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Taking a Break from Butt-in-Chair

When you start talking about writing a novel, you’ll eventually hear a variation of the phrase “butt-in-chair.” This is generally pretty good advice: You can’t write a book if you don’t make yourself, you know, sit down in front of a keyboard and write it. So making sure you get (and keep) your butt in the chair for good long intervals is sound advice.

Like a lot of advice or best practices or rules, the whole point of learning them and understanding their benefits is so you can break them judiciously.

Take a Nap

I always refer to Mad Men when I discuss creativity, because one thing that TV show brilliantly handled was creativity. Don Draper is a writer, a creative guy. And the show goes out of its way to show Don goofing off—or, apparently goofing off. Don goes to the movies in the middle of the day. He drinks in his office. He naps. He goes home. You would be forgiven for asking what, precisely, Don does aside from wear the hell out of a suit and be charming.

The point is, Don’s creativity often resembles goofing off. Creativity needs discipline, so butt-in-chair works. But creativity is also chaos and anarchy, so sometimes when it’s just not happening you really do need to just get out of the chair. Take a walk. Take a nap. Drink a half bottle of cheap bourbon and go running through the neighborhood shouting about flat-earth theories. Whatever it takes.

The point is, you can’t take advice too literally. Butt-in-chair is a good rule of thumb, but it doesn’t mean you force yourself to sit there until you’ve written some arbitrary number of words. It just means you have to get into the habit of working or you’ll never actually work. It doesn’t mean the occasional half bottle of bourbon and arrest for public intoxication isn’t just as good for your soul.

The Daemon

I’ve always had an affinity for computer programming, but I lack the discipline and math comfort required, or maybe I just didn’t get the right encouragement when I was younger. I dabbled in programming, mainly in BASIC, and I enjoy the creative aspect even as my bug-ridden code always reminded me that my attention to detail is … lacking.

I always think of programming and chess in similar ways: Deep oceans I’ve poked a toe into, knowing that if I try to swim out too far I’ll just drown, because my brain is about as deep as a puddle. I get very interested in things and for short periods of time learn everything I can—about programming, about chess openings, what have you—and once I have a superficial and minimal mastery of them I lose interest and wander off. The upside is, I know a very little about a huge number of things.

In operating systems, there are what are known as daemons, small programs that run constantly in the background, checking on things or providing data. And here, a hundred words in, we get to the point: Your creativity is a daemon process. It’s working all the time, even if you’re not.

Walk Away

This is why you have to take breaks. Writers often try to force themselves to achieve arbitrary goals, like 5,000 words in a day or a first draft of a novel in four weeks or something like that. And all well and good if that works for you, but keep in mind the typing is the tip of that iceberg. The real work is buried deep inside your head, and it goes on 24-7. And if it’s not producing anything, all the typing in the world won’t help.

That’s why sometimes the best thing you can do for your novel is to walk away and stop writing it. And why sometimes it doesn’t make any sense to worry about stuff like word counts or progress. That creative process is going to be chugging along in the background no matter what you do, so waiting for it to start pushing ideas to the front of your head isn’t wasted time; often it’s necessary time. That’s one reason creativity often looks like doing nothing, just like your computer looks like it’s not doing anything even though there are dozens of processes running in the background all the time.

Of course, this is also a convenient excuse for me to day drink, because when someone catches me sipping whiskey on the deck instead of writing, I just tap my head and wink and say “Creative process!”

There are No Rules

If you talk to new writers, or lurk around Internet forums dedicated to writing like some sort of weirdo listening in on other people’s conversations, or do panels or give presentations at writing conferences and the like, you’ll find something kind of strange: Writers, as a group, seem to think there are a lot of rules out there. They always want to know if you “can” do something in a story—is this idea too weird? Is that too many characters? Is this plot twist too crazy? Can you actually write a novel in the second person from the point of view of a dog?

Here’s something that isn’t all that shocking: Sure. You can do all those things.

We’re We’re Going We Don’t Need Rules

Look, writing is imagination committed to paper (or pixels). Writers have been pulling off novels that seem, on paper, at first blush, to be completely ridiculous. Novels have been written in stilted, theatrical ways, with oddball characters, and with only a glancing relationship with logic. And many of these novels have failed, sure, but not because of the crazy ideas or overly ambitious approach. They failed only because the writer failed to sell it.

That’s the secret: There are no rules. No idea is too crazy, too stupid, or too clichéd to be successful. All that matters is whether you have the skill and the acumen to pull those ideas off.

I sometimes think writers are looking for excuses not to tackle those big, crazy, complex ideas, or that they’re thinking way too hard about selling and marketing that book before they even write it. There are no rules there, either. Anyone who tells you that you can’t sell a book with a certain theme or in a certain genre is wrong—you can sell anything, if it’s good enough.

So, write your novel. Be crazy. Get crazy. Throw everything in there. Write from the dog’s point of view and then decide the dog is a Venusian time traveler. Write it without using the word and just to see what happens. And if it doesn’t work, don’t blame the idea—blame the writing, and start over.

Well, blame the writing, have a few stiff drinks, then start over.

Don’t Look Back

There’s very little in this world as humbling as writing a novel. Anyone who says it’s easy hasn’t actually tried writing one—no, it’s not hard labor, so bellyaching about how difficult it is is just First World problems, but it is challenging.

For me, every novel starts off easy. The premise is clear, the plot is easy to see in the basic outlines. All I have to do, I tell myself, is write the damn thing! Meaning that I approach each novel initially as a time management problem. And also a whiskey-drinking management problem, a binge-watching management problem, and a hey-look-a-butterfly-let’s-chase-it management problem.

I lead a rich inner life.

Anyways, what always happens is things get complicated. I lose track of the plot, I get lost in the weeds and everything slithers out of my grasp, and there is usually a point where I realize I’ve forgotten something. Sometimes it’s a character I forgot to introduce much earlier, or a clue, or a sequence that’s vital to the comprehension of the story or the back-story. I realize with dismay that the next bunch of words I’m about to write just won’t work in the larger whole unless that earlier work gets done.

I take a deep breath, pour a fresh drink, and then I don’t do it. I don’t go back to fix things up. I just plunge ahead.

That’s What the Revision is For

It’s almost irresistible, that urge to go back and fill in the blank space you’ve just noticed. But you really ought to resist. Sure, that means the draft you’re writing is flawed. It won’t make sense, things get introduced in clunky, awful ways. Anyone reading it will throw your manuscript across the room, enraged.

But, that’s just it, isn’t it? No one will read this version. You’re going to revise it. You’re going to let it sit in the drawer and marinate for a few months and then go back and start re-working it. So you’ll have time to fix everything—and you’ll see even more that needs to be fixed.

The urge to stop forward momentum to go back and fix something you’ve just thought of is a powerful one, but trust me: Don’t so it. It will just stop your train of thought and ultimately slow you down and make the story worse. If it’s really a problem, it will still be there when you revise. If it wasn’t really a problem in the first place, you just saved yourself weeks of unnecessary work.

I like to use the time I save by not wasting time doubling back on myself to drink a little more. What will you use the time for?

Book Promotion: Don’t be a Jackass

Promoting a book can be a confusing, demoralizing process. Many authors spend a lot of time and energy and money crafting a comprehensive but affordable book promotion campaign, only to feel like they’re shouting into the wind, and no one is paying any attention to them. Some spend a lot of money and feel similarly, wondering why some books seem to just get a lot of attention naturally.

Along the way, you’ll no doubt play around with various free modes of book promotion, because why not? If it doesn’t amount to much, it was free, so nothing lost. And with social media platforms it’s pretty easy to do some basic book promotion using just your personal accounts and a little mental elbow grease.

But how do you decide what’s worth doing? Every week finds another social media trend, after all, another viral quiz or game that everyone is passing around, or a sudden wave of rhetorical tricks that other authors are suddenly engaged in. How do you decide if something on social media is worth jumping onto for the sake of maybe selling a book? You could use my simple guide, which pretty much serves me well in every situation: Simply don’t do things that make you feel like a jackass.

Jackassery: The Problem of Our Time

Look, social media can be fun. Dumb quizzes, memes, and trending hashtags can pass the time and connect you with your audience—that’s more or less the whole purpose of social media. Great! But sometimes people start doing things just because everyone else is, and then they try to layer on their own special brand of arch sarcasm, or ironic appreciation, or just general assholery, trying to simultaneously engage with the viral moment and be above it. And sometimes you’ll be tempted to do dumb things on social media that make you feel like a bit of a jackass, and my advice is: Don’t.

Everyone’s Jackass Limit is different. What you might see as jackassery of the highest kind might seem like hilarious clean fun to someone else. Don’t worry about everyone else. When you see all the other authors in your social media garden doing the same trendy thing, something likely born in a book promotion listicle the week before, don’t worry about whether they’re being jackasses. That’s between them and their readers. Worry about yourself. If you feel like a jackass just thinking about it, then the answer is simple: Don’t do it, no matter how many other people are.

Because, for one thing, if every author is doing it then people are gonna notice that it’s just promotion, artificial and grasping. For another, you can’t differentiate your brand by doing what everyone else is doing. And finally, feeling like a jackass is never going to be the right decision. Take it from someone who spent about 10 years in his youth being a jackass: It’s no bueno.

The Art of Rejection Part Four

Once again, I’ve taken a walk through my many, many, many rejections letters in search of interesting or humorous things. This time I switched over to my pile of short story rejections.

I write a fair number of short works out of love, and also because I think writing short stories keeps you in practice. By forcing myself to think up a premise and knock out 1,000 – 5,000 words that conclude with a recognizable ending every month, I’m keeping my skills sharp. Or so I tell myself. Whatever, shut up. Anyways, as a result of this practice I have tons of short stories to sell, and so I, er, sell them. I’ve been trying to hawk my short stories for decades, and I have the rejections to prove it.

These days, most of those rejections are emails, because I don’t submit via paper any more. But back in 2006 I was still sending out paper submissions, with HILARIOUS cover letters. Trust me: Hilarious cover letters for the win. I got this response for a short story called “Time’s Thumb”:

NO PANTS for the win.

I don’t recall what I wrote in the cover letter about my pants, but it amused the editor enough to invite me to submit again. Did I? I honestly can’t recall right now. Probably not, because I am incompetent.

I do think selling writing is 50% finding someone on the other side that sees things the way you do, who gets your jokes and references. Making an editor laugh is a good way to be memorable to them, and to wedge your story into their brains. Also, it’s one more step towards a world where everyone just accepts that I don’t wear pants. Mission: Accomplished.

The Art of Rejection Part Three

As I continue to trawl my own storied past of rejection letters for blog fodder, I came across this significant bit of personal history. The year was 2002, the novels was called In Sad Review, which is a terrible, awful title, but it’s the novel that, several re-writes later, finally sold to Tyrus Books as Chum.

Now, those re-writes were done with the occasional advice of my agent, who returned to it every few years with ideas and kept trying to sell it even as other books of mine sold, and even as other clients of hers took off and became Big Deals. And this is all interesting because the rejection I got in 2002 was this one:

So, a rejection, but one that prompted me to send In Sad Review to the person who would become my agent, and a mere ten years later she in fact sold that novel. Just goes to show, even form rejections can sometimes lead you to something good.

The Art of Rejection Part Two

Here we are in the second installment of essays about rejection letters I’ve received, because it’s educational and also because this blog is a hungry time-devouring beast that demands content, content, more and more content! until I lay awake at night wondering how in the world I will attract eyeballs tomorrow, and the next day, and the next until sleep is a distant memory.

Also, going back through these rejection letters has been eye-opening. First of all, I don’t recall being this industrious. I’m typically a lazy, lazy man. Secondly, I don’t recall being this hilarious.

Back in the Day I bought a Writer’s Market and read all the advice within and then promptly ignored it all and wrote these sloppy, funny, shaggy-dog type query letters based on the theory that I didn’t want to work with an agent or editor who didn’t “get” me or my sense of humor. This has proven to be excellent advice from my younger self, which is an unusual condition as my younger self’s advice is typically horseshit along the lines of “Sleep more” or “Dude!” – that’s it, just the word dude.

Anyways, here’s a query letter I sent out to a small publisher in early 1997, which was sent back to me with the handwritten notes on it, requesting the manuscript, and then my follow-up letter delivering the manuscript and the handwritten notes rejecting the book. I thought I’d share these because the query letter is a disaster in many ways, and yet it got a request for a full solely because I amused everyone in the room – in fact, I have another rejection somewhere that tells me flat out they would publish the query letter but not the book.

Yet Another Query letter from a Desperate and Violence-Prone Writer of Fiction

My God You Want to See the Book

The book itself was title Shadow Born (yes, yes, I know – my titles are awful and everyone knows this) and is one I still quite like, actually, although it is definitely juvenilia. It’s set at a college party where something terrible happens, is told from various POVs and employs some minor experimental things (experimental for me, not, you know, literature itself). The bit about my brother’s feedback is true. When he read the MS he complained that the final chapter, which was the MC ranting in a stream-of-consciousness way, should be titled “Lord Kincaid’s Farewell Address” because of its pomposity, so I promptly re-titled the chapter “Lord Kincaid’s Farewell Address” in a fit of pique. BURN.

Anyways, I had a lot of success getting responses from agents and editor by sending humorous, self-deprecating queries. I also had a lot of blank, form, and slightly negative responses to this tactic, so Your Mileage May Vary.

Why I Haven’t Watched the New “Twin Peaks”

It’s 1989 all over again.

I can only assume you all spend about 104% of your time watching entertainments, because otherwise I have no idea how you’ve all already watched everything. I mean, seriously: These TV shows require hours and hours of your time. Are people really bingeing through 10 hours of a show and then shuffling to work at the Emergency Room, where they sew a few sponges into my abdomen and nod off during lunch?

When I was a kid, I was a huge Twin Peaks fan. Yuuuugggggee. I can still remember the moment Dale Cooper had his first dream vision, and I was god-damned mesmerized. I can also remember watching the Season Two finale with some friends in a rented house at college; there was a storm raging outside and I was white knuckled terrified during that ending sequence. Twin Peaks was ridiculous and overwrought and deeply silly, but damn it was good stuff.

I haven’t watched the new version on Showtime. Because life is short.

Down to My Final Trillion Seconds

As far as I know, I’m going to die someday. And based on my functional alcoholism, that time is likely much closer than I might like to think. Which means I have to use my time wisely, which means, put simply, that I no longer make time to watch things live. I DVR them, I order them on-demand, I download them from the Internet. And I only do that if the reviews and think-pieces make it seem worthwhile.

So, maybe the new Twin Peaks is great. Maybe it’s terrible. Time will tell, and I’ll be waiting until it does, because I only have so much time to spend on fictions and entertainments. And considering that we have this power—to vet our entertainment before we spend/waste time on it—why don’t we? Just seems foolish to commit 2 hours to Twin Peaks Mark 2 before I even know if it’s any good.

I could be spending that time drinking, is what I’m saying.

The Art of Rejection Part the First

SO, every weekend I sit here hungover and desiccated and try to think of something to write about on this blog that will make me feel like a Real Writer, entertain y’all, and possibly win me some sort of obscure blog award (do they still do that?). So I try to think about my few skills, which is always depressing. Aside from the ability to drink heavily (right up until the moment I lose that ability) and a certain skill in manipulating remote controls, I have disturbingly few talents. Oh, sure, the whole writing thing. So let’s amend that sentence to read “disturbingly few remunerative talents.”

And then it hit me: I do have one skill: The ability to collect rejection letters. I sent out my first fiction submission when I was 11 years old, and since then I’ve collected tons. Tons! of rejections.

These days they are largely electronic, of course, but I am so old I actually have a stack of rejection letters that I keep like the proverbial slave whispering in Caesar’s ear during the Triumph. So I thought, let’s examine some of these. It can be fun to humiliate yourself by exploring your failures. We’re starting off with this gem from the late 1980s.

What’s my name, Baen?

SO: Cravenhold was an awful fantasy novel I wrote when I was about 14. It was inspired a bit by The Chronicles of Thomas Covenant, and I took from that series the idea of a person from our universe being transported to a fantasy universe where he had immense power but very little understanding of it or how it worked.

It’s not good. Still, because at the age of 14 I hadn’t yet realized that “good” is generally a requirement for manuscripts, I submitted it. Also, I had no idea that different publishing companies had different styles or flavors, and Baen was almost certainly not a good fit for my work.

Now, back in those days submitting a manuscript was a damn job, kids. I had to photocopy 360 pages of typewritten work, smeared with white-out (or, more accurately, pester my father to bring it into work and photocopy it for me) then type out a cover letter where I bragged about being 14, then stuff it with an SASE into a manilla envelope, then take it to the post office.

So, you can imagine my adolescent outrage when they sent back a flimsy form letter without even bothering to make a note of any kind to indicate that my manuscript was not immediately fed into a machine that turns manuscripts into dark black cubes that are then used to build more machines that in turn transform manuscripts into dark black cubes, and so on. Today, of course, I can only imagine the hilarity that ensued when Baen received a novel from a bragging 14-year old that contained as much awful writing and borrowed ideas as Cravenhold, and so I now think I got off easy.

The form letter rejection, of course, lives on, and I’ll admit that even today I am more surprised when places I submit (on my own, typically magazines) don’t use a form rejection, because I totally believe the line about how they have so many stories competing for attention, yada yada. So when I get a “Dear Jeff” and a line about the story itself, I am generally made very happy.

I’ll be posting more exciting moments of Fail from my literary life as we go. Because all y’all seem to really enjoy it when I fail. <bursts into tears>