I’m participating in National Novel Writing Month for the first time. To hit the goal, I need 1667 words a day for 30 days. Right! But I’m in it for the motivation to write as much as I can every day for a month and finish the draft of my novel in progress. Today I rewrote a scene because it was wrong, losing some words in the process. Tomorrow I’ll interview a SWAT leader, then rewrite the scene again. Both rewrites will be a setback to my NaNo word count, but they’ll bring me closer to my goal of a finished Read more →
This morning I wrote a scene in which my character thinks about his dead parents, and I had to stop and figure out whether I had mentioned in previous books what happened to them. It was real “duh” moment. My solution—to prevent readers from e-mailing me about “character mistakes”—is to go back and write a character development history. Then keep it updated as I go along. Read more →
Is there finite number of words that each writer can produce—within each week or month or lifetime? Some writers seem prolific no matter what, but for myself, I think I have periodic limits. Last year, I worked about the same number of non-novel (meaning, paid) hours as I have this year, and yet I still managed to write a novel and a half. This year, my novel word count has tapered off drastically, and I’m even blogging less too. Why? Read more →
Today’s guest blog about work/life balance is from Pam Ripling—lighthouse aficionado and cross-genre author.
When I first saw the title of L.J.’s wonderful blog, “Write First, Clean Later,” I had to laugh. It’s a laudable mantra, not only for authors but for anyone who works out of their home. I’ve had a home business for 18 years, and I had to learn that work—be it writing a novel or balancing a Read more →
On my to-do list for about a year now is this entry: Join Mystery Writers of America. Part of the delay has been my reluctance to write a $95 check for the yearly dues—without knowing there is a definitive benefit (other than the fact that I really like the women who run the organization). The other issue is whether I qualify to be an active member. Read more →
A friend recently asked for advice in developing a marketing plan—to submit to a major retailer. Some smaller presses now also expect authors to submit a marketing plan. I’m no expert, but I have developed several marketing plans, and I’m creating a new one for the September release of Secrets to Die For. So I decided to share what I know.
Actually, I have two type of promotional plans: one to send to publishers Read more →
I was on my way to an interview yesterday with a homicide detective, and she called to cancel because she was at a homicide scene. Of course I responded, “Can I come down there? Please!”
So I ended up at a riverside park with the whole homicide team, asking questions and feeling giddy with excitement. I know, I know. A person was dead, and that’s a tragedy. But I couldn’t help it. It made me think about the show and character Castle, and how excited he gets when he’s called out to a homicide. How silly it seemed for him. Hah! I felt like a teenager at a party with the cool kids.
Of course, they didn’t let me anywhere near the body (dang!), but still, the afternoon was very educational. I learned about a cool gadget called “total station” that’s used to create computerized maps of the area. And I learned that a big guy in a black undertaker-like suit driving a mini van comes to pick up the body. I’m still checking it out, but I think he’s a contractor for the county who simply picks up dead bodies when called out and takes them to the autopsy room at the hospital. A mini van! It’s not how I visualized it.
Mostly what I realized is that you can strive for realism when you write these scenes, but you can’t replicate reality or you’ll bore your readers to death. Everything happens very slowly—unless the killer is still on the scene. Otherwise, there’s lots of standing around. When I showed up, the detectives were all eating pizza out of box flopped open on the hood of a cruiser. It seemed so odd, I almost laughed out loud. Nobody eats pizza at the homicide scenes I write, and no one ever will.
Other things I learned about the sergeant who invited me to the scene:
- She supervises a team of eight male detectives and gets no flack about her gender.
- She remembers the name of every homicide victim she and her team have investigated.
- She’s still going to sit down with me for a formal interview next week, so I can ask about her career and write a profile about her for the paper.
I read a blog post recently that claimed having a day job is good for your writing career and it made me wonder. She supported the claim with several points, the first being that having a steady income is a good thing. No argument there. If your novels are not paying the mortgage, something has to. But putting aside the money/necessity issue, I’m not sure most day jobs are good for a fiction writing career. In fact, I’d bet most novelists would give up their day jobs in a heartbeat if they didn’t need the money. (The exception being doctors and lawyers.)
The blogger’s second point—that it “gives you the urgency to write when you do have time”— may be true if you’re a receptionist in a chiropractor’s office who spends most of the day reading magazines. But if your day job is, say, editorial project coordinator for an educational publisher, and you spend your day writing copy, editing galleys, generating ideas, tracking documents, planning and attending meetings, etc., then it’s very likely your brain power will be spent by the end of the day and no matter how much you want to work on your novel after dinner, it probably won’t happen. Or you’ll try and get very little done. On the other hand, a job that leaves you physically exhausted but requires no real brain energy (pulling green chain) might allow you to be more creatively productive in your free time. Having done both jobs, I speak from experience. (The chiropractor receptionist job I just made up. )
Another supporting point was that it “provides material for your writing.” Again, it depends on the job. The green chain job offers little in the way of stimulus for characters or scenarios, but it will give you that “urgency” to write. That sense of “I must finish this novel and get it published so I can quit this hellish job before I go insane.” Then of course, some writers get whole novels out of their day jobs (The Devil Wears Prada). Most jobs fall some where in the middle of the continuum as far being a source.
My own situation is that I work three days a week for a newspaper, which provides a steady paycheck. But on those days, after writing copy all day, I don’t write novels when I get home. I also do freelance editing and manuscript evaluations. But I do those projects on nights and weekends after I work on my novel. So most days, my personal writing gets the biggest surge of my creative juices. And this is why I’ve been able to write two novels in the last fourteen months. Not because I have more free time, but because I have more focus.
What do you think? Is your day job good for your writing career? Would you give it up if money wasn’t an issue?