Privacy and Alone Time: Why Creativity and Good Writing Depend on These

Summer is a great time to discover new books.  A colleague recommended Quiet:  The Power of Introverts in a World That Can't Stop Talking, by Susan Cain, for its unique views on creativity and the need for alone time to nurture that creativity. 

Alone time is a tricky subject.  It hints of antisocial behavior, even selfishness, but I find it's absolutely essential for my sanity, balance, and creative spark. 

Cain's book gave me enough scientific backing to accept the idea that I need to be alone a good portion of each day to hear myself and my story.  I'm not alone in that need, either!

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Why Do Creative People Fear Routine? Getting Over the Internal Obstacles to Actually Finishing Your Book

My ideal writing day is open-ended.  I have nothing I even have to get dressed for.  I can be alone, noodling around my writing space, enjoying silence and letting my characters and topic talk to me without fear of interruptions.  I get to design my own play space and time. 

In this ideal world, the creative flow is strong.  It's unimpeded by plans, structure, or routine.  I write often and well, I never encounter doubts or blocks, and I produce amazing amounts of work and feel completely refreshed by the process.

A writing life without routine--that's what most of us dream of.  Because it's really the routine--the obligations and the demands--that gets in our way, isn't it.  If we were free to just write, we would.

Right?  Not really.  A great fantasy, but rarely true.

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Placing Setting Details for Best Effect-- The Danger of Frontloading Your Story with Description

One of my online students is writing a very good mystery.  He has plotted it well, and he's working on developing the characters.

Last semester in the twelve weeks of my online class, I focused him on pacing.  What is the best pacing for a mystery?  What elements keep the momentum going, the tension high?  What drops tension, and even distracts the reader?

I asked him to study different aspects of pacing, such as dialogue, character description, and setting.  How is each used for best emotional effect?

This writer has improved tremendously in the months we've worked together.  But he still can "frontload" his chapters with too many setting details.  I wanted him to see how they slowed the pace of his story, and begin to choose the specific details that wouldn't derail his readers. 

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Jonathan Odell on Living Out of the Imagination

I'm so pleased to have Jon Odell, author of The Healing and The View from Delphi, as guest this week.  Jon shares an unpublished essay that he prepared several years ago when he was working with fifth graders on "keeping their stories alive." He told me,"Kids are the real story experts and taught me more than I taught them. They caused me to re-remember and revise my recollections about writing."
  

In life, you can either LIVE OUT OF your imagination, or you can LIVE OUT OF your history. 

That's what adults do with much of our lives. We live out our history, doing the things that have worked once upon a time, obeying the rules, avoiding the things that didn't work and stubbornly refusing to imagine a new story for ourselves.     

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Writing, Editing, and the Power of Three--A Guest Interview with Writer and Editor Jeri Reilly

Jeri Reilly is a writer and freelance editor. She is currently writing a book--a manifesto for baby boomers--with co-author Eric Utne. She blogs about word matters at www.jerireilly.com and can be followed on twitter @jerireilly. She lives in Minneapolis and sometimes in Ireland.

Tell us about your background as an editor and writer.

I fell into editing because I was a writer. For many years I worked for a cultural organization where I wrote and edited all kinds of communications for management.  

One day I told my boss I needed to get some credentials--so that when I told this or that manager that they had to change a word or a sentence, I would know which rule to cite. So they wouldn't take it personally. My boss agreed, and so I flew to Chicago and took an intensive course taught by the managing editor of the Chicago Manual of Style.  

I returned to work elated: I had my University of Chicago Publishing School certificate, I knew my way around the latest edition of CMS, and I had a lovely box of (erasable) colored pencils for marking up pages.

Editing has given me a lot of freedom. It made it possible for me to live in Ireland after I left that full-time job. When I moved to a 200-year-old stone cottage halfway up a mountain, I brought my American clients with me, via dial-up internet. One of my writers, a memoirist, did not write on the computer but was undaunted by the distance between us.  

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Famous Writers' Desks and Workspaces-- The Importance of Having Your Own and What It Means to Your Book Project

Writers can write anywhere--right?

If you're really creative, you don't need a specific space, a writing room, or even a desk of your own.  With our iPads and smart phones and laptops, our writing can be truly portable. 

We don't need to worry about finding a special spot to grow our books.

Right?  For me . . . Wrong.

Maybe when we're dabbling, maybe when we're still in the exploring phase, we can disregard the idea of having a "room of one's own," as Virginia Woolf famously said. 

But like the difference between a date and a marriage, books are a long-term commitment to your creativity, and they will thrive if we give them a sacred space to grow.  This is something I've known for a long time, but I had to relearn it recently. 

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Atina Diffley, Susan Hodara, Rachael Hanel, and Eric Utne--Four Great Writing Tips from Four Memoirists

I've had the privilege of getting to know four excellent writers through my book-writing classes. 

Atina Diffley is the author of the Minnesota Book Award-winning memoir, Turn Here Sweet Corn:  Organic Farming Works (University of Minnesota Press).  Susan Hodara is one of the authors of the recently released Still Here Thinking of You:  A Second Chance with Our Mothers (Big Table Publishing) and a journalist who covers the arts for New York Times and other publications. Rachael Hanel is the author of We'll Be the Last Ones to Let You Down:  Memoir of a Gravedigger's Daughter (University of Minnesota Press) and twenty other books.  Eric Utne is the founder of Utne Reader and is currently writing memoir for Random House with the working title Confessions of a Constant Seeker (on sale fall 2014). 

I asked each to share their favorite writing tip--something that has helped them during the process of writing their books.  They came up with four very different approaches (no surprise) and quite useful techniques for book writers at any stage.

Please check out their writing and enjoy their writing tips this week!

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Update on Publishing Today: Interview with Nonfiction Authors Linda and Allen Anderson

Linda and Allen Anderson have an illustrious career as co-authors of fifteen nonfiction books, most recently the ASJA-award-winning memoir, A Dog Named Leaf. They both teach writing classes and work (Linda, full-time; Allen, part-time) on their current and future books--writing, editing, and marketing. 

With positive reviews from Publisher's Weekly, Library Journal, Country Living, Cat Fancy, Best Friends, plus dozens of other national publication, the Andersons' books have been listed in amazon.com Hot 100 and Barnes & Noble Top 10, What America Is Reading.

Celebrities Tippi Hendren, Valerie Harper, Brian McRay, Dr. Bernie Siegel, Betty White, Dr. Larry  Dossey, Penelope Smith, and Richard Simmons are a few who have endorsed or contributed stories to the books.

The Andersons' work has been featured twice on NBC's The Today Show and on ABC's Peter Jennings Nightly News, and they have been the subject of numerous national magazine and wire service articles, including interviews for London newspapers and the BBC.

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Seth Godin's FOMO--Fear of Missing Out: Jealousy and How It Affects the Creative Person

Way back when I was new to writing, I did an exercise from Julia Cameron's classic, The Artist's Way, called The Jealousy Map. 

Cameron worked for years with what she called "recovering artists," or writers, musicians, and other creative folk who were stalled out, not doing their art.  She proposed that jealousy often blocked us from reaching our fullest potential.  This translated into a kind of creative self-abuse.  Our Inner Critic got out of hand.

The Jealousy Map asked you to write a fast list of everyone you were jealous of.  From the local writer who just got a story accepted to your neighbor who was so creative to the last winner of the Pulitzer Prize. 

I went wild.  I had no idea how much jealousy lurked inside me!  My best friend, members of my writers' group, luminaries like Pam Houston (a short story writer I adored), and others got scribbled onto my paper.  Anyone I felt was "chosen" in some way, while I was not. 

Many on my list reflected areas where I felt less competent.  I envied writers with better skills and a longer track record in publishing, thinking it was luck that got them there.  I didn't know better. 

The exercise was cathartic.  By the end, I was quite ashamed!  What a terrible, mean-spirited person I was.  To be so envious of these other writers' well-deserved accolades and successes. 

But the exercise wasn't over. 

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Making It Up versus Imagining It--Notes from Andre Dubus

Like you, I love good writing.  I adore books that let me enter a dream world and only surface reluctantly.  As a writing teacher, I study such books to find out why they hold me so completely.  The best of the best get reserved for my workshops as teaching tools. 

At my Madeline Island retreats each summer, we read sections from Andre Dubus's award-winning novel, House of Sand and Fog, particularly a pivotal scene that takes place in a revolving restaurant in San Francisco. 

Dubus chose the setting first, he told me at a writing conference in Manchester, New Hampshire, this past weekend.  He started with the revolving rooftop location and then built the event around it.  The event he chose perfectly reflects the disorientation of watching a cityscape go by.  The two main characters are revealing unsavory truths to each other, making a pact, about to get into trouble.  The scene even foreshadows a crime they will commit together at the end of the story.

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