14 Brilliant Authors Who Didn’t Succeed Until After 30

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The art world is always obsessed with writer wunderkinder who bedazzle us with their early life talent. F. Scott Fitzgerald, Zadie Smith, Dylan Thomas, Jonathan Safran Foer, Helen Oyeyemi, John Keats: The list goes on, and the list is filled with the names of hyper-talented writers who were published and celebrated well before they hit 30.

If you are still waiting for your novel to find a buyer or for your short story to appear in the New Yorker, worry not. There is no time limit on achieving your writerly dreams. After all, dozens of famous writers didn’t “make it” until their 30s, 40s, 50s and, in some cases, even later than that.

These superlative authors don’t fall into the 20-something prodigy category. So take your time, revise that draft and write, write, write. These names should inspire.

1. Toni Morrison wrote her first novel at 39.

Toni Morrison may be a Nobel and Pulitzer Prize-winning novelist, but she was also a late bloomer. Her first novel, The Bluest Eye, wasn’t published until she was 40, while she was working at Random House as an editor. The Bluest Eye marked the beginning of a remarkable literary career that has included iconic titles like Beloved and Song of Solomon, all happening in tandem with an academic career as a Princeton professor.

2. Millard Kaufman published his first novel at the age of 90.

Sure, he wrote his first screenplay at 32 (Ragtime Bear, which featured the first appearance of a character named Mr. Magoo), but his first novel, Bowl of Cherries, was published when Kaufman was 90 years old. He also wrote a second novel, Misadventure, which was released posthumously in 2010. Kaufman is proof that it’s never too late to get a publishing deal.

3. Helen DeWitt published ‘The Last Sumarai’ at 41.

DeWitt was 41 when she finally published her first novel, The Last Samurai. In a fascinating interview with the Los Angeles Review of Books, DeWitt discusses her path to publication which includes a suicide attempt, years in academia at Oxford and then a turn toward the literary world. At one point with hundreds of fragments of abandoned and half-begun books on her computer, she quit her job and spent a month writing a new book, which would become The Last Samurai. After finding early interest, she felt pulled in too many directions and took time off from it before finally finishing and publishing the beloved story.

4. Bram Stoker didn’t write ‘Dracula’ until he was 50.

Bram Stoker, famous for Dracula, didn’t pen his opus until he was 50 years old. He left the civil service after many years to help run London’s famous Lyceum Theatre, writing reviews for free on the side. Though Dracula wasn’t his first novel, it is proof that you can write game-changing novels on the side.

5. Richard Adams wasn’t published until his 50s.

Adams served in World War II during his younger years and, like Stoker, became a civil servant, in what would later become the UK Department of the Environment. He wrote fiction in his spare time and told tales of a rabbit to his children on long car rides. The stories grew and became so complicated that he had to write them down. Eventually, when Adams was 54, a publisher picked up the now-beloved and best-selling Watership Down.

6. Anthony Burgess published his first novel at 39.

The man responsible for the controversial A Clockwork Orange came to writing very late. He served in the military, worked as a teacher, organized amateur theater productions of T.S. Eliot and later joined the British Colonial Service to teach in Malaya. It was there, while ill, that he began to write, and at the age of 39, he published his first novel, Time for a Tiger. Burgess went on to write a great deal more, also composing hundreds of musical works, and even wrote a translation of the opera Carmen.

7. Laura Ingalls Wilder was in her mid-60s when she published ‘Little House in the Big Woods.’

If you read the Little House on the Prairie books as a child, then you likely know the story of Wilder’s life. The daughter of a pioneer family in late 19th-century America, she was a teacher, a housewife and a journalist, and worked for the local Farm Loan Association. What you might not know is that Wilder didn’t publish the first book in her series until 1932, when she was 65. She began writing her childhood memoirs at the encouragement of her daughter. Her original biography, Pioneer Girl, which was rejected by publishers, will be released later this year.

8. William S. Burroughs published his first novel at 39.

A tragic incident led to the late-blooming literary career of William S. Burroughs, beat icon and addict novelist. In 1951, while drunk, he shot his wife, Joan Vollmer, in a game of “William Tell” in Mexico City. Witnesses claimed it was an accident, but while awaiting trial, Burroughs began writing his novel, Queer, which he eventually published in 1985.

His first published novel, Junky, was published when he was 39. In the introduction of Queer, Burroughs mentions how Vollmer’s death was pivotal to his writing: “So the death of Joan brought me in contact with the invader, the Ugly Spirit, and maneuvered me into a lifelong struggle, in which I have had no choice except to write my way out.”

9. Raymond Chandler published ‘The Big Sleep’ at 51.

Chandler was inspired to write by the Great Depression: After losing his job in the oil industry, he decided to become a detective novelist and is now remembered as one of the greats. The Big Sleep, his first and one of his best-loved novels, was published at the age of 51, earning admiration from writers as diverse as W.H. Auden, Evelyn Waugh and Ian Fleming of James Bond fame.

10. George Eliot didn’t publish ‘Middlemarch’ until she was 52.

Mary Ann Evans, better known by her pen name George Eliot, is one of Victorian England’s most acclaimed novelists. Her first book, Adam Bede, was published when she was 40, and her seminal Middlemarch didn’t come out for another 12 years. She chose the male pen name so that her novels and words would be taken seriously at a time when female writers were associated with romance.

11. Charles Bukowski published his first novel at 51.

Bukowski released a few short stories in his 20s, but he quickly grew disillusioned with publishing and his lack of success, and so went on what can best be described as a 10-year bender. It wasn’t until publisher John Martin persuaded Bukowski, who had spent most of his life working in a post office, to write his first novel. Post Office came out to widespread acclaim in 1971, when Bukowski was 51.

12. Anna Sewell published ‘Black Beauty’ during the last months of her life.

Sewell’s mother was a children’s author, whom she helped edit many books over the years. Sewell began writing Black Beauty during the last decade of her life to bring attention to the need for kindness to animals, while she was struggling with illness. The novel was published in 1877, when she was 57. She died the next year, but lived long enough to see her book’s huge success.

13. Rev. Wilbert Awdry developed ‘Thomas the Tank Engine’ from bedtime stories for his children.

The Rev. Wilbert Awdry was a lifelong railway enthusiast who made up stories about trains for his son Christopher when he came down with measles. After making Christopher a model of the engine Edward from his stories, Christopher asked for a model of the story’s large blue train Gordon. Unable to mock one up from his usual materials, Awdry made a small tank engine called Thomas, thus inspiring one of the most beloved children’s book series of the 20th century. The first story, The Railway Engines, was published in 1945, when Awdry was 34.

14. The Marquis De Sade wrote his first book in prison, at the age of 42.

When you’re the famous libertine and hedonist Donatien Alphonse François de Sade, many other things must seem more interesting than literature. However, his bacchanalian lifestyle landed him 32 years in prison. His first book, Dialogue Between a Priest and a Dying Man, was written in 1782 while imprisoned in the Chateau de Vincennes. De Sade was 42 at the time of writing, but it wouldn’t be published until 1926. He continued to write salacious and sexual texts all through his prison sentences, including The 120 Days of Sodom and, perhaps his magnum opus, Justine.

Via https://14-brilliant-authors-who-didn-t-succeed-until-after-30

It’s Not What You Think | The First Ten Words by Rich Larson

On Writer’s Blog today, we take a little break from writing – as this is such a good, well written post, and is so relevant to what I was saying in my post earlier in the week on Writing and Depression – that I had to share it. I hope you find it an interesting, thought provoking, and emotional read, as I did.

Chris Cornell died early Thursday morning. His band Soundgarden played a show on Wednesday night at the Fox Theater in Detroit. Two hours after the show ended, he was gone.

For two days, I’ve been working on a piece to pay tribute to him, and it’s been a struggle. Usually when I have a problem like this it’s because I’m staring at a blank screen trying to figure out what I want to say. That’s not the problem this time. The problem is I have way too much to say.

I’m not going to sit here and claim to have been a huge fan of Soundgarden. I didn’t dislike them, I just had to take them in small doses. I was a fan of Cornell. I love “Seasons,” the solo song he had on Cameron Crowe’s movie, Singles. It’s a droning acoustic song about isolation and the meaningless passing of time. Your basic nihilistic statement written at what was probably the peak of rock’s most nihilistic period.

I was a fan of Cornell as a person. Of all the great musicians that were packed into Seattle in the late 80’s and early 90’s, from Mark Arm of Mudhoney to Jeff Ament of Mother Love Bone and Pearl Jam to the Great Tortured Genius himself, Kurt Cobain, Cornell seemed like he rose a little bit above the others. He was the unofficial communicator of the Seattle scene. Like a Pacific Northwest Sinatra, he had a charisma and a calm grace about him. He was thoughtful, even charming, in interviews, unlike his compatriots who disdained fame and accolades (or at least pretended to). Cornell was the guy who seemed most like he could handle all the attention without turning it into an existential crisis.

Now he’s dead because, as it turns out, he had been dealing with an existential crisis most of his life. I was a fan, and I had a ton of respect for him. But it’s taken me a little while to understand why his death has affected me as strongly as it has.

At first I thought it might have something to do with the fact that I was mostly a bystander while the music of my generation was taking over. Just as Nirvana and Pearl Jam were making that gigantic breakthrough in 1992, my fiancé and I discovered we were pregnant. So instead of investigating mosh pits at the 7thStreet Entry, or watching Soundgarden and Pearl Jam rule the stage at Lollapalooza (it was a traveling festival in those days), I was hastily throwing together a wedding and then changing diapers. My wife and I got an early jump on things, so we’ve always told ourselves that we’d make up for lost time in our forties and fifties.

Well here we are, and something like this just makes it feel like we’ve arrived too late. But while that’s a legitimate thing, I don’t really think that’s exactly what is bothering me.

Then I thought maybe it’s a generational thing. Grunge is the gift that Generation X gave to the world of music. We took all that slacker cynicism, mixed it up with our older siblings’ sneering punk attitude, Zeppelin’s low end and, if we’re being honest, a little heroin. The result was the musical version of Beckett’s Waiting for Godot. It was gorgeous art that was absolutely sure that nothing really matters, making it feel immediate and important. It was the sound of a generation telling everybody, including ourselves, to fuck off.

And while we were wallowing in our splendid alienation, our spokespeople, predictably, started dying. First it was Andrew Wood of Mother Love Bone. A lot of us didn’t know about him until Cornell, along with Wood’s erstwhile bandmates (who were about to form Pearl Jam) memorialized him with a one off tribute called Temple of the Dog. Somehow, Wood’s story made death part our music’s romantic foundation.

A couple years later, Cobain killed himself with a shotgun. He was 27. Our Bob Dylan, the voice of our generation, threw it all away because he was afraid he was becoming a cliché. At least, that’s what we told ourselves at the time.

Shortly thereafter, Kristen Pfaff of Hole overdosed and died in a bathtub. And then Shannon Hoon of Blind Melon overdosed and died on a tour bus. It felt like people like D’arcy Wretzky of Smashing Pumpkins, Scott Weiland of Stone Temple Pilots, and, perhaps especially, Courtney Love – Pfaff’s bandmate and Cobain’s widow – were all headed in the same direction.

Alice in Chains’ Layne Staley died of a gruesome overdose. The fact that his body was not discovered for more than a week felt somehow fitting. He was a emblematic of a generation that just wanted to be left alone.

And just when it felt like our music, and maybe our entire generation, would never live to see 30, things turned around. Love and Weiland cleaned their acts up (at least for a while). Bands like Pearl Jam thrived long after the term “Heroin Chic” disappeared. Before we knew it, we were a decade into a new century and a lot of the Poets of Grunge were still standing. Some of them were even in the Rock and Roll Hall of Fame. It felt like our heroes were out of the woods.

When Weiland died of an overdose of cocaine, alcohol and MDA at the end of 2015, it felt like an echo, and not something rooted in the present. He had become the most notorious addict of them all over the years; in and out of rehab so many times we had all lost hope for him. His death was something that had been predicted so often for so long that it might as well have happened in 1997.

But Chris Cornell died of suicide on May 17, 2017, at the age of 52. He was a dad. He was a philanthropist. He was becoming an elder statesman of rock. He was a grown up. Cornell was aging gracefully, even doing that thing where some guys get better looking as they get older. He got Soundgarden back together, and they made a great new album a couple years ago. His voice still had all the power and strength it had displayed in his youth. Much like the rest of us, the world had kicked his ass a couple times, and he survived.

But now he’s gone, and goddammit, his is the death that bothers me the most. As I’ve been thinking about this, I’m realizing that it’s both a personal and a generational thing. Cornell had a long struggle with depression. As have I. As have many of you.

It’s possible that, along with grunge, Generation X’s other great gift to society is depression. I mean, of course it was here long before the Baby Boomers started re-producing, but we talk about it more than those who came before us. We talk about it as a demon or a monster. It’s a dark shadow that shows itself at any point in time without warning. It surrounds us, isolates us, and quiets us. Depression likes to blame things. We feel like shit because of mistakes we have made in life or because of the state of the world or because we aren’t perfect. Without a lot of help and a lot of work, it’s impossible to know that it really is a chemical imbalance in our brains. After twenty-plus years of trying to de-stigmatize depression, some of us still have a hard time recognizing it for what it is. And even then, it doesn’t always matter.

You might think grunge is about anger, but that’s not completely true. Yes, it can sound that way, but it’s really about depression and cynicism. Those two go hand-in-hand, along with their nasty little sister, anxiety. When the three of them get going, they just eat hope as quickly as it can be summoned. That leaves despair and despair is exhausting, not just for those who experience it, but for the people around it as well. So we keep it to ourselves because we don’t want to be a burden. And then it gets to be too much. Doesn’t matter if you’re a student, a mom, an accountant or a rock star. It doesn’t matter if you’ve written about it your entire life as a means of keeping it at bay. It doesn’t matter if the music you made about it brought in fame, respect and millions of dollars. It doesn’t matter if your entire generation has suffered from it. Depression makes you feel totally alone. You hit the breaking point, and then, like Chris Cornell, you die alone in the bathroom.

This was a well-respected member of his community; a beloved musical hero who seemed to have it all together. This could have been any of us. And brothers and sisters, if it’s you, don’t mess around with it. Please find some help.

Cornell is speaking to us all one last time. This isn’t something we left behind with our twenties. This isn’t something cured by age or financial security. This isn’t something you “outgrow.” If it’s allowed to fester, depression is stronger than wisdom. Depression is insidious and tenacious. Depression can get to anybody. It can make you feel like an old man at 27. It can make you feel lost as a child at 52.

Call it a senseless tragedy. Call it a second-act cautionary tale. Call it whatever you want. Just don’t blow it off as meaningless.

Rest in peace, Chris.

Via: It’s Not What You Think | The First Ten Words by Rich Larson

Author Interview: Allison Tait

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Allison Tait describes herself thus on her website:

“I’m a freelance writer, author and blogger, living large(ish) in a small(ish) town. I write a lot. I combine my day job (feature articles & non-fiction books), with my night job (fiction), and my 24/7 job (family). Fortunately, I gave up sleep years ago!”

A professional writer for over 20 years, Allison started her career as a staff writer for magazines and newspapers, and in recent times has added online publishing to her list.

Allison’s latest incarnation is writer of children’s fiction. Her first book in a series – The MapMaker Chronicles – Race to the End of the World – is published by Hachette Australia, under the name A.L.Tait and was released in October 2014. It is the first in a trilogy that is already garnering her a legion of young fans across the country.

Congratulations on the release of the Mapmaker Chronicles. You changed your writing name for this novel. What was the motivation behind this decision?

I didn’t so much change my name as abbreviate it! I wanted to differentiate between the writing I do for adults and this book, which is for kids.

When did you decide to write children’s fiction? Or did it choose you? Can you outline the start of the creative process behind this project? Was there a light bulb moment?

I think The Mapmaker Chronicles chose me! I never imagined I’d be an author of children’s books. When I began writing fiction, I wrote women’s fiction (which I still write, and so far have completed two full-length (90,000+ words) manuscripts, one of which went very close to publication and the second of which I am redrafting).

But I have two boys, now aged seven and ten, and they are both fans of the ‘head-hurting’ question. We have long-and-involved conversations about where space ends, how high the stars are, whether there are any places in the world that remain unexplored, which dwarf from The Hobbit I would invite to a dinner party… you get the idea.

Several of those conversations, close together, led to one of those ideas that make you tingle all over.

“How far does space go?” asked Mr10, one night.

“Nobody knows,” I answered.

Then the next night: “How did they map the world?”

“Well, they had to go out there and find out,” I answered, distractedly.

“They must have been brave,” he answered.

“They were,” I said. “They would have felt exactly as we feel looking out into space, not knowing how far it goes or what’s out there.”

And just like that, in my mind I saw a race to map the world, and a boy who really didn’t want to go.

You have many writing projects on the go at any one time. How do you manage to delve in and out of genres and characters, fiction and non-fiction? Does one writing style provide relief for another?

Over many years of freelance writing, I’ve learnt to juggle lots of projects. I like to have one long-length manuscript on the go, and then I work on articles, corporate work, websites and other things as they come up, using the deadlines as the best way to prioritise work. I really like to work this way – it means I’m never bored and I don’t get writers’ block because I simply move on to something else for a while if the words aren’t flowing for one project. I don’t work on more than one fiction project at a time – I just push through until I have it completed, putting aside any other ‘brilliant ideas’ for later.

With so much on your calendar how do you manage your writing time? Do you have a strict routine? Do you have to make personal sacrifices?

I have a mammoth To Do list and the paid work always comes first. When you have so many deadlines, it’s a simple matter of prioritising what needs to be done each day to ensure those deadlines are met. I don’t have a strict routine for writing in that I just do what needs to be done each day – but I’m at my desk while the boys are at school and I often work at night.

What advice do you have for starting out writers when it comes to pitching stories and managing deadlines? How do you deal with rejection?

Oh, this is such a massive subject. I have a lot of information on my blog at allisontait.com that’s full of advice for freelance writers and my eBook Get Paid To Write: The Secrets of Freelancing Success is full of tips and tricks of the trade. But as a starting point:

  • A pitch is not just an outline of a subject you’d like to write about. You need to find the angle of the subject that is new and exciting and you need to sell it. It’s a real art form and it takes a lot of practice. I often suggest to my students at the Australian Writers’ Centre that they open a magazine, read a story and then try to write the pitch that got the story published.
  • Reliability is essential for any freelance writer, and to be reliable you need to be organised. When you get commissioned to write an article, start making phone calls and lining up interviews that day – even if your deadline is four weeks away. Things don’t always go to plan and you need to allow yourself time to change interviewees or find a new case study or hose down any other disaster that arises.
  • Rejection is part of the game. It’s no fun and I don’t think anyone ever grows to like it, but you do get used to it (sad but true). Remember that the editor is not rejecting you – it’s just that the particular idea you’re pitching is not right for that publication at that time. Have a look at your pitch, rethink it with a new publication in mind and try again. Don’t just send out one blanket pitch to six publications – that will result in a lot of rejection.

Do you have any remedies for writer’s block? (taking your cheeky puppy for a walk?)

Everybody deals with this in their own way. As I said, I don’t really get writer’s block per se, but I do allow myself a lot of thinking time when I’m writing a manuscript. I find that my mind works best when my body is involved in some kind of mindless, repetitive activity, so I walk (not with the puppy though – he’s too distracting!), I wash dishes, I weed the garden, I hang out washing… And I usually find that if I do that for a while, my mind busily unravels whatever plot problem I’ve struck.

Do you find the self-motivation and the discipline required difficult?

Honestly, no. I never struggle to motivate myself to write fiction because I love it. I’d rather be doing that than just about anything else. When it comes to the freelance work, my day job, I have been a fulltime freelance writer for more than 10 years now and I know how to get an article written. Yes, some days I’d rather faff about on the internet and tweet, but that just means that I sit down later that night and get the story done. If I don’t write the article, I don’t get paid – that’s a great motivator!

Writers these days have to be very technically savvy and keep an online presence. How do you juggle your social media commitments with writing?

I think that this comes down to time in the game, as well as time on the field. I have been blogging for nearly five years now and have worked through several different social media platforms to accompany that, whittling it down to the ones that I like. Over the years, I’ve built up an amazing community across my blog, Twitter and Facebook. I do a bit on G+ and Pinterest, but mostly I go to the others because I really like them. My advice to people in this area is two-fold: do what you like and, most importantly, what comes easily to you so that it doesn’t feel like work, and secondly, don’t expect miracles overnight – it takes time to find your networks and create a community.

Do you find writing a lonely experience? It can also be an anti-social exercise. How do the people in your life deal with that?

I like spending time by myself. I have a busy family and social life outside of my work, and I’m more than happy to be alone in a quiet house during the day. I don’t write when my boys are around – or try not to (there are occasions when deadlines need to be met) – and I don’t work on weekends.

Do you have a routine / a particular place and time when you write?

I write in my study. I’ve tried writing in cafes but they’re too distracting. I work while the boys are at school and at night after everyone goes to bed.

Who /what inspires your writing? Who are your favourite authors?

I’m inspired by everything around me. I’m inspired by the joy I get from bringing a story to life. I have so many favourite authors and favourite books that I don’t think I could even begin to name them.

Why writing? Have you always wanted to be a writer?

I think that writing is something that chooses you. I wanted to be an actor for a long time, but then I realised that the stage fright would kill me. I fell into magazine journalism and it kept me happy for a long time. And then I decided I was going to write fiction, so I sat down to give it a go. My first attempts were woeful, but you learn with every manuscript you write.

Do you have any further advice for starting out writers?

My main advice is to stop talking about writing and actually write. You’ll never get a book written if you don’t make the time to sit down and write it.

What is your next major writing project now that the Mapmaker Chronicles is released?

I’ve just completed the third manuscript in The Mapmaker Chronicles series, and I’m redrafting an adult novel that I’m hoping might be my first published in that area. That should take me to the end of the year. After that, who knows?

***

If you’d like to learn more about Allison Tait, you can check out her website here.

You can see the original article here

A Room of One’s Own | Helen Scheuerer

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When Virginia Woolf wrote A Room of One’s Own she referred to not only the physical space a woman needs to write, but also the need for room in education and the literary world for female writers to overcome the patriarchal nature of society.

Though I dare to say we are in no shape to dismiss these matters just yet, I’m not about to embark upon dissecting the latter topic in this article. What I do wish to talk about, is the need any writer has (woman or man) for a physical work space to call their own.

Like many writers, I’ve lived and worked in some pretty cramped places; from an office that squeezed twenty writers around one trestle table (elbow-to-elbow) to a studio apartment shared with an equally hardworking partner.

I’ve certainly longed for the luxury of my own desk (let alone my own room). It’s because of these experiences over the past few years that I’ve come to realise the importance of having your own work space, whether it’s a coffee table in the corner of a tiny room or an actual office.

Writing is, for the most part, a solitary venture. We lock ourselves away in the world we are creating and don’t want to be disturbed.

Personally, I can’t stand the noise of the television blaring, or people clanging about downstairs unnecessarily, though over the years I’ve become better at tuning it out.

These intrusions usually serve as distractions from our craft, and there really is nothing worse, considering how many of us struggle to find time for it in the first place.

A woman must have money and a room of her own if she is to write fiction.

Try and find yourself a little nook in the house where you can set yourself up a desk (it doesn’t have to be imposing). This desk should be yours and yours alone.

You should be free to leave your books open, your papers loose and your pen lidless, without the fear of having someone come along and moving things around.

Having this space is so important to your creative well being. It allows you to create routine, to stay focused and to have discipline. When you are sitting at your desk, there is only one thing you should be doing: writing.

Woolf said we needed money and a room of our own. I’d say that we need to get the room first (or at least the desk), and the money will come later. Hopefully.

Via: http://writersedit.com/room-ones-own/

Which Is More Important: Writing or What We Write?

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The key thing to remember about writing: It’s about writing! The more we think about what we write, the harder it gets. We can talk and think ourselves out of writing far easier than allowing ourselves just to write. The mind of a writer is filled with objections because most writers are afraid of writing something that doesn’t make sense, or worse, writing something that comes across as idiotic or is considered arbitrary. Your inner voice all too often will put forth resistance, telling you that you don’t make any sense whatsoever and you’d be much better off doing anything, except writing!

Maybe you’ll recognize some of these inner objections:

Am I really a writer? Am I any good?

Will anyone care about what I write about?

Does my story make any sense to anyone else?

Do I constantly repeat myself?

Do I over-edit?

Do my characters seem real? Do they have depth? Should I just go ahead and kill them all off now and give up writing forever?

Do I suck? No, I don’t. Yes, I do.

How bad do I suck? Bad! The Titanic sunk because it knew that I would be born and try to become a writer.

Why Writers Struggle So Much With Rejection

One of the things my inner voice loves to tell me is that my writing is total and complete garbage and beyond any shadow of a doubt will be rejected. My inner voice isn’t alone, as so-called experts tried to convince me of the same things too. Fear of rejection is powerful, because at some point or another we have all been rejected for something, and we never forget the pain. The more times we have been rejected for anything, the more doubt compounds within us. This is an especially complicated issue for writers, because we’ve all heard the stories and watched the movies where writers get rejected. Some will even tell you that if you want to be a writer then you better get used to being rejected. It’s almost as bad as trying to ask someone on a date for the very first time. The possibility of being turned down isn’t just extremely high, it’s 100% going to happen.

Have I made you feel any better about rejection? I didn’t think so. The good news is that the power of rejection holds less threat for writers today. You don’t need an editor’s approval to self-publish and you don’t have to send out thousands of letters to be accepted by any agent or publisher if you don’t want to. So then, what’s to stop you from writing and publishing your writing? Perhaps it’s the internal messaging system we all have that tends to tell us that when doing something, anything, it must be done in a certain way or it won’t be acceptable. Well, that may have been true for a long time, but when it comes to writing and publishing your work, you are now the-end-all-be-all if you want to be.

I think we hold onto memories of rejection because we try to avoid putting ourselves in a position of being rejected again, no matter what type of rejection that might be or from whom. Very few of us, if any, are completely free of this internal fear. All of us have our own way of dealing with it; however, to be truly free of the fear of rejection, one must come to terms with it. One way I have done that is to write for myself, knowing I can publish whatever I write if I choose to. That doesn’t mean I’ll sell a million copies or that it will attract a huge readership, but it’s still a freedom that gives me room to write. Blogging helps too, because it can be done regularly, in increments, and articles can be published privately first and then, when we’re ready, we can publish them publicly. Blogging also takes a while to gain a readership, so our writing is exposed to readers more slowly. As we gain more readers over time, we naturally gain confidence and eventually worry less about being rejected.

How to Conquer the Internal Editor One Word at a Time

At times, if you want to get past the internal resistance of your own mind, you actually have to give in and allow yourself to write whatever you come up with. Even if your writing seems like terrible, useless drivel no one will want to read, the more you write and get your thoughts on paper, or on the screen, or on your blog, the less power the internal nay saying voice has.

Writing rituals also help, which I’ll get to in a moment. Before writing, you might consider looking in the mirror and telling yourself you’re going to write the best gibberish you can come up with, and then challenge yourself to do exactly that! You may find yourself amazed at how much sense your gibberish makes when you read it back.

If you’re like me, then you’d like your first draft to be your only draft, but you probably also know that’s not what actually happens. Writing a first draft is mostly just getting your thoughts out of your head, but there’s a little more to it. A first draft often only makes sense to you, the writer, and it will need to be shaped and formed during the second and, perhaps, third draft. We sometimes heap unnecessary pressure on ourselves to write a perfect first draft. I don’t know of any writer who is ever completely satisfied with his or her first draft. I know I never am. It is the action of writing that matters, not necessarily the content itself.

The Most Important Advice Any Writer Will Ever Hear

I am willing to bet every writer on God’s green earth has been told their first draft is crap. Somehow we come to believe it and even tell ourselves this without ever considering the true mental and emotional impact. I refuse to join the chorus. Allow me to share something very important with you and it took me too long to realise it.

Your first draft is not crap no matter how far from perfect it might be.

I regret the many first drafts I’ve thrown away, because I’ll never be able to get them back. An idea is wonderful, but an idea written down is heaven. As a draft, it becomes a physical, tangible manifestation you can refer to and build on. Throwing away an idea, even symbolically, is painful and wasteful. I think all of us have woken from dreams and wished we had written them down, even if just haphazardly, and even if only to remember them later. How many dreams have you forgotten, but somehow the feeling that they were wonderful still stays with you? What if you had written about a dream while it was still fresh in your mind? What if that became your first draft? What would you refer to it as? I somehow doubt you would call it crap.

Think about it a moment. Consider how the word crap makes you feel (and I am using the “clean” version of the word). What emotional value does it provide? The first draft matters the most and it deserves proper credit. The belief you’re merely writing crap in order to be okay with the fact that it’s not “good” only serves to feed your doubts about your writing.

Every book, every article and every blog post starts off as a first draft. A first draft is when you turn an idea into some coherent form, when you’ve assembled your loose thoughts from notes collected on napkins, scraps of paper, or from your voice recorder. You know how painstaking this process is. Your first draft is perhaps the most important step to completing your project. It’s special. No one’s ever gotten to the end without the beginning. Crap is the last thing in the world that your first draft is!

I’m writing this because too many have come to believe that when they sit down and write their first draft they aren’t doing something crucial to the creative process. I mean, how important can crap be? Don’t throw away another seed before it has the opportunity to grow into something beautiful. Don’t discard the memory of another glorious dream before it can be realised.

Are You Consciously Investing in Your Writing?

I discovered this the hard way. If I don’t think constructively about what I’m writing, I won’t make the necessary mental and emotional investment it takes to see my writing through to fruition. Once I figured this out, I lowered my risk of falling into depths of writer’s doubt and became much more prolific. Your state of mind has a huge influence on your confidence and productivity. Today, when I sit down and write my first draft, I have the greatest respect for it. It won’t be perfect, and it certainly won’t be polished, but without the first draft I wouldn’t have anything!

If you want to feel better about your imperfect draft, then acknowledge that it’s incomplete and know you will shape it later on. It will take time and hard work. It won’t always be fun, but if it was just crap, would you want to put that kind of effort into it? I wouldn’t. What if you stopped calling it crap and started calling it by its true value? Would that change your perspective and increase the emotional value you place in your work?

Let’s be honest here, just for a moment. Between you and me, in the real world, what do you do with crap? You flush it or bin it. You’re too good for that and your first draft is too! No matter how imperfect it might be and no matter how much work must still be done.

With respect and admiration for Ernest Hemingway, I prefer this quote by Michael Lee:

“The first draft reveals the art, revision reveals the artist.”

One Easy Path to Respecting What You Write in Your First Draft

Starting a new writing project is an exciting, mysterious, and sometimes nerve-racking adventure, so try not to limit your process. I have several ways I use to get myself started. One very effective method is talking to myself.

Do you ever talk to yourself? When you’re alone (I think you’ll really want to be alone for this one), go ahead and start talking to yourself. Talk about anything: how the day has been, why you didn’t do something you should have done, a situation at work, or whatever happens to be on your mind.

Here, I’ll help you with a couple of questions: What do you really want to write about? Is there a special story that you want to tell? Talk out loud to yourself about that story, tell yourself openly and honestly why you want to write it.

Now here’s the key to this exercise: while you’re talking, make sure you have a word processor open. Type everything that you say, every single word. Don’t look at the monitor. No, don’t do that! Carry on your conversation with yourself until you’ve said everything you need to. Try not to hold anything back. When you’re finished talking, then, and only then, look at the monitor. There’s your first draft ready to be fashioned into your story. It might not be perfect, it might not be exactly what you wanted to write, but it certainly isn’t crap. It is a start, and it’s your very own personal invitation to continue writing.

Like I said, writing is about writing and sometimes it’s not what we write, but the actual process of writing itself that matters the most.

Via: http://www.helpingwritersbecomeauthors.com/what-we-write/

On Depression and Writing | A Reprise

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A little while ago, I published the article On Depression and Writing by Derek Haines on Writer’s Blog, as I found it quite an interesting piece and thought others might like it too.

Since publishing it though it has played on my mind – how this writer has found depression so enabling with his writing process – and I have been thinking: lucky him.

Now, before I get in to this I need to say I love talking about writing, and books, stories, the writing process, etc etc, but I do not talk publicly about my own struggles. However, in order to discuss my thoughts on this topic I have to open up about myself – so here goes:

I have struggled with depression for years. I don’t talk about it, most people don’t know about it, in fact, some of my friends and acquaintances reading this will be shocked to find out about it, because when I’m out and about I plaster on a smile and be as helpful and as enthusiastic as I can possibly be. But behind closed doors I am in a lot of pain. I don’t want to burden people with it or bring them down, so I generally keep it all completely to myself. Posting this is therefore the most un-like-me thing to do. But, I want to talk about depression and writing, of which I have an awful amount of experience, so I can hardly discuss it and not mention my own experiences.

For me, depression is completely debilitating. Amongst other things, I have been writing a novel now for some time. The thing that stops me finishing it – apart from the editor living in my head who won’t allow me to just “write a crap first draft” – is depression. It’s not just “feeling a little bit low” and something I can easily “snap out-of”, like turning off a lightbulb, it is a constant everyday battle with myself.

Every writer goes through that “I’m shit and no one will want to read this trollop” stage. But with depression, that stage takes on a whole new life of its own. It becomes “I’m shit, and worthless, and useless, and maybe I should just kill myself” and “no-one is going to want to read this trollop because who am I kidding, I should just give up right now!”.

Depression has been the one biggest obstacle to my writing above anything and everything else. Money is an issue, of course, but you can always do a bit of extra work or beg and borrow it from somewhere. No one else can save you from the games your mind plays on you when you are depressed. I can sit in a room with nothing to do but write, and depression will pop up its head, and I will just sit there and cry, or procrastinate by doing anything else to distract myself from myself that I can – music, TV, social media – you name it, but can I manage to write a single word: no.

And then what happens? I feel even worse because I’ve done nothing, achieved nothing. And so the downward spiral continues. I have endless amounts of both respect and awe for the writer Matt Haig, who has famously and openly suffered with depression for a long time and still been a successful published author. I just wish I knew how he did it. I’m guessing sheer determination and resilience, because I know personally that it takes a massive amount of inner strength to battle depression everyday and still keep writing.

It is my hope that one day I will make it, both as a writer and as a happy individual. But for now, I will keep on struggling forward a day at a time. If any of you reading this are saying – yes, this is me too, she gets it – then I hope this post encourages you to keep writing too, and to know that although it feels like it, you are not alone.

17 Books That Should Be On Your Radar: May 2017

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Every month, the Writer’s Bone crew reviews or previews books they’ve read or want to read. This series may or may not also serve as a confessional for guilty pleasures and hipster novels only the brave would attempt. Here are their recommendations for May 2017:

  1. Salt Houses by Hala Alyan
  2. The Wrong Side Of Goodbye by Michael Connelly
  3. Marlena by Julie Buntin
  4. Janesville, An American Story by Amy Goldstein
  5. Little Victories by Jason Gay
  6. The River Of Kings by Taylor Brown
  7. American War by Omar El Akkad
  8. A Brutal Bunch Of Heartbroken Saps by Nick Kolakowski
  9. The Dinner Party by Joshua Ferris
  10. Tell Me How It Ends by Valeria Luiselli
  11. The One-Eyed Man by Ron Currie
  12. Recitation by Bae Suah
  13. The Warren by Brian Evenson
  14. Unbearable Splendor by Sun Yung Shin
  15. Hothouse by Karyna Mcglynn
  16. Make: A Decade Of Literary Art
  17. Spaceman of Bohemia by Jaroslav Kalfar

Click on the links above for a detailed synopsis of each book, or follow the following link to see what the Writer’s Bone crew had to say: http://www.writersbone.com/book-recommendations/books-that-should-be-on-your-radar-may-2017

The Bath Novel Award: 2017 Longlist

BATH NOVEL AWARD: 2017 LONGLIST ANNOUNCEMENT

This year a record 1,163 novels were submitted by writers in 48 countries.

Of the 33 novels selected for this year’s longlist, one third are by writers based outside the UK, including Canada, New Zealand, Netherlands, Switzerland and the USA. Novel settings range from the UK to Ukraine, time travel in Wales, earthquakes in El Salvador,  deadly Norwegian forests, even a sunless future Birmingham. Two thirds of the novels are by women writers and one male writer has two novels listed. Six writers have been longlisted by us before, either for an earlier draft or a different book. In terms of genre, literary, psychological suspense, thrillers, YA, women’s and crime lead our 2017 longlist, followed by historical, comedy, fantasy and speculative novels. Notable trends amongst the final 33 include the rise of the immigrant hero, activist lit and a distinct upswing in novels with themes about deception – by those in power and of ourselves – and the search for love, light and life in the darkest of days.

As our judges read “blind” we’ll be keeping the longlisted writers’ identities under wraps until the winner, as chosen by literary agent Laura Williams of Peters, Fraser Dunlop is announced on July 6th. Shortlisted titles will be announced on June 14th.

In the meantime, huge congratulations to the writers of these 33 standout titles:

  • After the Lunch
  • Alt
  • Brave Girls
  • Complicity
  • Enemies at the Gate
  • Finding Freedom
  • Forget Me Not
  • Hollow
  • Honeysuckle
  • In a Rushdie Winter
  • Iraqnia
  • Jacob’s Ladder
  • Jonathon Fairfax Must Be Destroyed
  • Lost Journals at Sundown
  • Lucas
  • Mountainous Regions of the Heart
  • One of Us
  • Over the Coconut Trees
  • Service
  • Start Wearing Purple for Me Now
  • Strangers on a Bridge
  • The Binding Frame
  • The History of You
  • The Light Factory
  • The Lost Sister
  • The Pact
  • The Pear Drum
  • The Proof of the Outside
  • The Silence of Shannon
  • The Still Gate
  • Translations
  • What Was Left Behind
  • Yet Wilderness Grew in My Heart

Via: 2017 Longlist: The Bath Novel Award

Unleash Your Creativity With Freewriting

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If you have ever been to a writing class, group, retreat or similar, you will most likely have heard the term “freewriting”.

In freewriting, you write just fast enough so that your hand moves faster than your brain can defend itself. The results are sometimes unpredictable, but the most surprising images, characters, memories and stories can pour out onto the page.

How to Freewrite

What exactly is freewriting?

  • Freewriting is a practice that helps to liberate your writer’s voice and connects you to the vibrant stream of creativity that lies just under the surface of our ordinary thinking.
  • Freewriting can be used to launch you over a writer’s block, to explore painful emotional memories, and to work out problems in a longer work. It can be used for making contact with one’s own unconscious.
  • Freewriting is a simple, structured practice that is flexible and forgiving. It can be used as the base of a writing practice, or spontaneously whenever you want to go deeper into a subject.

A good way to learn freewriting is through a 10-minute timed write.

When we freewrite, we try as much as possible to suspend judgment about what we are writing. It is an exercise in getting out of our own way. You may notice you are writing in a way that is unacceptable or foreign to what you are accustomed to. Try to simply observe the process rather than interrupt it.

Here are some freewriting guidelines, although in the spirit of freewriting freedom, feel free to not follow any that don’t feel right.

  • Use a prompt. If you run out of ideas before the time is up, start writing the prompt and see if a new thought arises. Go with it.
  • Set a timer. Having a reliable timer will free you from being drawn away from what you are writing. If you are moved to, feel free to continue writing after the time has expired until you complete your thought.
  • Keep your pen moving. Don’t stop writing until the timer goes off.
  • Write quickly. Write a little bit faster than your thought formation, even if it’s a little uncomfortable. Messy handwriting is welcome.
  • Use the first word. Don’t try to think of the perfect word, just use the first word that comes to mind and go with it. Don’t worry about paragraphing, subject-verb agreement or even if what you are writing makes sense. Just write.
  • Write crap. Give yourself permission to write a really bad first draft. You can always edit it later, but this permission allows you to do something new. Try to avoid any thoughts about what you are writing. You are just there to propel the pen. Telling yourself it’s okay to write crappy first drafts is incredibly liberating. Try it.
  • Go for it. If the first thing that pops into your mind is ridiculous, go for it. If it’s violent, see where it goes. Be open to the unexpected. After all, you didn’t create these thoughts, did you? Our job is to honour them, allow them to come to light.

Going Longer With Your Freewrites

You can also use a meta-freewrite technique to explore longer works. Look at what you’ve written. If a question is generated when you read it, or you are looking for a solution to a problem you see, use it as a prompt for your freewrite. Keep using it, and the questions it generates, to ask yourself to go deeper into the subject. Be open to what comes up.

Crafting prompts can be good fun, and the simplest prompts sometimes reveal the deepest veins of meaning in our stories. If you’ve written something you would like to explore, use a prompt like “What does this story really mean…” or “What I really want to say is…” to get at a deeper meaning.

For instance: A prompt from Natalie Goldberg that can help with your personal history explorations is “I remember…” Continue to write what comes to your memory and every time you hesitate, write again “I remember …” and start again.

Prospect for stories using prompts like “The most scared I ever got was when…” or “The first time I met…” or “The most momentous trip of my life was…” or “When I was a kid we…”

If you want to develop something you’re writing, look for prompts within the writing itself. What jumps out at you? What has “juice” for you when you read it? There’s your next prompt. Put it at the top of your page and go for it.

Happy writing!

Via: https://www.thebookdesigner.com/unleash-your-creativity-now-how-to-freewrite/