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.

Be your own hero

May 3rd, 2010

The connection between self defense, personal empowerment, and living the life you want to live overlaps a great deal more than you’d think at first glance.  That’s because self defense doesn’t happen in a vacuum.  It’s not something you do in a scary parking garage and nowhere else.  It’s part of your daily life. 

 

I don’t mean that in a paranoid way, like expecting the sky to drop on your head every time you walk outside.  I mean that in the sense of taking control of your life.  When you’re in control of your life, it’s much much harder for you to become a victim – of anyone: the con artist, the abusive boyfriend, the random mugger.

 

So in a very real sense, self defense is the stuff you do – the things you think, the words you say, the actions you take – to defend the life you want to live.

 

When I talk about self defense, especially with women, one of the first things I often have to do is convince them that they should take charge of their own personal safety.  I call this my “Be your own hero” speech.  I don’t think it’s a smart idea to depend entirely on things outside yourself for your personal safety, whether that thing is a lock on the door, a large dog, a kickboxing boyfriend, or a Glock. 

 

In the end, it’s going to come down to you: to suss out the con, to leave the abusive boyfriend, to survive the mugger.  You may as well start now.

 

But I mean this in a bigger way, too: I mean this in the way of being the hero of your own life.  I had a conversation with a good friend of mine a couple of months ago, where we talked about the fiction we both write.  I said I had just learned, from hanging out on blogs, that there are readers who don’t identify with kick-ass female heroes because they can’t even imagine what that would be like. 

 

This was a really depressing realization on my part, following as it did a colleague’s desperate plea for me to write more books about personal empowerment because “this generation of college students needs it more than ever.”  Which I took to mean that even after all this time, we haven’t made much progress in convincing women to be in charge of their own lives.

 

I know how easy it is to think that something outside yourself is the thing you need to make your life work, to make yourself happy, to get whatever it is you’re trying to get.  I’ve done this myself: If Mr. X hires me for the job, I’ll have the perfect life!  If Ms. Y acquires my book, my career will be set. 

 

Certainly workers need jobs, and writers need book sales, but in both cases the focus is on the wrong end of the equation, the part that you (or I ) can’t control. 

 

What would being your own hero look like?     

My new book: Simple Self Defense

Simple Self Defense

April 27th, 2010

My newest book, Simple Self Defense: Empower Yourself with Proven Techniques, Strategies and Skills (Wish Pulishing) is on sale now!   Click the title for the Amazon.com page.

I’m proud of this book because it’s as much about how to think about self defense as it is about the actual techniques of self defense.  If you’ve read my work, you know I’m all about dealing with real risks and not what is sensationalized on the television news or by well intentioned but misguided fear-mongers.   

Enjoy!

Outsourcing to protect the work

April 26th, 2010

You may think I mean hiring someone overseas to handle your customer service.  I don’t.  While I have used virtual assistants in the past, most of the work I do these days doesn’t lend itself to that approach.  Pitching an editor, writing a novel, posting regularly on my blog – none of this is something someone else can do for me. I’m guessing it’s pretty much the same in your life.

 

Still, that doesn’t mean you have to do everything yourself.  And I’m not talking about the obvious stuff, like having a web guru deal with website issues, because you don’t need me to tell you that you can hire someone to put together your website for you.

 

I mean things like . . .  having other people do their fair share of the work.  I admit that this is a hard one for me, because I’m a control freak, so all anyone has to do is look at me with a somewhat helpless expression and say, “I’m not sure I know how to do this,” and I’m all, “FINE.  I’ll do it.”

 

But no more, my friends.  I have learned to say brightly, “Then you’ll get a chance to find out, which I know will be very helpful for you down the road.”  Then I smile like mad, and go about my business.

 

How does this work in specifics?  I get e-mails every week from writers who want to know how to break into the business.  There is more information available to aspiring writers now than there has ever been, and yet instead of heading to the library or the bookstore or to one of any of four million websites or five trillion blogs (including this one), they e-mail me directly for advice.

 

“How to get published” is not something I can answer in an e-mail.  I don’t even try anymore.  Now I say, “Read a few books on the subject and let me know if you have a specific question about the way I do something.”

 

99% of the people wander away, because time spent reading a book is apparently more time than they’re willing to invest in themselves.  They don’t mind me doing all the work, but they don’t want to do it themselves.

 

When that 1% does return, I am more inclined to help because they’ve shown they’re serious, and I will spend time helping serious people reach their dreams.  In fact, I am committed to it.

 

I also do this in my personal life.  My daughter is not a finicky eater but she likes to know what’s for dinner today, tomorrow, and next week.  I’m the kind of person who figures out what’s for dinner by looking in the cupboards when my stomach starts to growl.  This is not that satisfactory of an approach, because the cupboards can get pretty bare pretty fast, leaving me with a few things that do not go well together: graham crackers, eggs, and ketchup, for example.

 

Thus I recently put Jessica in charge of menu planning.  Once a week, she figures out what she wants for meals, lists the ingredients we’ll need, writes one list for the stuff the Schwan’s guy delivers and another list for me to pick up at the grocery store and ta-da.  Done.  I spend about twelve minutes a week handling my share of this chore.  To Jessica it’s not a chore at all, but an activity that she loves to do, leafing through cookbooks and the Schwan’s catalog, putting together all the information she has learned in health class on good nutrition . . . stuff that makes me want to weep.  We’re both happy.

 

What is your favorite way of outsourcing the work in your life?

 

 

 

 

Developing habits that protect the work

April 20th, 2010

“True originality eschews its trappings.”  That’s about the only thing Freud ever said that I agree with.  Being a creative person — writing books, painting pictures, developing the theory of evolution — is incredibly time-consuming.  It’s hard.  It’s an awful lot of work.  If you’re spending all of your time on appearances, on the trappings, you simply don’t have enough left over to do the work. 

A few days ago, a writer I follow on Twitter sent out a link to a wonderful essay by Jennifer Crusie on protecting the work.  I first read this essay several years ago, and it resonated with me because I have always been a firm believer in finding your Three Most Important Things, and doing those, and not really anything else.  Jennifer Crusie has a similar approach to setting priorities and making sure she is working on them and not on things that don’t matter.  So we will pause for a moment while you read the Other Jennifer.

Back so soon? Now I want to connect the idea of protecting your work with some information that Mihaly Csikszentmihalyi (of Flow fame) writes about in his book Creativity.  This book is actually more useful than Flow for creative types who are interested in developing best practices for their work.  Although it came out in 1996, every sentence in it is as relevant now as it was then.

For our purposes today, here’s the concept that most interests me: in interviewing creative types for the book, Mihaly (yes, I’m being overly familiar but I’m not typing that last name more than once) found that they had fairly conformist lives outside their work.  Why?  Because it’s simpler.  And having a complicated life is the enemy of creative work.  Now, neither Mihaly nor I contend that this is true of all creative people throughout history, but for a good portion of them, a key ingredient to their success is not having to pay much attention to life outside their work.  Creative people, whatever their field, need a lot of unstructured time for staring out the window and coming up with the Unified Theory of Everything or at least this week’s plot twists.  Time spent trying to figure out how to update WordPress is not conducive to this endeavor (as I can attest from personal experience).  

Keeping life outside work simple doesn’t mean you should send your kids off to boarding school, nor does it mean you will never see Paris again.  It simply means the more we can build habits into our lives, the more time we have for the creative work.  Here’s the thing: every morning I get up, brush my teeth, take a shower, get dressed.  Depending on my habits, this can take fifteen minutes or it can take two hours.  It used to take two hours, because first there was the necessity for hitting the snooze alarm a time or ten (I am not a morning person), then of staggering out of bed and finding the coffee pot.  Then trying to remember what I did with the toothbrush, and discovering I was out of toothpaste, so now what.  Not to mention blow drying and styling the hair, putting on the makeup, picking out the right clothes, putting them back, picking out other right clothes, discovering the stain on the shirt that I meant to do something about but forgot — well, you can see why I had to get up at 5:45 to make it to work by 8:30.

When I realized how much time all this dithering took, and how much it ate into the little time I had for doing the work I wanted to do, I simplified it.  I got up when the alarm went off, period (despite the fact that I am still not a morning person).  I changed my wardrobe so that everything I owned went with everything else and everything fit.  If you look in my closet now, you will see four pairs of shoes: loafers, boots, casual sandals, dressy sandals.  That’s it.  I spend no time in making decisions about my clothes at home; all of the decisions are made at the store before I buy a single thing.

I make these kinds of habits in all areas of my life.  I put the keys and my wallet in a dish by the door every time I come into the house.  That way I know where they are every time I leave, and I don’t have to spend time or energy thinking about it.  Anything I have to take with me (a check to mail, a book to return to the library) goes by the wallet and keys so that they’re never forgotten.  I do the laundry every Saturday morning and only every Saturday morning.  It is washed, dried, and put away before my daughter and I go off on our Saturday afternoon adventure.  I have the Schwan’s guy deliver most of my groceries (on Wednesdays).  The things he can’t deliver I can pick up on my way home from dropping Jessica off at school. I do that on Tuesdays.  The dishes are loaded into the dishwasher and the kitchen cleaned every evening after dinner, no matter what.  I don’t own a television so I don’t have to try to make and enforce rules about when and where television shows can be watched.  (I call that a nonhabit.)       

This approach may sound overly rigid and too orderly for a free spirit like you, and that’s exactly what I thought before I started making these changes.  The thing is, the management of our lives eats up a lot of time if we let it.  If developing the habit of doing the laundry every Saturday and only every Saturday sounds like something only a drill sergeant could love, consider this: It’s not like there’s another way to get the laundry done that’s going to be more fulfilling.  But not having a habit guarantees that laundry issues will become a lot more frustrating and time-consuming.  For example, when you don’t do it regularly, you run out of clean underwear.  If you don’t put it away routinely, you have to dig through piles of clean laundry in a basket to pull out the insanely wrinkled shirt you were planning to wear for that important presentation. And so on.

Developing these habits not only helps you free up time elsewhere in your schedule, it gives you ways to protect your time by shunting those habits into their specified zones.  If you do the laundry on Saturday mornings, that means that Sunday through Friday mornings you are free to work on your book or your painting or your garden without thinking, Gee, I really need to get the laundry done.  The habit ensures that you will get the chore done and that you don’t have to do it at any other time.  Giving yourself the gift of mental space is just as important as giving yourself the gift of time.

Next time: Protecting the work by outsourcing.

Dealing with rejection

April 13th, 2010

An online writers’ group I belong to recently had a discussion about saying no — how to do it, how to mean it, how to deal with people who try to negotiate after you’ve already said no, and so on.

That got me thinking about the other side of the coin — when people say no to us, or at least say no to our queries and proposals and manuscripts.  There’s a right way to deal with those, too, and keeping in mind the process that goes through your mind when you say no helps ease the sting.

For example, when someone asks me to help with a school fundraiser, I may very well see the value of it, but simply not have the time to participate.  I have other priorities that take precedence.  Turn this around: when someone says no to my idea, it’s not always because my idea sucks or because I do, but rather that the agent already has a house full of clients or the editor already has something similiar in the lineup.  In other words, it isn’t about me personally.

When I say no to someone, I don’t want them to argue with me about it or find reasons to overcome my objections, unless I’m clearly inviting them to do so.  “No, I can’t help at the fundraiser” is different from “I’d like to help at the fundraiser, but it’s being held on a day I’m out of town.”  The first means I’m not able to help; the second means I may be willing to do something as long as you don’t expect me to show up on the day of the event.

 In the same way, “No, I’m afraid I can’t take you on as a client” is different from “I really like this book idea, but I don’t think it can reach a big enough audience as you currently envision it.”  Understanding how to differentiate between these kinds of responses is crucial for writers.  One is an opportunity to show your creativity and ability to respond positively to criticism; the other is an opportunity to move along.

One of the most important things I learned to do as a writer was to make a plan before I ever started submitting a project.   So if I was going to submit a manuscript to agents, I didn’t just pick the top three or four I really wanted to work with.  I researched fifty or seventy-five, then sent letters to my top ten.  As soon as I got a rejection from one, I sent the pitch to another (always pausing to ask myself if the pitch needed to be reworked). 

The other thing I learned to do was detach from outcomes.  All I could control was the writing and submitting part of the process.  Once I had the submission plan in place for a particular project, I moved along to the next project.   Moving along to the next project is the most important part of dealing with rejection.  I know some people will say, “But you have to be committed to this project!  You have to do everything you can for this project!”  And while that’s true to some extent, the six months it takes between starting to pitch a project and finding a home for it cannot be solely devoted to that project, unless that project is your life goal.  I don’t let any one project be my life goal.  My life goal — to make my living as a writer until they pry the keyboard from my cold, dead hands — requires that I move along until I find the project that hits the sweetspot: I love it, an editor loves it, and an audience loves it.

And sometimes it takes a lot of rejection to get there.