The Habit We All Have that Poisons Our Writing (Yikes!)

Have you ever gone on a trip with a total whiner? Someone who highlights every disappointment, every inconvenience? 

The smell of the room, the weird guy over there, the long line at the restrooms, the shoulder bag is way too heavy, these prices are ridiculous, feet are aching, ohmygosh is it really about to rain, these exhibits aren't really all that great, these streets should be better marked, CAN'T get my MAP folded back up . . .

You know. Whining.

It's funny: I love traveling. Love it! I itch to explore new places. And yet... I do my fair share of whining.

*slaps forehead* 

What's up with that? Here's my theory. I think I love idealized travel. Right? Travel with neat edges: clean restrooms, low humidity, good hair days, smooth traffic, no exploding shampoo in the suitcase.

The kind of travel that doesn't really exist.

So the part of me that loves idealized travel is the part that cannot believe that all these difficulties and irritations exist.

So I nitpick. And whine. About all the inconveniences.

... but have you heard what G. K. Chesterton said about inconvenience?

He wrote, An inconvenience is only an adventure wrongly considered; an adventure is an inconvenience rightly considered.

Meaning: it's all a matter of perspective.

Meaning: all my whining IS TOTALLY OPTIONAL.

What about you--are you a whiner?

(Go ahead and 'fess up. It's good for the soul.)

Do you whine about travel? Or, more to the point: Do you whine about your writing? 

Oof. I know. Me too.

It's so easy to love writing, to love the writing life, and find out that what you actually love is the idealized version.

The writing life where everything moves at the pace you would choose. Where you never have to throw out that 500-page draft you spent over a year working on. (Who, me?) Where you get money just for TRYING HARD.

Where the words come fairly easily, and any struggles--if you must have them--are beautifully cinematic and cause other people to buy you drinks. (As opposed to telling you to get a "real" job.)

Whining about our writing because it's not the "ideal" writing life. 

I think we need to stop doing that. 

Just go cold turkey. Give it up. No more whining.

To be clear, by "whining" I don't mean: Identifying an obstacle or pointing out that something is wrong. I'm not saying that we shouldn't recognize what isn't working well, or that a situation is difficult. 

By all means, let's stay realistic.

But let's also realize that all our whining is actually optional and not super helpful. And that by turning all setbacks into inconveniences, we just might be missing some adventures.

Need a bit more convincing? Okay. 

Here's what I find when I whine, whether it's about my writing, or about anything else:

Whining means: putting words out there. (I tend to whine in a journal a lot, so I'm literally writing my whines down. I'm using all my writing muscles to whine.)

And it doesn't make things better. Real whining? It's just moving the mess around.

In housecleaning terms, it's taking a pile of clutter and marching through the house with it, spilling papers and paraphernalia all through the rest of your living quarters. Giving yourself MORE to deal with, not less.

I'm not saying that we should never have a negative thought. I'm not saying we need to lie to ourselves, or to Pollyanna our way through life.

What I am saying--and what I've seen at work in my own writing life--is this: When I whine (whether with my mouth or pen or keyboard), I drain words and energy and emotion and courage right away from my writing.

After a big whine festival, I feel like I'm sizzling with ideas for more whining. I feel a bit worn out and self-righteous and like I could write a whole treatise for Why This Thing Is Wrong.

And also, like watching a movie with a gin and tonic. Because now I'm tired, and I feel like I need a break. 

From stewing and rehashing and complaining about something that--frankly--I probably won't even remember a week from now. Something that definitely Does Not Matter.

Usually I'm inflating a petty drama or a misunderstanding. I'm blowing a ton of hot air into it, so it turns into this massive balloon of a mood that sweeps me up and away. 

I'm focusing on conflict that isn't my novel's conflict. I'm rehearsing and recreating dialogues that aren't coming from my characters.

I'm spinning this whole narrative sequence--all those novel skills at work!--and using up my creativity for some silly, petty nothing.

That's whatcha call Counterproductive.

And here's the other thing: Whining dulls us. 

G.K. Chesterton might say that it keeps us from seeing adventures, opportunities, and new ways of thinking.

When we inflate the inconvenience version of things, we can't possibly see the positive version. We go blind. (This is never good for a writer.)

And it messes with our voice. Have you noticed that all whining sounds pretty much the same?

There's a tone and a direction, a sourness. Whining deflates a personality, and turns it into plain old bitterness. Which smells and sounds like everyone else's bitterness. Gross.

Lionhearts! Let's NOT DO THIS. Okay? 

It's toxic. It's bad for our writing, and probably it isn't super for any other part of our lives.

Let's boot it out of our writing hearts. Let's not use our pens to jot down a million reasons why something is no good.

Let's stop dwelling on petty dramas and inconveniences. Let's stop trading our good novel words for energy-draining, personality-zapping dullness.

ICK.

No more letting our moods stomp away with us.

I didn't really plan this, but I've decided to do something. I'm all convinced. I'm sick of being the whiner, of finding creative ways to voice my disapproval of things that don't actually matter.

So I'm gonna give myself a challenge. Thirty days. Of NOT WHINING. 

Of not dwelling on inconvenience. Of not venting and venting and venting. Of not rehashing things that irritated me. 

Without whining, I'll have more room in my brain for my words. More room for my wonderful work-in-progress. Yep, it's worth it. So I'm going to close the door on complaint.

#30DaysNoWhining

You are SO welcome to join me. Let's stop letting moods poison what we do. 

Let's see adventures instead of inconveniences. 

Thirty days. Starting right now. 

Your Next Vacation Just Might Transform Your Writing Life

If you're itching to travel, but don't yet have a destination in mind, might I make a recommendation? (Of course I might. You know me. I totally WILL.) 

How about taking a literary trip? Go on a pilgrimage: Visit an author's home, a place where So-and-so penned their famous novels.

If you want a bunch of suggestions to get you ridiculously inspired, pick up this book: Novel Destinations. You'll have a zillion ideas at your fingertips, and you can do a bit of armchair traveling in the meantime.

Going on a literary trip just might change how you think of yourself as a writer.

Really.

How? 

Well, for starters, the things that we celebrate have a way of shaping us.

So, if you're having trouble in your writing, or if you're having a hard time accepting the writing life, it might be really good for you to seek out another writer's haunts.

To celebrate the books they wrote, all the words they put to paper over the years, the gift their work was to so many people.

You know? Whip your book-loving heart into a frenzy. Take a tour of a few writerly sites. 

And celebrate!! Let your word nerd out. 

And as you value all the work that this Famous Author did, let your respect for them nourish your relationship with your own writing. When you're standing there, let it hit you: How hard they worked. How long their haul was. The obstacles they overcame.

Kinda like how hard you are working. How long your haul is. The obstacles that you have overcome; the obstacles that you will overcome. The gift that your words are to others.

Celebrate their words. And as you're doing that, celebrate the writing life in general.

And your writing life especially.

Okay? 

So, go to the places where they wrote. 

That's step one.

Here's step two--and stick with me, because it's a little paradoxical:

Notice how ordinary these sites are.  

Can I say that? 

Obviously there are some exceptions. Sure. But for the most part: we're talking about some pretty normal-looking places. 

Have you ever had this experience:

You're exploring a historical site, or yes, an author's writing place. And you smile around at all the details that your guide is pointing out, or you're dutifully reading brochures and placards. 

And then this voice in you rises up to say, UM, it's just an old house? Or, it's just another room? Or, I've seen plenty of old places by now, is this any different?

You look at the view that inspired so many stories, and you think, Sure, it's nice, but it's just trees and some distant hills...?

And of course, we try to shut that voice up. It sounds ungrateful and rude and unappreciative. Uncultured.

... And I actually can't believe I just blogged about it. I really hope I'm not the only one who reacts this way. Please don't throw things at me.

Because I think that voice has a really good point.

It's easy to start thinking that other writers, famous writers, have stuff that we don't.

We immortalize them in our minds, enshrine them. Maybe without even realizing it. 

So it's easy to start thinking that the place where they wrote will be amazing, in some way. That it will carry some kind of power, some forceful inspiration. We might start thinking, If only I had a place like that--then I could write.

When I was traveling in England, I stood outside the door of one of Jane Austen's residences in Bath. (For some reason, we couldn't go inside--I think it was already closed for the day or something.)

But I stared up at it and thought, Well, it's beautiful and all, but spoiler alert, ALL of Bath is beautiful. At that point in the trip, it looked just like all the other doors. 

Same thing happened when I saw the room where C.S. Lewis worked in Cambridge. It didn't have golden light pouring out of it, no fauns sticking their heads out and waving, no lions roaring. It was another window, like all the rest, looking down at this peaceful little courtyard (which was definitely lacking an eternal winter). Like all the rest.

There's no magic in the places where they lived--however inspiring they may have or have not been. There's no special spark we can soak up.

And that is exactly my point. 

We are the magic! We're the special spark! You, my lionhearted writing friend! You, and your crazy imagination and all the things you care about, all the stuff in you that turns into stories somehow. You're the magic. And so am I.

These places inspired these writers because they were working. Because they kept at it. 

In spite of dreary weather and long struggles and not enough money and lots of interruptions. 

Even if you'd like to argue that these writers had genius: well, genius doesn't write books.

It has to be disciplined, it still has to put in the time, and it has to fight against all those other character flaws that come with genius. 

So let's be done with the kind of thinking that says: they could, but not me.

Let's just LET THAT GO.

Okay? Can we agree to that?

So here's the plan: Go find a famous writer's famous writing site. Go visit.

And when you stand where that Famous Writer stood, go ahead and feel the rush. Connect to your writing life in a good way. Celebrate!

Celebrate the writers that came before you, who inspired you. And celebrate the writer that you already are.

Then let yourself see how ordinary it is. Even if their ordinary is different from your ordinary: notice that it isn't actually magic, however lovely or peaceful or chaotic or colorful or whatever. 

And step three, the kicker:

Find a little bench, a curb, some place to sit. 

And write something. 

It's the perfect culmination of your visit! It celebrates and honors the Famous Writer. It celebrates and honors the Writing You. And at the same time it says, this isn't a shrine. It is a place where writing happened, and where writing will keep on happening.

So write.

It can just be notes of the place where you're sitting. It can be a record of whatever the guide just said. It can be describing how totally inspiring/uninspiring the place itself is. 

Or maybe it will be the start of a new project. An unexpected scrap of poetry that makes your fingers tingle. An essay that captures a little shard of your heart. 

Or hey. I'm a big dreamer: Maybe it's the seed of the novel idea that will, one day, bring hundreds and thousands of people to visit your stomping grounds.

Yes?? 

Yeah. That's what I thought. 

The Key to Discovering Your Ideal Outlining (or Not Outlining!) Style

When I started writing my first novel, I found out that I had to choose a side.

There was a heated debate about the best way to dive into this thing. It crops up on every writing site sooner or later. You've heard of this, right?

It's the Outliners versus the ones who say: Nope, not gonna. The Plotters who have it all settled in advance, versus the novelists who create by the seat of their pants--a.k.a., the Pantsers.

Do you figure it all out first and then sit down to write?

Or, do you go by your gut and your feelings every day, and kind of ooze your way toward your finished draft?

Well. I didn't need to think much about this decision.

Heck, if you've been reading for a while, you can probably guess which side I picked. 

After seventeen years of schooling, I knew that I'm the kind of girl who will make a 99-item list and then know that all is right with the world.

Who likes creating schedules to cover the next four years. Who counts list-making as a favorite activity. I plan for fun.

I mean, come on. Outlines all the way, right?

So for my first three novels, I outlined. These outlines were amazing. They were massive airship carriers of ideas. No storm could touch these babies. They were solid. They were impeccably structured.

I looked at those huge documents, and I knew I could write the novels they described. 

But I ran into trouble.

One novel was so fun that I poured all my story energy into the outline, and had nothing left over for the actual draft. No curiosity, no drive, no nothing. I never wrote that book.

The next two novels I worked on had fifty-page outlines for each draft. (And together, they've gone through seven drafts, so... now you know how I spent my twenties.)

I loved the certainty. I felt so prepared. It was just like school, like planning a semester around a few syllabuses. I was so organized. The books would be wonderful.

But passages that outlined well didn't translate to prose. One antagonist never really found his feet, even though everything in the outline said he'd be perfect for this role. Huge parts of these stories felt dull, crammed with everything that should be there, full of all the tidbits the structure books told me to put in.

All right. I can (finally) take a hint.

For my next book, I set off in the wild opposite direction.

I went pure pantser. 

I knew a few details about the main character, the general direction of the book, a few supporting characters, a radically new setting, and a kind of atmosphere that made my heart skip beats.

And that's it.

I dove in. Writing that draft was like taking a bunch of polaroid pictures, and waving them around to see what developed, and then assembling them into a quilt. I had no idea what the next day's work would hold. Which, let's face it, was pretty cool.

Honestly? I love that novel. I love it so much.

But it's a Swiss cheese of a story: there are some major holes that I just haven't been able to fill, problems that don't reconcile, gaps where every bridge I try just doesn't feel right.

Also, I was so anxious when I was writing it, that I literally had to crawl into bed every day and write from under the covers.

I checked in with another writer who was a total Non-Outliner. Is it supposed to feel like I'm drowning? Like I'm going blind? I asked her. YES! she said. It's so EXHILARATING.

But I didn't think I could survive another book like that.

And then I realized something. Writing a novel isn't at all like doing homework. It isn't like school. So my hyper-planning strategies from school days: wasn't gonna work.

At the same time, writing a novel isn't at all like summer break. Floating through it with some vague ideas of where I was going: also not going to work.

I found my best writing strategy when I remembered this: writing a novel is like going on a trip.

Right?

I mean: there's a beginning, a middle, an end, each with their own kind of energy, their own shape. You get yourself out there, and then you have to figure out how to get home.

There's always an "I'M PRETTY SURE WE'RE LOST" moment. High points, low points. Action balanced with reaction. Weariness and cheerfulness, excellent views and crummy alleyways. Heroes and villains. Unexpected characters. Conflict and plot twists. Maybe even a bit of danger, a bit of romance. All that.

Every novel holds its own world, and the narrative is the journey we take through it.

So I finally asked myself: How do I best like to travel?

Outlining seems like planning a trip in detail.

And the hyper massive outlines I created: That was like knowing the names of my taxi drivers in advance. Getting my hotel room number (heck, and a key!) before leaving home. Pinning down the date I'd wear each outfit. Looking at menus for restaurants and picking what I'd order.

Get the picture?

FYI: this is not how I travel.

But then the other extreme, my pantser novel: Well, that was like saying "I'd like to see this city around these dates, and hey, I'll bring these jeans." And that's it.

Also not how I travel.

When I go somewhere, I like to have a grip on what I consider the basics: general ideas of transportation. Definitely know which hotel(s) I'm staying at. And I'm a food lover, so if there's a restaurant I can't miss, I'll make sure I know the address. And then I'll get a general idea of what museums or parks or views I really have to catch. 

AND THAT'S IT. 

I like leaving room to be struck by impulse. To have a total change of plans without worrying about throwing everything off. To explore. To yes, get a bit lost.

To say: This looks good, that sounds great, hey there's a festival over there, maybe we should step inside that place--is that fudge?!

A chance to make up a lot of the trip on the spot. But not all of it.

It's not a hyper outline. And it's not just a vague intention.

It's somewhere in between.

When I wrote this trilogy during the second half of last year, I had a loose, super-gentle outline for each book. It was not hysterical. It was not highly structured. It didn't do what the outlining books said to do. 

But it also wasn't blank.

Every day when I sat down to draft, I knew one or two points I needed to hit that day, in order for the climax to happen, or in order for the tension to build. I had a general idea of who would be carrying the action and maybe what the setting would be. 

But that's it.

Enough of an outline to keep me breathing. I knew what my job was each day. But I also had plenty of room to wander, to be struck by new ideas, to take new tracks, to explore.

And guess what. It was the happiest, calmest, and best drafting experience I've ever had.

It was a near-perfect balance of structure and imagination in the moment. Freedom + safety net. With neither side outweighing the other.

So when people ask you to take a side, outlining or not outlining, just remember that it really doesn't have to be either/or, all or nothing. It's a spectrum. 

And as you prepare your next draft, don't think about homework, and don't think about summer breaks.

Instead, think about how you travel.

What rhythm feels right when you're on the road? How much structure or lack of structure helps you have the best trip?

What keeps you engaged in the experience of traveling, without making you too anxious about what you don't know?

Try giving that same amount of structure to your next writing project.

And see how that journey feels.

What to Tell Yourself When You're Ready to Quit

Just in case your Monday decides to get all ugly and act like a Monday, I'd like to share a quote with you. Good?

This is the one that jumps to mind when I think about both travel and writing (and, also, discouragement):

One does not discover new lands without consenting to lose sight of the shore for a very long time. -- André Gide

I've always found that quote to be very, ahem, moving. (Whoops. A pun. Sorry.)

But seriously. There's a super-important reality check embedded in there, a kind of question: Lucy, did you really expect that you could have both a thrilling New Land and the certainty of your Old Shore? 

Why yes! is my answer. Yes I did! Certainty AND newness! How much would I love both?

But the equation doesn't work that way. Not with traveling. Not with writing. 

Instead, it goes something like this:

For starters, we want to discover new lands.

Let's figure out what we are aiming for. The point of this, the hope, the main idea: New Lands!!

This is where we get excited. Dream big. 

I have a few New Lands that I'm aiming for. The first is this:

A novel draft that is stuffed full of all my best ideas, all my unexpected insights, and whatever else I can manage. FULL OF GOODIES.

Something that, when I reread it, startles and surprises me. THAT draft. That book.

Not tired ideas. Not over-thought concepts. Not dull description and crummy dialogue and faint little characters. Nope.

I want this book to feel like a new land. Like something discovered.

What New Lands are you aiming for?

Maybe the exhilarating glory of coming across a truly new idea. Or the undreamed-of horizon of the last page of your work-in-progress. Or even: earning money from your work. (Oooh. I'm on board for ALL that.)

And then we consent to lose sight of the shore.

Rubber, meet Road. (Or, to be true to the metaphor, I guess we should say: Ocean, meet Ship.)

This is the kicker. The "you can't eat your cake and have it too" part. Ya can't do both.

You have to agree to let go of your certainties. Let go of what's stable. Lose sight of that old shore.

What is that for you? Ideas about what the writing life should look like? Should--but doesn't? 

It's easy to build up a lot of beautiful, romantic ideas about the writing life. And then you find out that it's actually a lot of feeling stumped, losing your notes, becoming absent-minded, and being misunderstood at parties. 

Not quite the Hemingway-and-Fitzgerald-sharing-drinks-in-Paris we imagined. (Or was that just me?)

Or maybe the old shore is: the certainties and stabilities of a different vocation.

Before I dove into the writing life, I was all set to become an editorial assistant. I'd completed two editing internships, I had plenty of determination, and I had just started an extra class just to perfect my proofreading skills.

I'd been working toward the goal of becoming an editor for six years. Since the middle of high school. 

It was a Real Job. I would have a Boss. I was pretty great at editing, frankly, and excited to learn more about it. Oh, and there would be a SALARY. All the legit, good, stable grown-up stuff. 

But when I suddenly, definitely, irrevocably fell out of love with the idea of working on someone else's novels, someone else's work, instead of my own--

When that happened, I was ready to lose sight of the shore. I was ready to let go of all the certainties.

So I let go of the ready answer when anyone asks "so what do you do?" The clearly defined role in a company. A boss who would tell me what was expected of me. Co-workers who would slog alongside me. A salary. (*weep, weep*) The apartment I imagined renting. 

I still have times where that old shore pulls at me. (Like, last week.) Days when I shout "Enough! I am SO SEASICK! Let's turn this ship around!" 

The thing that keeps me going during those hard days? Realizing, deep down, that I am more in love with the new land I'm seeking than I am with that old shore. 

Really.

The thought of this trilogy being written with the absolute best I have in me: that steadies my heart and steels my mind. That gives me the courage to keep wobbling around on this ship a while longer. However long it takes.

Which brings us to the next point.

And then we find out that: it takes a very long time.

Um. Right. That.

The truth is: We don't know how long this is going to take.

Timetables? That's Old Shore stuff. We don't know when and how things are gonna happen out here in the ocean. You can't predict when a new land is going to pop up in your spyglass.

This is the part that tests, and tests, and tests our resolve.

It's one thing to lose sight of certainty for a short period of time. Anyone can muster that up, right? 

But to stay uncertain for years. That takes some chutzpah. You've gotta be BOLD.

Because reaching that new land might take longer than you or I ever thought it would. 

I'm only just now starting to feel proud of what I'm writing. Only in the last year have I been working on a project that feels like I could put my name on it, that feels right. And it still has a lot of work left!

Mathwise, I've been at this full-time for nine years.

It's starting to feel like a long time.

But here's what I'm learning about the time it takes:

Every time I come to the end of my patience, every time I'm threatening to turn the ship around and go back, I force myself to rethink why I'm doing any of this.

Like I said before: I refocus on the new land, on what I'm hoping for.

And what has happened, as I've done that over, and over, and over again, is this:

I've built a new certainty.

Out here, in the middle of the ocean, the Old Shore feels more like a myth, a thing I once knew but now--not so much. So there really is no going back.

The New Land that I'm looking for, the land of the trilogy being well-written, or the land of publishing this book and going on to the next--well, it feels a bit mythical as well. I'm hoping to make it, but it's a hazy image.

The thing that is sure, though, is me. Me on this boat in the ocean.

I am certain, certain, certain that no matter what, this is what I want to be doing.

In spite of storms and waves, in spite of my legs wobbling sometimes. In spite of frustration. In spite of the miles of writing I still need to do to get this trilogy right.

In spite of all that, I'm certain of this: I love the writing life. I just plain do.

And I'm sure that I want it to last the rest of my life. I'm willing to put in a very long time at this.

So the thing about this quote: It redirects my heart. (Are we allowed to talk about our hearts without feeling silly? Yes? Okay.) 

It reorients me. It's easy to say, Oh, I miss the thing that I have lost. Oh, I would have felt so certain and sure. It's easy, in the moment, to think that all this work, and waiting, and uncertainty, isn't worth it.

But every time I read this quote, my fingers tingle at the words discover new lands. And I can't help myself. I think, YES. I think, I'M IN. Whatever it takes.

So I consent. I'll lose sight of those old shores. I'll last a very long time.

I really think it will be worth it. 

So where are you, in your writing life?

What are the old shores that are still pulling at you? What new lands are you aiming for? And how do you reorient yourself, when it starts to feel like it's been too dang long?

Here's one more thing. A super-short video, presenting another quote that's been such an encouragement to me. Hope it adds a serious dose of awesome to your Monday.

Video created by David Shiyang Liu http://vimeo.com/24715531 http://www.getoutthebox.org http://facebook.com/dailyinspirationandmotivation http://spiritualinspiration.tumblr.com http://www.twitter.com/naeemcallaway

Now let's go get that week.

The Ultimate Traveling Companions

When it comes to "what to pack," this is the hardest decision:

Not what shoes to pack. Not what kind of jacket. Not how many pairs of jeans.

But this: What books will I need?

I am, possibly, the last person in the universe without an e-reader.

I just have a ridiculous fondness for the printed thing, the physical object of the book.

Even when it doesn't make sense. Even when you can fit forty thousand copies, apparently, of all the best novels in a teeny little device, therefore making it perfect for traveling. Even then.

So choosing which books I'll take: that's a major issue! There's obviously the question of weight/bulk, but far more importantly: how to cover all the possible emotional needs, the psychological issues that arise when journeying.

Whew! I spend a LOT of time thinking about this.

Because I just love traveling with books.

(Please, please, tell me someone out there still feels this way!)

I could go on and on about all the romantic and practical reasons why I love traveling with books... But Cornelia Funke describes it so beautifully in this little excerpt from Inkheart (which should be on your must-read list!! and which is, itself, perfect to travel with): 

"Take plenty to read!" Mo called from the hall. As if she didn't always! Years ago he had made her a box to hold her favorite books on all their journeys, short and long, near and far. "It's a good idea to have your own books with you in a strange place," Mo always said. He himself always took at least a dozen. ...

"If you take a book with you on a journey," Mo had said when he put the first one in her box, "an odd thing happens: The book begins collecting your memories. And forever after you have only to open that book to be back where you first read it. ... Memories cling to the printed page better than anything else."

He was probably right, but there was another reason why Meggie took her books whenever they went away. They were her home when she was somewhere strange. 

Isn't that right? 

The books I travel with--they fill up with airline tickets and boarding passes, brochures and maps, receipts and notes and lists. Sometimes with sand, sometimes with a squashed bug or two. (It happens.)

And at the same time: they make me feel at home.

Can we just take a moment to praise the books that accompany us on our journeys? 

There are the books that were just good entertainment, ways to rest, to add flavor to the time away:

- There's the Dorothy Sayers mystery (Have His Carcase) I read in Louisiana, between playing with my nieces and my nephew... 

- I read most of So Brave, Young, and Handsome in a library on my sister's college campus, escaping the fluorescent lights for the Wild West... 

- And then I read a lot of The Mysterious Benedict Society in a guest house in Nebraska... 

- I reread The Secret Garden while reconsidering my entire life in Bermuda, and on another visit, I read Frederick Buechner's The Storm while getting hideously sunburnt. (Whoops.)

But then, there are three books that come to mind for saving in me, one way or another, in tricky places: 

- I read most of The Eyre Affair on a plane over the Atlantic--which kept me from bawling after saying goodbye to the friends I'd made during a semester abroad. It was the perfect distraction.

- I soaked up the words of The Summer Book while in England for two weeks. It is the sole reason that I am still sane after standing in a line at least two miles long in Heathrow Airport. 

- And then, there's my favorite book of E.B. White's essays (One Man's Meat). Gulping down his gorgeous sentences kept me from strangling the guy I was sharing a ride with, when he was eight hours late (!) to take me home for Thanksgiving. Honestly. Jail time averted. Thanks, E.B.

What about you? Which books on your shelves did double duty as traveling companions? Which ones hold memories of other places on their pages?

Which do you recommend for travel? What will you be reading on your next trip? It's a tough question, right? Let's pool our ideas. (Oooh. Reading at the pool...)

Let's Use Writing to Prop Our Eyes Open

So there was this one time when I was in Sicily on a train, zipping around the coast. I was exhausted, disoriented, and exhilarated. (Typical travel state.)

I knew about eight words of Italian (none of which I could pronounce confidently), and I was feeling far away from my ordinary little county of cornfields in southern Illinois.

Mostly I was trying to absorb everything. Everything. All at once.

I tried to catch the scenery with my crappy little disposable camera (this was a lonnnnnnnng time ago). But the camera couldn't get the smell of the train car, wasn't fast enough to really capture the lemon trees outside, couldn't possibly imprint the mix of emotions among me and my friends.

So I put my camera away. I pulled out my journal. 

And I wrote as fast as I could.

I wasn't writing complete, magical sentences. I wasn't framing my experience in lovely, travel-memoir terms. I was just taking notes, as if one of my professors were rapid-fire presenting all this information in class somehow.

Writing fast, jotting nouns and verbs in a mess. Trying to write down everything as quickly as it was happening--

The sheep on the hills, the construction worker pausing as we rattled by, the laundry on wires between houses, the look of the rooftops, all the satellite dishes, the view of the sea.

And now, eleven years later, so many of my memories from Sicily aren't really preserved in the photos I took (though of course they help).

They're in the words. In the frantic-quick phrasing, in the cascade of nouns. The lists-turned-into-paragraphs.

I read that description, and I can remember it exactly, every part of it. The giddiness, the uncertainty, the strangeness, the beauty. And the immediate mad love I felt for the island I somehow found myself on.

So now I never leave home without bringing a notebook (even if it's just a teeny one in my purse). Whenever possible, when I find myself in a strange setting, I try to exercise this creative muscle, this freewriting-meets-notetaking, getting down my raw impressions.

It's one of my favorite-ever practices.

It helps me come up with fresh descriptions. Besides--as any artist will tell you--it's good to paint pictures from life, not from photographs or stale memories. 

But the best thing for me is this:

It gets me into my skin.

When I rely on a camera, I see everything in terms of a photograph. I get panicky about missing shots--that one is beautiful, and then, oh this one is perfect, and oh gosh what about that fountain, and maybe if I line up like this...

I find myself moving from photo op to photo op, missing the feeling of actually BEING THERE. 

(Anyone else get like this??)

But writing is different. When I sit down with pen and paper to capture my surroundings, I feel entirely present. I am fully there, a pure human recorder, getting every sense impression, everything down.

And it gets me to live more fully. 

How great is that? Writing serves your traveling; your traveling serves your writing.

Win/win.

But who says you have to go far from home to practice this?

Here's my creative challenge to you: go somewhere at least slightly unfamiliar--whether it's down the block, somewhere unexplored in your town, or a nearby city.

(Or, hey, I recommend Sicily. Unless you're from there. In which case: have you been to southern Illinois? Because it's super-different.) 

Open your journal, grab a good pen, and just get it down. 

Use your senses, all of 'em.

Not just the smell and the sounds and the tastes in the air, but--does it make you feel exposed and alone, or is it tight and claustrophobic? Is there tension in the environment, or peace? 

What kind of history lurks under the surface? What feels like it's about to happen?

Who knows. You might springboard yourself right into a scene for your novel. Or into a bunch of reflections about your own life.

Or, you just might get a breathless page or two of notes. However it works--it's writing and it's immediate and it's good.

Let's use the unfamiliar as a catalyst. And get really good at capturing the life that's happening around us and in us.

Where will you be writing from? 

Why It's Okay to Look Like an Idiot (Or, the Writer Is a Traveler)

Here in the midwest, it is definitely SUMMER. The days are sun-dazzled (or fiercely thunderstorming), and sticky with humidity. At night, the bats and fireflies take over the backyard, and fat junebugs whap against the windows. It all puts me in the mood for ice cream cones, barbecue, the smell of fireworks, and...

You know. A big VACATION.

Right?

Besides heat, summer is always synonymous with vacation. Traveling. Getaways.

I love to travel. Soaking in the atmosphere of some Other Place. Listening for the accents, changes in idioms, new conversation topics, or heck, a whole new language.

I like to see how the light feels different, to feel the switch in climate. I revel in all the sights, unfamiliar streets, new architecture. 

Best of all, I love how it changes the air in my brain. You know? Suddenly you're thinking new thoughts. When you're in a new place, a new context--

You get a chance to be a whole different person. 

It's kinda like being a writer.

Yes? Every time I sit down to work on a novel, I feel like I kind of unbutton part of my personality. I do a conscious context shift. I shiver into another kind of skin, another kind of mental place. 

And when I wrap up a writing session, there's that disorienting sense of coming back home. That muzzy, jet-laggy brain. And all the familiar objects seem a little strange, a little off.  

Okay. But then, there's this other side to traveling. 

To be honest, there's a lot about traveling that I honestly DON'T love.

I know. Super un-cool of me. But there it is.

I am not a big fan of hassle. I get a bit stressed when maps are pulled out. 

And when it comes to being daring in new places: I am about one-quarter brave and three-quarters big fat chicken. (I'm working on changing that ratio.)

I know it's very unsexy of me, but I actually enjoy routine, reliability, and certainty. I usually don't love surprises.

Like, say, the massive detour you weren't expecting because you're already exhausted and haven't had dinner and your bladder is about to explode. (Right? Anyone?)

Travel means being out of my element. And sometimes it means, being lost, staring around for some signage, pulling out the dreadful travel guide or phrase book...

Sometimes, travel means looking like an idiot.

Advertising the fact that you literally don't know where you're going or what you're doing.

It means being at the mercy of a whole bunch of other forces. (Rain, poor signage, crappy websites, hand-drawn maps, other travelers, extremely unpleasant restrooms, the locals, the germs of the person behind you on the plane...)

Huh. 

Kinda like being a writer.

I don't know about you, but when I started writing full-time, one of the things I most wanted was an ultra-clear, ultra-calm map. An infallible guide to this whole process.

Some very chill person with total authority, who would step in and say: Don't worry. This whole situation is totally under control. No muss. No fuss. 

But honestly, a lot of writing--for me at least--involves feeling like an idiot. 

Like I don't have the brains to write a clear sentence, let alone a chapter. (And never mind a novel, just don't, because that's like sprinting up Everest alone and without training.)

The writing life is full of uncertainties and massive detours. It yanks me out of my element time and again, forcing me to go somewhere that I'd rather not go. 

Sometimes, I get lost. I scramble for my best writing guides, and have agonized conversations with my best writing friends, and still end up feeling like I don't know which way is north. 

Sometimes with writing, I don't know what I'm doing.

The wonderful thing is that: I know why I endure the discomforts of travel. It's not about the creepy gas station toilet experience. Or the night I was pretty sure I was being sold to human traffickers. Or getting lost late at night in a place where I didn't know more than seven words of the language. 

(Though it all makes for great stories.)

I love travel because the process of it shapes me. Letting go of familiarity changes who I am, and how I see myself. 

And whether it's comfortable or very much not: the experience stretches me, broadens me, makes me new.

And that is worth it. 

(As are the amazing views and wonderful food and instant friends and the crazy stories and other incredible experiences...)

And as for writing: well. I endure the discomfort for the same reasons. 

Because after laboring up the steep hill of not knowing what the heck I'm writing, I sometimes reach a place where suddenly I see. And suddenly I know.

And that just fills me up. It makes me crazy-happy, delirious, and like this is the only thing I want to do.

Right? Have you found that you can go from total uncertainty to total clarity about the themes in your work, or the way the plot will unkink at the end, or who the characters really are... and isn't that an incredible moment? 

The process of writing--it changes me. All the thinking and working and fighting to see things clearly: it all scrapes the edges off of me. 

Writing--like travel--returns me to myself feeling a bit new.

And that is worth it.

(As are the amazing love of words and the wonderful books we get to read and the instant friends and the crazy stories and other incredible experiences.)

This July, we'll be teasing out the relationships between writing and traveling.

The overt ones (like what to read on a trip; how to write when you're on the road; how travel sharpens our observation skills), and the more metaphorical (like traveling the worlds of our own stories--woo!; or dealing with the culture shock of becoming a writer).

We'll be traveling, exploring, and getting all wanderlusty with our words. 

I'm stoked.

Because I'm convinced that travel can echo, illuminate, and shape our writing--our writing habits, our mindsets, our writerly hearts, and oh yes, our bravery.

Bravery! (You knew I was going to come back to that, didn't you, lionheart?)

So pack a pen and a notebook, gather a bit of courage, and let's do this.

The Mistake We're Making When We Think Our Surroundings Don't Matter

Writing seriously for about ten years now means that I've written in basically every possible situation.

In crappy motel rooms and gorgeous hotel suites and cozy b&bs. Crouching on staircases, or in weird back corners. On trains. In boats, planes, and cars. Sitting on a curb, a park bench, a porch, a rickety lawn chair. In concert halls and airport terminals and dingy hallways. 

Everywhere. 

That's one of those great things about writing, right? Our material is everywhere, inspiration can be any place we choose, and our necessary tools (a pen! a notebook!) are super portable.

We can write in any situation. Any environment.

And while that's super, while that's great, while that's an extremely useful skill to have, I've been making this huge mistake about it.

I figured that: Because I can write in any situation and environment, then my main work environment doesn't really matter.

Meaning: I wasn't putting all that much thought into the way my writing desk/office area looked.

I keep my notes vaguely organized (kinda sorta), and most of my pens and markers make their way into some mugs I have for that purpose--

It isn't an ogre pit, is what I mean. But I also haven't made it a very big priority.

And then I came across the Beautiful Living website by Rebecca McLoughlin. I started devouring her blog posts, especially this great series on spring cleaning and what it means to edit your space. (Not decluttering, but editing. Read about that. It's genius!)

And I had this revelation.

See, she talks a lot about how your space reflects a certain image of yourself and your life back to yourself. 

So you have to look hard at your space and say: do I actually like or agree with this version of myself? Is this the direction I really want to go?

(Think about that a sec. It's a really big deal. All the stuff we have around ourselves: it's all SAYING SOMETHING. Crazy, right? But it totally is!)

I looked around my work area with new eyes after reading her posts. And I asked myself:

Is this the Lucy Flint that I want to keep being? Is my writing space pointing me in the direction I want my writing to go? Is it clean and fresh and inviting? Does it feel both cheerful and yet professional? Does it stimulate my imagination and beckon crazy-amazing stories out of me?

Um, NO. Basically just a lot of no.

It wasn't awful. But it wasn't remarkable.

So this week, I've done a total overhaul of my work area. 

• I went through my bookcases and found 95 books that I was hanging onto but didn't actually like or want to reread! WHAT?? Ninety-five! That's a freaking lot of books! I pulled them out and now all my favorites (and I still have a lot, so don't worry) have room to breathe.
   

• I cleared out all my desk drawers and cluttery spaces. I got rid of the dried up pens and crappy pencils and broken supplies. I recycled this huge cascade of papers that no longer mattered. 
   

• I made a ton of decisions about what to keep and what to get rid of. (If I ask myself "Do I need this?" I can always think of five very compelling situations where I'll NEED that thing. And then I don't get rid of it. But when I switch the question and ask: "Can I throw this away?" I tend to think, "Yup, I can definitely live without that!" Isn't that funny? Reframing the question totally changes my response. SO FREEING.)
   

• And I'm coming up with ways to add more beauty and imagination and quirky creativity to my space. Artwork that inspires stories. Beautifully lettered quotes that get my mind spinning. I've been exploring this awesome catalog of free desktop backgrounds from DesignLoveFest. Totally fun! I'm planning to add some flowers in a great vase. I'm gonna find a gorgeous candle for crying out loud.

I still have more to do before my space is as inviting and stimulating as I'd like it to be. But I'm SO glad I took the time to really look at it and make changes!

I can already feel more mental energy and creativity surging around in my mind. Every time I walk over to my desk, I feel this inner leap of happiness. 

And THAT'S a great way to approach another day of writing!

So what about you? How's your writing area looking?

Can you get rid of anything that's holding you back or reflecting an old version of your writing self? Does anything in your writing space remind you of feeling discouraged or un-confident? Bleh!! Get rid of it!

What would happen if your writing space reflected your most brave, inspired, and delighted writing self back to you? What would that even look like? What kinds of tools would you have? What trinkets and what artwork?

Grab some time today to make a few changes. Kick out the crap. Bring in some beauty. 

The rest of your writing week is already jumping up and down with excitement.

---

Want a few more ways to shake up your Monday? YEAH, you do. 
Read this post to get inspired to have a little dance party of one.
Tell perfectionism to take a hike.
And use your obscurity to get, you know, super-duper awesome in every way.

It's gonna be a great week, lionhearts.

Are You Ridiculously in Love with Your Writing? Or, Um, Not?

How do you feel about what you write?

I'm not asking about the quality of it: we all wade through the crappy first (secondthirdfourthfifth) drafts. That's normal and understood.

I'm talking about the actual topic. The genre. The style. The guts of your writing. The center of your universe of words.

How do you feel about it? 

I'm hoping that your answer is along these lines: 

I love, love, LOVE it, Lucy. Maybe I don't have all the plot stuff figured out, and I'm still working on a lot of it. But the world I've created with these words, and the main things that I'm talking about, and the kinds of characters I've created, and the genre that this all operates in, and the style of my sentences... I can't get enough. I'm loving this.

Is that you, saying all that? I really hope so. But if not: I get it. I totally understand.

For a long time, I couldn't have said any of that.

When I started writing full time, I felt pulled in two directions.

First: I wanted to be a clever writer. I had just studied all kinds of beautiful literature in college. I honestly loved reading Steinbeck's Grapes of Wrath. Sylvia Plath's poetry gave me chills. We read so many brilliant short stories that did astonishing things with their sentences.

I felt like, to be a SERIOUS writer, to feel PROUD of what I'm writing, to be able to hold my head up when I'm saying what I do: Then I should write that kind of thing. Clever, prize-winning sentences.

Then, there was the other direction. When I got stressed out, I would always read kid lit. And complicated, beautiful YA fantasy. And smart, funny, middle grade adventure novels.

That's what I read when no one was looking, what I read for fun, what just plain made me happy.

So, I thought, I should write that. Probably I should write that.

So I started writing this young adult fantasy.

But not whole-heartedly. Because I was SO EMBARRASSED. 

Whenever someone asked about my writing and my work, I had a zillion apologetic ways of slanting what I wrote. Trying to sound smart and clever about it, while also trying to cover up the truth about my novel. 

I ended up sounding very sheepish. And like someone was forcing me to write this silly crap. And like I pretty much hated my writing.

Guess what. I ended up pretty much hating my writing. 

And hating my writing life.

It was a grim season.

It took me a long time to realize what I was doing to myself (and to my poor work-in-progress!). 

I was letting other people determine the value of what I wrote. 

And--even worse than that--I was guessing at what they would think about what I wrote. I decided beforehand that they would think it was ridiculous, and then I gave my long cringing apology.

Ack! Ick! No, no, no. 

This is not the kind of writing life we want. Right, lionhearts? 

Here's an incredible, powerful quote from Ray Bradbury. Read this slowly, and think about your writing life, your current project, the things that you love to read. All that. Here you go:

Love. Fall in love and stay in love.
Write only what you love, and love what you write.
The key word is love. 

Are you getting that? 

We can't write to suit someone else's idea of what is acceptable. What is "worth" reading or writing. We can't try to please other people with our choice of genre or style. 

When I read a novel that I just flat-out LOVE, I am not trying to impress anyone with my choice of loving. I'm not trying to seem all clever. I'm just loving what I love. Because I love it. 

A sense of what I SHOULD or SHOULD NOT appreciate... well, that really doesn't come into it.

The same is true of what I'm writing. 

I am now happily writing a middle grade adventure trilogy. And I'm putting characters in that I just adore, who are quirky and funny and strange and full of secrets. I'm adding crazy details (I've mentioned the telepathic lizards?).

I'm building a storyworld based on love, on my love for this book, and not based on anything else.

And now, when someone asks what I write, I tell them honestly. I tell them that I love it. That showing up for work feels like an adventure. That it's exactly the kind of trilogy I would have eaten up when I was in sixth grade. 

I don't apologize. I don't try to sound super clever, like I'm a really impressive little genius.

I'm frank and clear and direct. 

And guess what happens. No one says, "Sorry, but you're not smart enough to keep talking to me."

Actually, people sound a little . . . jealous. A little envious.

Because my full-time work sounds thrilling and funny and interesting and exciting. (WHICH IT TOTALLY IS.)

No apologies necessary. Imagine that.

So what are you apologizing for? Are you trying to justify your choice of story, your genre, your style, your anything? Do you feel sheepish about any part of your writing life? 

Today I'm inviting you to just let that GO. Get rid of it. 

If you're writing something out of some weird internal obligation or some sense of what you ought to be writing--maybe shelve that project. Or radically change it, into something you madly love. 

If you're writing something you like, but feel ashamed of that: kick that sense of shame OUT. It's not serving you or your work. And it might not even be based on anything real. Okay?

Let's decide to just love what we love. To love what we write.

To operate from that excitement, that energy, that truth about who we are as writers and artists. 

I double-dare you to be passionate and unapologetic when you talk about your work this weekend.

---

If you want an even bigger pep-talk about how to deal with other people, check out this post on how to talk about your writing (without throwing up).

And, if you're struggling to figure out what kinds of stuff you love to write (because we can get so muddled, right??), read this post on getting permission to play. 

Here's the Truth about What You Can't Fake in Your Writing

It was a normal piano lesson. A normal Tuesday morning. And I was playing the assigned piece while my teacher sipped her coffee and squinted at my open music book.

Suddenly she stopped me. She leaned forward and stabbed at a single note. 

"You played THAT note as if you didn't care about it," she said in her dry voice.

I sat there silently for a second, fingers hovering over the keys, smarting at the interruption. 

I DON'T care about it, I thought. But it wasn't the kind of thing I could say to my teacher.

A couple of months before, I botched my initial piano audition. Thanks to that crappy performance, I was playing songs beneath my level. I hated the pieces she assigned me: I should be playing something more challenging! I always thought. Something gorgeous and exciting. 

Not this lame little dance tune.

Plus, the note I didn't care about was just a pick-up note: the eighth note that introduced the much more interesting and much more challenging run of sixteenth notes on the next page. 

No one cares about the stupid pick-up note. It was just the welcome mat, the indicator that a beautiful bit was about to happen.

So I never thought about that note. I played it without a thought. Without a care.

And my teacher--darn it!--noticed.

I didn't get up from the piano bench that day until I gave the eighth note, that stupid little pick-up note, its full due. Until I played it with good tone, the right amount of attention.

Guess what. The run of sixteenth notes sounded all the better for that firm introduction. 

So why am I telling you all this? Not so that we all become amazing pianists (though that would be fine), but because my teacher was darned brilliant. I mean: she was good.

She knew when I didn't care about something I was playing. She heard it. 

She was the unfoolable listener. 

Kinda like a really good reader. 

Did you know that you can't trick a reader? You can't fake your work. Readers are good.

They know when someone is talking down to them. They know when a writer should have cut a lame-o passage. They know when the writer stopped caring.

They don't stab the page with a finger and tell you about it, though. Instead they chuck the book, or close the web browser, and just find something else to do. 

Yikes, right?? 

So what don't you care about in your current piece? What feels like it's not worth your time? 

Where do you tell yourself: "Aw, man, this part of writing, this part of the work--it's beneath me. I should be doing something flashier, something more impressive."

What in your writing feels like the stupid little introduction for the main attraction, the pick-up note to the place where you prove yourself, to the place where you'll get the applause?

Here's where it lurks for me. Here's what happens when I start to care a bit less:

• I'll fill my cast of characters with people I feel obligated to include: token players. Stand-ins. Characters just to add balance or dimension, just to round things out. But then I stop caring about them, because I'm not really invested in them.

• I rely on "standard scenery." I'll plunk a scene in the first setting that comes to mind (kitchens! nameless outdoor areas!), not because it serves the story but because I'm so darn LAZY. Whoops!!

• In between the larger plot points, I am tempted to let my story slump. Settling for humdrum plot movements. Clichéd conflict. Canned antagonists. 

• And, oh yeah, RESEARCH. (Oh poop, can't someone else do this for me?)

What about you? Where do you find yourself throwing material on the page without a care?

I think what my piano teacher was saying to me boils down to this: 

You are not above any of the notes that you're playing. If you're too good for this song, then prove it by playing every single note with excellence.

And she was so right.

We prove ourselves on those pick-up notes. We prove ourselves on the small things.

It's those details, after all, that show the kind of writer we are. It's the care we lavish on what could have been a throwaway scene; the precision we use on the introductory moments; the careful construction of all our marvelous settings. 

Let's take a lesson from my piano teacher, that savvy listener.

And let's be worthy of every word we write.