Tag: ‘authors’

The Perils of Success for Writers


(Always remember to celebrate your writing success…just don’t lose your head. Photo by Jeremy Tolbert.)

Success can be as difficult for a writer as managing feelings of despair at not being successful. For one thing, if your goal was to publish a novel with a major commercial publisher and you’ve suddenly achieved that goal after years of work…what do you do next? You may not have thought past that point, and thus feel at loose ends, drifting, at the very moment when most people think you should be celebrating. Or, you may have spent so much time expecting the worst and having to push up against gatekeepers and other obstacles…that the lack of an obstacle makes you stumble. You literally don’t know what to do without an obstacle in your path. It throws off your balance. Finally, success may go to your head and you may behave like a coked-up rock star for a few months, until reality hits you in the face.

One child prodigy I know had four novels out from Bantam by her early twenties but by the age of twenty-five had literally joined a circus and disappeared into Eastern Europe, never to return — as an author, at least. Another writer achieved great commercial success at the expense of mental health, ever more erratic in emails and face-to-face meetings, and eventually became a recluse. A third writer got a huge deal for three books and, with his day job as an anchor, proceeded to adopt an arrogant attitude, and blow almost all of the money on clothes, books, travel, and thirteen pairs of very
expensive shoes.

Failure’s easy — wrecking your life, not living up to your talent, can be accomplished painlessly over years, or even over the course of an afternoon if you really put your mind to it. But once you’re successful, you have real problems: expectations put on you, readers who correspond with you, and responsibilities you could never even imagine while you were typing away in your tiny office, certain no one would ever read your words even as you hoped
the opposite would be true.

Even a modicum of success can throw you off of your game, especially if there’s an unfair niggling little voice in the back of your head saying you don’t deserve it. Success is a form of praise, and praise can be hard to take, because it requires acknowledging a form of love. We’re generally not good with love, or being as generous to ourselves as we’re told to be to others.

Here are some of the possible untoward results, of success, sudden or otherwise:

• You quixotically quit your day job based on having won a lottery that you may never win again — namely, the big book advance — and run out of money within a couple of years. (Crawling back is much, much worse than never having left, or going part-time and gradually phasing out the day job once you’re assured of future writing income.)

• You turn into a horrible human being, a premature midlife crisis induced by your sudden change in status, and when you wake up from this delusion, you find the wreckage of your life all around you like an airplane’s burning fuselage. (In this case, you will probably have lost the affection of friends and family members, and possibly even the love of your spouse or partner.)

• You have trouble writing your second book because you’re too enamored of your own work, or because you’ve listened too closely to book reviewers or fans, relinquishing your vision in favor of a belief in theirs.

• You never write another book because you discover you don’t like everything that goes with having an actual career.

Can you avoid these outcomes? Of course — you may be the type of personality that is resistant to all the dangers of success; I don’t mean to suggest these scenarios are inevitable, or even likely. But if you are susceptible, you probably won’t avoid problems because of reading these words, although possibly you can limit their impact.

Alas, success is an emotional rather than intellectual experience. No matter what counsel I give you, you may still get the bends trying to adjust to success. All I can advise is that when success comes, try not to make any sudden changes in your life. Try, no matter how hard it might be, to simply enjoy it and incorporate it into your existing paradigm.

As for me, I was the jerk with thirteen pairs of shoes. They still stare at me from the closet, a Greek chorus shouting “idiot!” every time I walk past them.

>>Test this section of Booklife: What other problems does success bring to writers? What have you experienced?

Booklifenow: What Are You Thankful For?


(Mike Brotherton is thankful for being an awesomely creative person. Photo by Jeremy Tolbert.)

We’re taking a break here at Booklifenow, returning with new content next week. But since it is Thanksgiving week here in the United States, we’d like to know what you’re thankful for in your writing and your career. Also feel free to tell us about your upcoming books or other creative projects.

Me, I’m thankful that I have such amazing and creative friends–like my partner in crime here, Matt Staggs–that I am able to do this five-week book tour, and that I’ve had the opportunity to write, edit, and create so many different types of books. I’m also deeply thankful for your patronage of Booklifenow.com, and your acceptance of my book.

Writer Despair for a Cheery Monday!


(Is it dawn or is it dusk? Photo by Jeremy Tolbert.)

Good morning! How’re you feeling this morning? Optimistic? Not so optimistic? Still need your coffee? Regardless of how happy you are now, chances are you’ve had bouts of despair about your writing. I know I have–and not just as a beginner trying to get published. Over the entire course of my career waves of despair have at times washed over me. Writing is such a perilous calling that you’d be hard-pressed to find anyone engaged in it who hasn’t succumbed to these kinds of feelings. Here’s an excerpt of what Booklife has to say about despair. Will you feel better or worse after reading it? It might not matter. The point is: acknowledging that despair is something everyone has to deal with can be a kind of balm. We’re all in this together.

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Envy for a Cheery Wednesday

The tour continues! Tonight I’ll be at the National Book Awards, covering them for Amazon.com. Tomorrow I’m at MIT in Boston, delivering a lecture on Booklife, followed the next night by a reading at Borders. Then, Saturday the 21st, I’m back in New York City participating in a discussion on fantastical and real cities. – Jeff

Protecting your Private Booklife means confronting issues like envy. I don’t know of any writers who haven’t experienced this emotion. Here’s an excerpt from my essay on the topic in Booklife. Next week: Despair!

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Revitalizing Creativity in Your Private Booklife


(Never underestimate the power of a change of scenery to revitalize your creativity, either. Photo by Jeremy Tolbert.)

Sometimes, no matter your best efforts, you’ll find yourself stuck in a rut, bored with your work and yourself. At such times, here are a few techniques that may nudge or jolt you out of that mood.

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Book Promotion: The Value of Acknowledging Constraints

Promoting your book project may seem like it’s about shooting for the moon, and dreaming about the kind of coverage that means you have a chance to reach the largest possible audience under the circumstances. However, without acknowledging limits you may find yourself over-extended and floundering. Contraint can be as important as ambition. Here are two things to keep in mind when considering your options for promoting your book.

(1) Acknowledge the limits of your skill set.

The skills that led you to write a book or story or article are not the same skills required to leverage it in the public world. That is a separate skill. Not everyone has it, and only some people have it in genius-level quantities. This can work for you in areas where an element of inspired amateurism—the Do-It-Yourself impulse—is appreciated, even expected. However, even in areas previously the domain of amateurs, like YouTube book trailers or podcasts, more and more sophisticated, professional efforts have started to become the standard.

Therefore, to avoid stress and be more successful: Recognize your own limitations and find others with the required skills and experience. You may need a budget to hire someone, but you may also be able to barter for services. The barter system has become more and more common as creative individuals collaborate across the Internet. The best way to find the right people to work for you is to find existing examples of what you want to do, and approach whoever created them—whether it’s a banner ad or a website or a short film. In all things remember that a combination of mimicry and your unique vision provides the best chance for success.

Luckily, too, online platforms like blogs come with ready-made templates, and a blog platform like WordPress allows you to turn a blog into something very much like a website. Make sure to let standardization and templates do the work for you where appropriate. If you cannot find someone to do something you know is not your strength, you may need to decide whether it’s worth the effort. An ugly or clunky website or book trailer can be worse support for your efforts at leverage than no website or book trailer at all.

(2) Define the limits of your effort.

There are only so many hours in a day, and you have only so much stamina, across a day, a week, or a longer period. Before entering into a campaign for your creative project, decide how much time and energy you can afford to spend on it. Ask yourself these questions:

—How much time will I be spending on this effort and over how many days, weeks, or months? (For example, are you going to devote forty hours over three weeks, or sixty hours over three months?)

—Will I be traveling as part of this effort, or staying at home? (Time spent traveling may not be time spent promoting your work, but it’s still time lost.)

—Will I be spending money or only using opportunities provided by the publisher as well as free tools and platforms? (If you’re spending money, what’s your budget, and are you buying services, access, or hardware?)

—What form of follow-up is required for this project? (Whether it’s nudging gatekeepers, conducting interviews, or finding ways for people to view your book trailer, every creative project requires some type of followup. Follow-up, even if it’s just emailing people, takes time and must be accounted for in your efforts. Sometimes this is the most important part of what you will do for your project.)

—How much additional follow-up am I willing to do? (The “X” factor in all PR campaigns is the exponential way success feeds on itself. If you’re successful in your initial efforts, there will almost certainly be additional investments of effort to leverage that success.)

These questions and their answers exist in the context of a wider space: your creative life. Some writers can easily promote their work and continue to create by separating “creative” and “career” efforts into separate daily blocks of time. Others require the immersion of total concentration on the act of creation and must acknowledge (without guilt) that focusing on their careers will require not working on creative projects during that time. Whatever your personality and approach, make sure you know the personal consequences of your decisions in this area.

This week on my book tour, I’m lecturing in Seattle, heading over to Los Angeles for readings at Cal-State San Bernardino and BookSoup, and winding up in San Francisco for a workshop, reading, and discussion.

James Crossley on the Bookseller’s Perspective, for Authors

As noted on Monday, I’m kicking off my book tour this week. Tonight I’m at the University Bookstore in Seattle with Cat Rambo and Cherie Priest. Tomorrow I’m at Willamette University in Salem, Oregon. Friday, Nov. 6, I’ll be appearing with Jay Lake, Cat Rambo, and Jeff Johnson at the Press Club in Portland–and then doing a solo reading at Powell’s in Portland on Saturday. Sunday, I’m doing a Booklife workshop at the Hugo House in Seattle, and then a lecture titled “Bookwork for Booklife” Monday night, Nov. 9, also at the Hugo House.

Today, an excerpt from the Booklife appendices, which include a variety of opinions and resources to support both your creativity and your career. James Crossley works for an independent bookstore near Seattle:

Island Books, an independent, family-run business, is one of the oldest bookstores serving the greater Seattle area, with an experienced staff that helps match readers of every age and interest to the right books, whatever they may be. We ship for free to any location in the US, but you’ll have to come to Mercer Island in person to see our collection of antique typewriters.

Here, he shares some tips for writers in their dealings with booksellers. – Jeff


(James Crossley)

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My Endurance Tour–and Book Tours in the Modern Era

As you can see by visiting the events page, I’m embarking on 28-event 35-day Endurance Tour in support of Booklife and my new novel. I’ll be hitting a variety of venues on the West Coast and East Coast, and I hope to see Booklifenow readers at many of these events. The tour also includes guest blogging, interviews in local media, engaging with local writer groups, and much more.

Booklife covers book tours, including how to conduct a virtual book tour through guest blogging and the like. But as my friend Matt Staggs and I put together my Endurance Tour, I think we both realized that the modern book tour is a complex, organic entity, the dimensions of which are even more dynamic and three-dimensional than depicted in Booklife (I can already see I’ll need to revise that section for the second edition).

Here are some thoughts just from planning the Endurance Tour. When I get back in mid-December I’ll report on how much of this I still believe in and what new ideas were sparked by the experience.

(1) Real-world events are still important because a real-world event still triggers certain responses from local media and from the blogosphere, which is especially useful for events in large cities, where local coverage can translate into national attention. (Besides, doing a reading or other gig contributes to the cultural literacy of your country.)

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The Discovery Process: Improving Your Abilities


(Afraid of bears? Maybe you need to throw yourself in a bear pit…and maybe not. Photo by Jeremy Tolbert.)

A few more thoughts about the discovery process, below. I also firmly believe that establishing goals in the right way–strategically and not tactically–will reduce your stress level as a writer and make it clear which things are important and which are not. I deal with setting goals in my book and in Booklife workshops. This fall, you can catch a full-on Booklife workshop in Seattle, a much shorter version in the San Francisco area, or just discuss these topics with me in Asheville.

How can you work on problem areas without being overwhelmed? Make a list of your strengths, your weaknesses, and those gray areas in between—things you’re not terrible at but not great at, either. Even though you’ve presumably had others help you evaluate your strengths and weaknesses to get to this stage, take this list and give it to a couple of friends or colleagues you didn’t include in your original analysis. Ask them if your list is accurate. After you’ve included their feedback, and been totally honest with yourself, do the following:

—Break the Strengths list down into subcategories, rating yourself in each, so you have a better idea of what those strengths mean. Stay aware of your strengths even as you work on your weaknesses and make sure shoring up weaknesses doesn’t negatively affect your strengths.

—Select two items from the Gray Areas list that you think you can easily improve and that would help your writing career. Make sure your short-term and long-term goals include ways to better yourself in these areas.

—Select one item from the Weaknesses list, even if it’s something that also scares you. Add elements to your short-term and long-term goals that give you opportunities to make this weakness a strength, or at least something you’re not bad at anymore.

—Select one item from the Weaknesses list that you don’t want to work on improving. This advice especially applies if something on your list scares you too much. Setting it off to the side is about preserving your mental health. You can always revisit it in the context of success with some other weakness.

Live radio interviews (which now include podcasts) fit into the category of a weakness that scared me to death. The first time I was on, I mumbled and I could hardly breathe. Because I was so nervous, I wound up saying something like “You’re as stupid as I want to be” to the host, which was meant as a joke but came off as insulting and bizarre.

The second time I was on the radio, it went fine. Until the host made a strange comment about whether or not I lived in a cave, which threw me off so much the rest of the interview entered a decaying orbit.

The third time, I got the hiccups from drinking too much coffee. I spent the whole hour making sure the cadence of my speech allowed me to turn from the microphone just as I was about to hiccup. This worked better for the interview portion than for the reading I did afterwards.

What was my particular remedy? I relied on repetition and experimentation. I just kept accepting radio and Internet podcast interview requests. I also experimented with different kinds of preparation. Eventually, the combination of finding the best way to prepare and doing more interviews made me more comfortable with the format. I can’t tell you I’m the best radio interview ever—I still get nervous—but when you hear me on the radio these days you’re
unlikely to say to yourself, “Wow! That guy was horrible.”

As for a gray area that I’ve turned into a strength, public readings fit that category. Unlike radio station show appearances, readings never scared me. However, I didn’t have a good sense of performance so my readings were serviceable but nothing to excite anyone. Over the past few years, I have worked hard to add an element of performance to my readings, along with humorous anecdotes. Part of that growth process meant watching myself
on video giving readings. Another part meant being more careful about my selection of material and how long I read. Now, most people come away from one of my readings entertained, and I generally see comments on blogs afterwards along the lines of “Wow — that guy really put on a good show.”

Not only will you remove stress from your life by confronting some of your weaknesses and gray areas head-on, you’ll also learn a lot in the process. Like anything else in your Public Booklife, you just have to approach it systemically and incrementally.

The Discovery Process: Exploring Strengths and Weaknesses


(Me, reading at a bookstore in San Diego. Doing public events used to be a real problem for me because I’m a natural introvert. Photo by Keyan Bowes.)

This week, we’ll focus on self-discovery as a vital component of a writer’s career and your Public Booklife. Wednesday, I’ll discuss strategies for improvement as a way to minimize the kinds of stress that actually take away from creativity in your Private Booklife.

It’s certainly possible that in the distant past you did not need to promote your work. It’s possible that in the past all writers needed to do is turn in the manuscript and let the reviews, the interviews, and the incoming royalty checks wash over them. But today, unless you’re Salman Rushdie, Stephen King, or Margaret Atwood, you do need to be able to promote your work. Even if you have a contract with a major publishing house, you will need to coordinate some efforts with that publisher’s publicity department. You will need to become accustomed to the uncomfortable feeling that you are somehow being less than true to your core creativity while out hawking your wares.

For this reason, you need to find the level and the type of engagement that makes sense for you and your life. You need to be able to reflect your true personality, you need to find strategies that suit what you’re “selling,” and you need to find ways to separate your writing from your promotional efforts.

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