discouragement


Today we have a treat: multi-published author Holly Lisle, sharing her advice on writing.

Everyday Courage and the Writer

© by Holly Lisle

All Rights Reserved

Back when I was attending a fair number of conventions and signing a decent number of books, I came up with a saying which I attributed to my Hoos headhunters from the Arhel books, and called a Hoos proverb. It was, “Courage is nothing more than taking one step more than you think you can.”

Neither the proverb nor the sentiment are particularly original, but I have no idea who said the words first, or how he might have said them. I do know the words are true. Courage has nothing to do with feeling or not feeling fear, with doing great deeds (though sometimes courage accomplishes great deeds), or with conquering life-and-death situations (though in such situations it is certainly helpful.)

Courage is a form of tenaciousness, a refusal to quit when you want to quit because you’re tired or humiliated or broken, and it is as necessary in everyday life as it is in moments of great upheaval. In fact, I could easily say that everyday courage is more important than the ‘great deeds’ sort, because every one of us will be in everyday situations, while not all of us will be called upon in our lifetimes to perform great deeds.

Courage is as essential to the writer as oxygen, no more and no less. The writer who lacks courage will never succeed.

And you’re saying, “That’s silly. I can’t think of a safer sort of work.”

Really? Think again.

Let me define what writing is for you. You’re going to attempt to sell the products of your mind to a world that doesn’t care right now whether you breathe or not. You’re going to strip your soul naked and parade it in front of editors and agents, publishers and eventually—if you’re persistent and lucky and talented—readers. You’re going to say “What I carry around inside my head is so interesting, so compelling, so riveting, that you, the agent, are going to want to risk your reputation with editors for being a shrewd judge of talent to present the products of my fancy to them; and that you, the editor, are going to want to put your career on the line to fight to bring my imaginings to press; and that you, the publisher are going to want to spend tens or hundreds of thousands of dollars presenting these imaginings to a world that has never heard of me; and that you, the reader, are going to want to put your hard-earned money on the line so that I can tell you a story that will give you nothing tangible.”

While you are reaching out to editors, agents and publishers, you’re going to fail. Over and over and over again, you are going to send things out and they are going to come back with impersonal rejection notices, with no notices at all, with the occasional signed memo that “This isn’t for us.” You are going to stare at your words and sit in a darkened room and wonder, “What the hell is the matter with me?” You are going to take the rejections personally, are going to hurt, are going to bleed. Agents will turn you down, editors will turn you down, places that don’t even pay for stories will turn you down.

So say you have courage. Say you go on, and you take one step more than you think you can, and then one step more after that, and then one step more after that. Eventually you will sell something. You’ll get paid. You’ll ‘succeed.’ Your story or your book will enter the marketplace, and maybe you’ll do well with it, or maybe you won’t. In either case, let’s say you keep going. You sell again.

Even though you’ve succeeded, you’re going to fail some more. You’ll get hostile reviews. Letters from people who don’t think you can write. Comments from critics questioning your talent, your vocation, your species. These will, if you’re lucky, come interspersed with glowing reviews, a nice sell-through, an offer from your editor to buy the next thing you’re doing, but don’t think for a minute that the good things will offset the pain of the bad. They run in parallel courses, these good and bad responses, and they don’t touch each other’s worlds at all. I’m always delighted by the good reviews, always hurt by the bad ones.

But go on. You take another few steps, and these seem easier. You do more books, find an audience, settle into a flow. You discover one of the ugly facts of success—that there are people who you thought were your friends who were only your friends when you were failing. Now that you have, in their eyes, reached success, you have become the enemy. A target. They want to see you fall down, because when you are standing, you make them feel their own failures more.

You leave the false friends behind. You keep writing, keep selling, get fan mail, generate some nice reviews, make guest appearances at conventions, become (as much as any writer ever does) a celebrity in your field. And somewhere along the way you realize that you want to stretch your wings. Try something you haven’t tried before. You write this new thing, and your fans hate it because it’s different, and your editor takes a beating, and your publisher loses money, and all of a sudden you’re in a precarious position. You have to decide—pursue the new course and take chances, or stagnate in the old thing that has become popular and that is starting to feel like a prison. Or find some third writing course.

All along the way, you’ve had to face the certainty of various sorts of failure. You’ve been embarrassed by your family, who does not understand why you must do this ridiculous thing. You’ve felt pain and rejection and worthlessness. You’ve had your soul and your talent and your hope stepped on, and you’ve cried your share of private tears, and you’ve kept up a brave face in public more than you’ll ever admit. Even when you succeed by your own definition of success, whatever that might be, you will continue to struggle, and you will never leave the struggle behind. Every story and every book is another chance to fail just exactly as much as it is another chance to succeed. Every new level of success raises the bar higher, making failure more public and more painful … and more likely. Every day is a challenge, and every day requires courage.

I’ve learned this about writing—if you will not put yourself in a position to fail, you cannot succeed. The two are as inseparably linked as breathing in is linked to breathing out. You cannot have one without the other, though you can live a safe life and have neither.

Courage is standing at the bottom of the mountain, knowing that the climb is going to hurt like hell and that you might never reach the top, and climbing anyway. Courage is saying “One more step. Just one more step,” when hands and knees and heart are bleeding. Courage is saying that you might let yourself quit tomorrow, but that you’re going to hang in today, just for now… and not telling your tired, hurting self that the next day is always today, and the next moment is always now.

What about my climb? I’ve done my share of falling, and I have the scars to show for it. It seems like there’s as much mountain above me as there ever was, though when I look back, I can see that I’ve covered a surprising amount of ground, every bit of it one step at a time. I still don’t know what the view from the top is like. I do know what the view from the first ledge above the treeline is like, though, and it’s been worth the climb so far. I’m still working my way up the mountain, because what you can see from up here is nothing you can even get pictures of in the valley where it’s safe. Part of the beauty, I think, comes from having survived the pain. Part of the elation, too. If it were easy, it wouldn’t be any fun.

This is the world of writing, and it is the only world of writing. Every writer climbs the same mountain, though we all climb it by our own path. You can make this climb. It takes courage, but it only takes the sort of courage everybody can have—the courage not to quit when quitting would be the easy thing to do. You will not be called on to perform heroics—to leap into burning buildings or lift cars or fling yourself into the midst of a shark feeding frenzy to save a drowning child. All you have to do is take one more step. Remember to keep your head up, brush the dirt off your face and pick the gravel out of your palms when you fall, and know that every other person who climbed the mountain has done the same thing.

Good luck in your climb. My wish for you is this: May you have the courage to fail, because it is the courage to succeed.

More by Holly Lisle.

Holly Lisle has a short video of how she gets unstuck when she’s writing (movie starts when you click on the link). I think this is a good method of letting your subconscious loose a bit (I wanted to take some pictures she discarded …)

Usually what I do is to disengage from the book and do something else. Work on a different story, go outside, take a shower, etc. (not all at once) I’m a big fan of water. Swimming, washing dishes, watering the grass. This is how I get my best ideas.

The key is to find what works for you. If you’ve found a good method, post it here. Maybe your idea will help someone else who hasn’t quite found it yet.

What do you do when you come to the end of the geyser of enthusiasm for writing? Perhaps no one else out there has gotten to that point yet, but suddenly, I have.

I’m not out of ideas. It’s the realization that nothing out of the eight books I’ve spent so many hours on is fit to publish.

Now, I don’t think it’s the “I’m a talentless hack” syndrome. It’s more that I don’t see how these stories are marketable, not without heavy reworking. Some are too stereotyped, others too radical, some mix too many genres without really belonging to any.

Maybe seeing the flaws for what they are is a good sign. At the present it’s more than a little discouraging.

😀

Appointments: 2

Researched: Just personal stuff this time, how to can apples. I’ve gotten domestic. Also got eighteen pounds of apples. 🙂

Accomplishment: Did not kill my daughter’s best friend. You would not believe what’s been going on even if I told you. My girl has been exemplary through all this. I’m very proud of her.

High point: Got through the week. Seriously.

Bad thing: I’m in the middle of writer’s block. First time for everything, I suppose.

Still can’t find this High Life. I don’t think it exists.

About this time in a speedwriting month, I begin to ask myself, “Why am I doing this?”

I love the story, and I’m having a great time with telling the tale, but it can be brutal. My body is telling me to stop typing, stop sitting, etc.  I start second-guessing myself … “should I have made a stronger plot?” … “do I have a clear enough antagonist?”

I have to just say STOP to the internal critic. The second-guessing is for editing, not writing. I have to get up and take a walk, and tell myself that this is going well. Not everyone writes a quarter of a book in 7 days.

Sorry about blowing off the Thursday update, it completely slipped my mind.

Still haven’t come up with a witty headline. Any ideas?

Appointments: 2

Researched: Child abuse statistics. Got triggered a bit by it, and by writing a post about the subject on another blog today. If you know what triggering means then you know what it means. I don’t write about the stuff I write about out of nowhere, and neither should you.

Accomplishments: Some partials this week: partly filled the planter (I’m out of shape, which sucks); almost finished editing Clan Twelve (got a nice pass done this week, though).

High point of the week: Had a leak in my koi pond. Called the company that put the pond in, they said they’d be by in a day or two and fix it. No one knocked or called for three days. So I went out today to check on the pond, thinking I’d have to refill it yet again … and it was fixed, just like that. I was blown away. Garden Ponds Unlimited, best customer service ever.

Bad thing: My daughter was just diagnosed with a chronic illness. It runs in the family. Hopefully the treatment can get it under control.

The High Life: um, yeah. I’ll get back to you on that.

I love writing; it’s just life I can’t stand.

Why do people say that you have to write a million words to be any good at writing?

People write for a lot of different reasons, and have a variety of life experiences. Over time, you’ve had things you always wanted to write about. At first, though, you have a lot of things in the way.

  • Your prejudices
  • Any trauma you’ve suffered in your life
  • The desire for recognition
  • The desire for or fear of success

There are probably more, but those are the ones that popped into my mind. The first million words do a lot to help work through those issues. You might see themes coming up over and over. You might see your stereotyped attitudes coming out. But you won’t see them until you’ve done a LOT of writing. I’m starting to see mine now, coming on two years of serious writing. You need to know about them so you can deal with them now. No one’s going to pay to read about your angst.

The other thing those million words do is help you see if you like writing as a career. If you’re pulling teeth to write a hundred words, you’ll be dying at a thousand, and ready to throw your computer at ten thousand. Better to find out now then when you have a contract deadline.

The million words help you to learn how to write. With a big IF:

If you edit and have those million words critiqued.

I suppose you might be the one exception in history and write perfect prose on your first draft. But if you’re a fallible human like the rest of us, you’ll need to edit, and you’ll need help from others who read and tell you what works for them as readers and what doesn’t.

Editing, critiquing other people’s work, and getting critiqued (in that order) have been the three things that taught me the most about writing. You learn plot structure, how to write what you mean to, how to connect with your readers’ emotions, how to describe your settings. You learn the things that irritate readers and what’s been overused.

You can’t learn these by writing one story. A million words is about ten full-length novels.

While you’re writing these, you also find out what works best for you. Are you an outline-maker or do you just sit down and start writing? What research tools work for you? Do you write best on a word processor, or do you write best longhand? Do you prefer writing alone, in your office with people swirling around you, or out at the park? No one can tell you these things; you discover these as you write.

Another thing you’ll discover is a circle of like-minded writers. Hopefully, you’ll do a lot of exploration on and offline while finding information. Perhaps you’ll find a local group you click with, an online writers’ group you like, and read blogs by other writers in your genre. Cherish the ones who are supportive, and support their efforts in turn. These people can help you when you’re published and give you encouragement along the way before then.

Those million words give you time to learn about the publishing industry, to learn who the good agents are for your genre, who the scammers are, and which publishers take your genre. You’ll learn how to find markets for your work, and what the market trends are.

So don’t rush into things. Take the time to do your million words, to become accomplished at your work, to have your first entries into the writing world be of high quality. Get input into what you’re doing and listen to that input. (Not always follow it, but at least listen. More on that later.)

If published authors are telling us that writing a million words helps, it makes sense to consider it. You really have nothing to lose by writing more. You just have more to submit when the time is right.

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