish you wish wish wish he hadn’t made you look, and you hope you can hold it together until he leaves, and you can bolt to the nearest bathroom and be sick.

 

He smiles kindly and schedules surgery for August 10th, which is too soon, much too soon because you can’t even conceive of what he is going to do, and it is going to take you a long time to wrap your mind around it, and it’s also too far away, much too far away, because you would like to sleep until it’s over, and there’s just no possibility that you can get away with staying in bed that long.

 

You look up at your daughter, and you see her face is stark white, and you know she is scared out of her mind, she has understood everything that has taken place here and it was so much easier when she was little, and she didn’t, and she would just smile at her hands and coo.

 

Her father is barking questions at the surgeon, agitated and pacing, and the surgeon answers him patiently, prefacing each response with the phrase, “That’s a good question,” along with a nod and a smile, like your ex-husband is a good student, while you sit there, a lump, bovine, you couldn’t form a question if it would save you from a firing squad.

 

You are trying to think of what to say to your daughter, and all you can think is I don’t want to lose you, baby girl, I don’t want to lose you I don’t want to lose you lose you lose you.

 

Which doesn’t seem particularly helpful.  So you shake hands with the doctor, and before the nurse starts asking all the questions on the H&P, you tell your daughter that the surgeon is going to try to keep the hole in her spine from getting worse, and that means some surgery, and maybe five days in the hospital.  And you must do a good job of not communicating your deep dread and fear, because she says, “Okay.  Will people bring me presents?”

 

Yes, you say.  Yes.  It will be required.  You hug her, and she says, “You have your stars on.”

 

Those are your earrings, and the very first time you wore them, your daughter exclaimed with delight, “Now we can wish upon a star every day!  Twice!”

 

And so you wish upon the stars, right there in the examining room, that you will live happily ever after, and have good work to do, the wishes you always wish, and then you’re ready to face the nurse, and to answer the questions she has, knowing how gut-wrenching it is to go over your daughter’s medical history with someone who doesn’t know her, knowing that your daughter will pepper you with as many questions as the nurse will.

 

At home, you try not to think about August 10th.  You know it will come too soon, and not soon enough.  You make a note to buy more crossword puzzles, because that is all you can do when your daughter is undergoing an intervention the surgeon has performed before, and you didn’t have the courage to ask him how many times.

 

At dusk, your daughter says, “Time for fireflies!”

 

And you know the drill, that you can’t watch the fireflies without a snack, so you ask if she would like ice cream or a cookie, and she says, “I would like ice cream and a cookie, and some Diet Coke, and I will want my princess figures, and I will get the door for you,” and you don’t even try to argue about the ice cream and the cookie, or suggest that milk would be better than Diet Coke. What if this is the last time you look at the fireflies together?  You don’t want to be the jackass who screws it up.

 

She gets the door, and you bring the cookies and the ice cream, and go back for the Diet Coke and the princess figures, and she settles onto the patio chair with a sigh of contentment.  And you look up at the stars in the sky, and you wish you knew something about astronomy, because then you could tell your daughter which one was the evening star, and you would tell her that that is the star to wish upon.  But you don’t know; they all look alike to you.  And maybe it’s better that the stars you wish upon are the ones you can see whenever you want to, wherever you are, even if it’s the intensive care unit on the fifth floor of the children’s hospital.

 

“I see a firefly!” she shouts.  “The first one tonight!  How many do you think there will be?”  Before you can answer, she says, “Where do fireflies live during the day?”

 

You admit you don’t know, and she says, “We will look it up on the computer tomorrow.” 

 

And you do, and you find out that fireflies are rapacious predators, but nothing shocks you anymore, not even that.  You don’t tell your daughter this finding.  And the calendar moves one day closer to August 10th, and the number of times you go into the bathroom to throw up increases by a factor of two.

 

A long time ago you stopped raging at the universe for doing this to your daughter, and years before she was born, you stopped believing in a benevolent god, but right now you would like to hurl some curses at a supremely powerful being, to have the satisfaction of getting an answer back.  You would take on Satan and ten men, but no one asks you do to that.  No one has ever asked you to do that. 

 

They asked you to do this instead, this infinitely harder thing.  And you think about that study, and you laugh out loud again, and your daughter asks why you are laughing, and you say, “Sometimes, girlfriend, I can’t believe how badly people miss the point.”

 

“What does that mean?”

 

“It means I don’t care that I’ve never seen Paris.”

 

She’s accustomed to your moods, so she nods, and she turns on the radio. “It’s your favorite song!” she says.  “Isn’t that lucky?”

 

And you hug her hard, but she’s used to that, too, and she lets you, and even lets you sing along without complaining (“this time only, mom!”), and you are lucky, probably the luckiest woman living, and happier than you have ever been, but not in any way an academic would understand, or even conceive.  Your joy is bigger than the universe and contains all the sorrow of a lifetime, and has nothing whatsoever to do with feeling sufficiently rewarded for your work.

 

 

 

Avoiding creative burnout

July 12th, 2010

I recently got a note from a writer saying she felt creatively drained.  She said, “My book is good.  How can I convince others?” Reading between the lines, I figured she’d written a book she felt was excellent but agents/editors were rejecting it, and that was making her feel a lot like not writing any more books, and also that she wished she could figure out how to get an agent’s (or publisher’s) attention.

I will be the first to admit that beating your head against a wall is way more fun than querying agents and editors, and that the more rejections you get, the harder it can be to feel like doing it all over again.

I also know that making creativity your work — the thing that pays the bills — is a good way to want to shovel ditches for a living.

Basically, we have two connected questions: “How can I succeed in the commercial arena of publishing?” and “How can I, at the same time, renew and feed my creative energies?”

You really do have to separate the act of creation from the act of publishing.  The act of creation is something to be nurtured and protected, even on the days when you don’t feel like it.  The act of publishing is a business transaction, period.  They are two very different creatures, although of course we’re bound to conflate them, being human and wanting to see our hard work rewarded.

Protecting your creativity — renewing it, feeding it, keeping it from shutting down when you get five more rejection letters this week — requires a couple of important habits:

1.  Protect the time.  Even if you’re just drawing doodles on a sketchpad, keep your creative time free from other encumbrances.  My first two hours of every day are for The Work, even though sometimes they actually consist of talking to friends at the coffee shop. 

2.  Remember that sheer financial terror impedes creativity.  Putting the entire burden of your financial health on the capricious whims of the publishing industry requires nerves of steel.  You can spend more time worrying than working.  Not worth it.  I just wrote a blog post for the Renegade Writer on the importance of diversifying your client base as a freelancer; this is just as important for people working on fiction or other creative endeavors.  Have different work to serve different purposes.  It’s not selling out: you’re buying the time to do The Work.

3. The Work is sufficient in and of itself.  Yes, it’s nice to be recognized for your talent, but it’s not required.  There are ways to share your work beyond traditional publishing, if it comes to that.

4.  Keep more than one project going.  Have new work you’re conceptualizing while you edit the old work and send out the older.  Keep your focus on your work and not on the publishing business.

To the in some ways more difficult question of succeeding in commercial publishing:

1. Create a network.  The hardest thing in writing is feeling like you’re talking to yourself.  Have other writers, readers, colleagues, who can give feedback and offer resources.

2. Learn to sell your book.  It’s easier to write a blurb about someone else’s book.  So either pretend you’re writing your query about someone else’s book or trade with a friend: write a query for someone else’s book and have them write one for yours.  See if that helps you nail your query.

3. Don’t invest everything in one project.  Especially these days.  Times are tough in publishing. You can love your book but you also need to Let. It. Go.  Maybe it will be published, maybe it won’t.  Like a child, you do your best by it but beyond that, you don’t have a lot of say in how it turns out. Get to work on the next book.

4. Invest in getting better.  Yes, this book is good.  Focus on how the next one is going to be better.  Read, attend conferences, join writers’ groups.  Immerse yourself in understanding the craft and the publishing process.  Experiment.  Fail.  Fail a lot.  Learn something.  Fail some more.  Write the book no one can turn down (then sell the secret for one million dollars).  That’ll keep you too busy to focus on the inadequacies of the agents and editors who are rejecting your book.

5.  Recognize what you can control and what you can’t.  Writing the best book you can?  Completely under your control.  Convincing other people it’s the cat’s meow?  Not so much.

Oh!  I almost forgot.  Starting today, my “Freelance Editing 101″ class through the Rengade Writers.  More here.

Making a Living Writing Short Stories?

July 6th, 2010

“I am an aspiring author who wants to make it big in this industry.  My passion is for writing and I would love to pursue it as a career. I have written many short stories and poems.  I’d appreciate any information you can give me.”

 

I receive questions like this every now and then, and I always struggle with how to answer them.  Realistically, it’s not possible to make a living writing short stories and poetry.  That’s the short answer.  Even so, you can still see those acts of creativity as worthwhile.  You can still see them published.   

 

But if you want to make it big – or even just make a living from your writing – then you need to do something a lot of creative people don’t like doing, and that’s think about your market.  Who is going to read your work and pay for the privilege?

 

How many short stories collections have you purchased in the last year?  The last ten years?  How many poetry chapbooks?  As compared to how many novels, nonfiction books, magazines?  I can tell you I haven’t read a collection of short stories since my dear friend Mary O’Connell published Living with Saints in 2001.  But I have easily bought eight hundred novels since then (hey, I read a lot).  I haven’t purchased a poetry chapbook since I was in graduate school, longer ago than we need to get into here, but I read several hours of nonfiction (books, blogs, websites) every day.

 

That is to say, I’m a lot like everyone else in the universe (okay, not everyone else in the universe reads *quite* as much as I do).  I read novels and I read practical nonfiction. 

 

When was the last time you opened a women’s magazine (for example) and read a short story?  Never?  They used to publish them.  I remember reading each issue’s short story in Redbook when I was a kid.  But Redbook has been dead a long time.  So where do you see short stories published now?  In literary magazines and their associated websites, which operate on shoestring budgets and are put out by volunteer (or really badly paid) editors.

 

There’s just not a lot of opportunity for paying the bills there.  But if you open that same women’s magazine and look at what is being published, you’ll see everything from short round-ups to in-depth reported pieces to personal essays.

 

If you write those, or are willing to write them, then you have a shot at making some money with your words and turning your talent into a career.

 

I’m not saying you should.  I’m just saying you could.

 

If you want to focus on short stories and poetry, then your best bet is to get a teaching position.  So, invest your energy into getting published in those literary magazines and earning your MFA, then start hunting down a sinecure at a college or university.  Of course, these are somewhat harder to find than dragon’s tears, but it’s possible you’ll be able to land one of these positions with the right publications and the right credentials.  But being a teacher and writing on the side isn’t a lot different from being a fill-in-the-blank and writing on the side, and you could save yourself a lot of frustration and annoyance (academia is not for the faint of heart) by sticking with your current fill-in-the-blank job and writing on the side.

 

Here’s the thing, which I can’t emphasize strongly enough: making a living from your writing isn’t all it’s cracked up to be.  You don’t get to spend your time writing only what you want to write.  You have to care about the market.  You have to care about being a business.  You have to care about sales and platform and building an audience.  You have to care about a lot of things that, frankly, most creative people don’t want to care about. 

 

Still want to give it a try?  Then you need to get your stuff out there in the world.  Query publishers about your collection of poetry.  Send your short stories off to those literary magazines.  But you have to go beyond that.  Look at what is being published in markets that pay.  If they’re not publishing short stories, maybe you can use the craft you learned writing short stories to write essays, which are more marketable.  Maybe you can write about writing poetry, or looking at the world through a poet’s eyes.  Open up and see what the possibilities are, instead of thinking there’s only one way to be successful as a writer, or only one way you want to make a living as a writer.

Finding an agent

June 28th, 2010

In today’s inbox:

 

“I’m an unpublished author getting ready to submit my book.  I’m writing a book in a genre I’m not sure how to define.  Can you give me some advice on agents or publishers to submit it to?”

 

This is a common question that I get asked many times each week in one form or another. 

 

Here’s what I always recommend.  First, I would start by approaching agents.  Major publishers do not look at unagented material, so the only way you’re going to get published by Simon & Schuster or HarperCollins is by having an agent. 

 

I have been published by every type of press in the universe – micro, small, midsize, ginormous – and I have to say that I’ve sold way more books and made a lot more money being published by midsize and ginormous publishers than I ever made working with small and micro publishers.  This is not to say I’m not grateful for the small publishers who publish some of my books.  For certain niche-oriented projects, they are the very best choice.  And I’m not saying the only reason to publish something is to make lots of money.  But if your options are “big publisher with excellent distribution and a way to get review copies into people’s hands” and “small publisher who can sometimes get a book into a distributor’s catalog,” you can see where I’m going with this.

 

So.  Start with agents.  If agents don’t bite, and you’re sure it’s because they simply can’t see the merit of your work, and not because your work needs work (so to speak), then you can certainly approach smaller publishers on your own.  You would query them the same way you would an agent (with a brief letter explaining what your book’s about, its genre and word length, and possibly a few sentences about yourself, if that has any bearing on the book – you’re a pastry chef, and the book is about pastry chefs, or you have won the Pulitzer prize, or you have had several other novels published by publishers people have heard of.)

 

Where to find out about agents: Agent Query is a good place to start; so is Preditors & Editors.  You will want to vet potential agents.  A good place to check out other writers’ experience is on the forums at www.absolutewrite.com, especially the Backgrounds and Bewares forum.

 

I do have an e-book for sale that goes over the basics of book publishing, including information on finding agents.

 

When you specify your book’s genre, don’t say, “It’s part-memoir, part-paranormal, part-contemporary romance with a little mystery thrown in.”  No one can sell that.  No one reads that genre.  Which is not to say no one would read a part-memoir, part-paranormal, part-contemporary romance with a little mystery thrown in. They just wouldn’t call it that, so neither should you.  Ask yourself, where would this book be shelved in the bookstore?  If you don’t know the answer, then just call it a novel.  Send your query about it to agents who represent novels.  Let them worry about what to call it.

Putting your dreams in the present tense

June 19th, 2010

I’ve been lucky to be a freelance writer of nonfiction for many years.  A fantastic tribe of readers — people like you — have supported my efforts by buying my books, attending my talks, sharing your thoughts and otherwise making my work a joy.  Even those of you who send me notes from your prison cells add a little something to my life that just wouldn’t be there if I were still unloading trucks for a living. 

 

 

But you will have noticed that I have not been as productive over the past few years as I was the previous ten.  I did make a foray into becoming a literary agent, but mostly that time has been spent on projects that have not come to fruition (yet, anyway).

 

What projects?  Glad you asked.  I had a dream.  Not the world-peace-and-prosperity dream, though I think that’s a good one.  This was a slightly smaller dream: I wanted to be a novelist.  For almost all of my writing career, that’s always how I thought of it, in the past tense: I wanted to be a novelist. 

 

One day, after an intense period of navel-gazing, I thought, what if I moved that sentence into the present tense: I want to be a novelist.  And then what if I did something about it?

 

So I did something about it.  And my first novel, Then Will Come Night and Darkness was published by a small literary publisher not too long after that.  So that was good, right?  I was now a published novelist.  But of course that was not enough.  The idea mutated.  (My ideas are like very scary science fiction creatures in this regard.)  The idea became, I want to write lots of novels. I  want to be a successful novelist. I want to be a professional novelist.  This is what I want my work to be.

 

Well, this idea was so scary I had to clean out the bedroom closet AND the kitchen cupboards.  But once the idea had gotten into my brain it refused to get out again.  I told it all the reasons it had to leave: I had work I enjoyed, bills to pay, a daughter to raise, and no clue whether I have what it takes to be a successful novelist.  Even so, the idea wouldn’t leave.  It kept whispering, If you don’t do this now, when will you?  If you’re not willing to take the risk, then you don’t have what it takes, do you?  You’re making up excuses, you loser.  That’s spelled capital L-O-S-E-R!  (The little voice in my brain can be very mean to me.)

 

So for the past several years, I have been scribbling on mountains of paper, writing novels and learning the craft.  To make room for the dream, I’m doing less nonfiction work and fewer speaking engagements and workshops.  My daughter and I are making do with less of everything and finding out that we never needed more of everything in the first place.

 

So far I have had two novels accepted by Avalon (one published in 2008, one out later this year) under my pen name Jenny Jacobs.  I have also had enough rejections to render me catatonic if I thought about it very long.  Every six months or so, I do some soul-searching: Wouldn’t you like to, you know, have some retirement savings?  Or, I don’t know, own a car that was made after the turn of the century? And then I hold that up to the dream, and the dream is bigger than a new car or retirement savings.  I’m not saying it should be, or that my choice is smart.  I’m just saying what is true.

 

I still don’t know if I have what it takes, but I’m pretty sure I’ll find out before I’m dead.  In the meantime . . . what dream did you have that you should move into the present tense?

Why you need to be more cynical than you are

June 9th, 2010

One of the best tools any writer can possess is a healthy sense of cynicism.

I don’t mean skepticism, as in, “Yeah, and I bet you’ve got some ocean-front property in Arizona to go along with bridge you’re trying to sell me,” although skepticism is also a fine virtue for a writer.

 

I mean cynicism, as in being motivated by self interest, and understanding that other people are, too.

 

Wide-eyed enthusiasm is wonderful, and so is a passion for words, and ditto a desire to find things out, or at least to experience them.

 

But publishing is a tough game, and it’s toughest on the writers.  And you will be exploited if you don’t keep a very firm grasp on what your own self interest is.

 

So, when content mills make millions and billions of dollars selling content to third parties and they pay you five dollars to write an article, I have a hard time getting all bent out of shape over content mills doing what companies do in a capitalistic society.  (That is, make the most profit with the least amount of expense.)  What I do wish is that writers would look after their own self interest better.

 

If someone else is profiting off your labors, you need to be compensated for that, period.  And that compensation should not come in the form of abstractions like, “Good exposure.”

 

I do understand that writers need to get their work out there, to build an audience, to spread the word.  But what is happening is that writers are mistaking promotion for work.  I will write a blog post about my book (Simple Self Defense!  Makes a great gift!) for the purpose of promoting my book.  I’ll do an interview.  I may even write up a brief article for which I don’t expect much income.

 

But all of that is in support of the book.  I don’t mistake it for being the book or for serving any other purpose than to promote the book.

 

The minute someone wants me to blog, interview or write articles for their purposes, they need to pay me.  Simple enough, but a lot of writers fall down at this step.  “But,” they say.  But it’s my friend, but it’s a start up, but the opportunities are endless (the opportunities for working for free are always endless).

 

All the blog posts in the world won’t feed my daughter, unless they happen to sell a book, or get someone to enroll in one of my classes.  So when people crow about having a certain number of page views, or a certain number of followers, that’s all well and good, but the bottom line is, what does that put into your pocket?

 

Here’s the thing: once you start paying attention to your bottom line, then you realize that that’s what everyone else is doing, and that’s when you really get that it’s nothing personal.  It’s nothing personal that I don’t write for start-ups.  It’s nothing personal that I don’t write on spec. 

 

That makes it easier to understand that when people reject your work, it has nothing much to do with you.  They are just looking at their own interests.  And once you really get what that means, it’s easier to find ways to appeal to their self interest.  It becomes less about I wrote a book and hope you like it and more about I wrote a book and here are the reasons I know you’ll like it.  A much stronger position to be in, don’t you agree?

What’s Your Book?

June 2nd, 2010

 

That’s my new tagline for Act 3.  (Waaay back in Act 1, I would have snorted tea up my nose if someone had suggested that I needed a tagline.  What can I say?  Times change.)

 

I love writing books, but I also love helping other writers shape their book ideas and bring them to fruition.  If I may be so immodest, I’m pretty good at it, too.  It’s not just a matter of bringing my understanding of the market and the industry to bear on a particular project.  It has to do with wanting to meet the writer where the writer is, and to not impose my ideas about what the book should be.  Ideally, my experience and expertise will help the writer shape a more marketable book, but won’t alter its substance or the writer’s vision for the book.

 

This is a lot harder than it sounds, for both the writer and for me.  But it’s work worth doing.  So, to that end, I’m pleased to announce that I am back in the coaching business. 

 

For writers who have a nonfiction book they’re working on, please be aware that I’m running my book proposal e-course this summer (starting Monday, June 21).  Let me know at jennifer@jenniferlawler.com if you have questions or want further information.

 

For writers who are interested in expanding their areas of expertise, I’m offering my Freelance Editing 101 e-course  (scroll down the page) through the Renegade Writer, starting July 12.  Again, please e-mail me with questions.

 

And in fun news, I’ve got a new book coming out later this week – Cold Hands, Warm Hearts (Avalon), a contemporary romance written under my pen name, Jenny Jacobs. 

 

What’s your book?

Act Three?

May 25th, 2010

About a year ago, I was delighted to announce here that I’d joined the Salkind Agency as a freelance literary agent, and to share my excitement with you about this second act in my career.

 

Well, now it’s time to, uh, announce my third act.  I’m starting to think this could be an annual event.

 

I am stepping away from the agency and from being an agent.  This has nothing to do with the agency, which is headed by the indomitable Neil Salkind, who is, and remains, my personal agent and an all-around good guy.   

 

It has to do with agenting.   

 

The decision has been a long time in coming – I realized fairly early on that agenting probably wasn’t going to be my forever home, as they say – but in many ways, my most recent experience of selling a good book to a good publisher crystallized for me why I am not interested in continuing in this role.

 

Let me explain.  The book is one that will be penned by a good friend of mine.  Because she’s a good friend, I had a chance to help her shape her idea from its inception through its proposal to its sale.  It was possible for me to do that with her, because of our long-standing relationship, but there’s no way I could do that for all of my clients, and still sell enough books to make a living—especially considering how tough the market is right now, and how difficult it is to get even a halfway decent advance. 

 

For me, the purpose of becoming an agent was to work with writers to get from idea to published book.  That was the primary attraction: I don’t love pitching or schmoozing editors; what I love is working with writers. 

 

In practice, the aforementioned friend was the only client I ever took on who did not have a fully realized proposal at the time I signed her.  I had to turn down any number of “nearly there” authors, simply because I did not have the time to work with them to get them “there.”  Ultimately, that was too dissatisfying for me to want to continue.

 

I don’t regret my involvement with the agency for one minute.  I learned more about the book publishing business in this one year than I had learned in the previous fifteen (and I thought I knew a lot!) 

 

But one of the good things about being my age is the ability to see when you need to rethink a decision, and then do something about it, without having to do a lot of moaning and gnashing of teeth.  I did my best, I helped a few people, I enjoyed learning what I learned; ultimately, it did not work out to be the kind of career I had hoped it would be.  C’est la vie.

 

For the writers who signed with me, I will always be grateful that they took a risk on me, and I will always be very proud of the books we sold together.  All of my clients have been placed with other agents, and I know they will be well looked after.  I don’t take their belief in me lightly, and never did, and I only hope that someday I can return the favor. 

 

Going forward, I will continue to work as a freelance writer (some of you know I write romances under a pen name—I’ll be doing more work with that).  I will also be doing some mentoring and offering e-courses as I’ve done in the past, and am glad to be able to offer an even broader experience and understanding of publishing than I did in the past.

 

Feel free to pelt me with questions, or wander off, or what have you.

 

Thanks for listening,

Jennifer

Your perfect game

May 10th, 2010

If you follow sports, and even if you don’t, you probably know that Dallas Braden threw a perfect game for the A’s on Sunday. 

 

 

For some perspective:  that was the 19th perfect game in the history of Major League Baseball.  Given that your local team plays 162 games each season, and there are 30 teams in the league, and stats have been kept since the beginning of time (or at least the twentieth century), this is kind of a big deal.

 

Here’s the thing: a perfect game is not what you would expect from Dallas Braden.  He has lost more games than he has won, and his ERA is about the same as the number of pounds I need to lose to fit into my swimsuit.  That is, more than two.

 

Braden is more famous for getting into a smackdown with A-Rod than for his pitching chops, though I don’t really know anything about that because I don’ t follow celebrity gossip, which makes me unAmerican, I know.  I accept that.

 

My point is: the perfect game can come from the unlikeliest source.  In publishing, as in baseball, your success is only partially dependent on your own skills.  You also have to be playing for the right team at the right time.  A fair amount of luck is involved.  You can work your ass off, do everything right, and still find yourself on the roster for the Omaha Royals at the age of 35. 

 

All you can do is throw the best game you can, and hope your fielders back you up, and that your coach doesn’t pull you at the wrong time. 

 

That’s it: you just throw the best game you can.

 

Although it helps if your grandma’s got your back.