What’s in Your Punctuation? A Lot, Apparently

Part of basic elementary school training is learning the basics of punctuation–a comma does this, a period does that. And over time, we get better at using those basics consistently so that our writing is more understandable and has better flow.

But how much of punctuation relates to voice, that mysterious thing that agents, publishers and readers talk about with such simultaneous reverence and excitement?

That’s the question Lucas Reilly explored in a recent article for Mental Floss. Reilly reported how people have used stylometric analysis, which is the process of using quirks within writing samples to identify who wrote the text, for decades. But now, a team led by Alexandra Darmon of the Oxford Centre for Industrial and Applied Mathematics, applied the concept to genres and the evolution of author style over time. Could you, for example, tell a romance novel from a science fiction one, based just on the punctuation in it?

The researchers discovered that this is totally possible. They created formulas that could pinpoint authors with 72 percent accuracy, and genre at 65 percent. Not perfect, but still pretty impressive.

The researchers also noted that we’re using commas and semicolons less than we used to, and that the use of periods and quotation marks and periods has gone up. This shift might reflect the massive technological shift we’re going through. As people struggle to focus online, the emphasis is on concise writing, and people throw in plenty of quotes to try to include the authority that’s going to give their piece the credibility necessary to be heard in the noise of the Internet. (More cynically, this also might be a reflection that we are struggling to rephrase concepts in our own words.) The idea that the tools available to us might sway us to adopt writing tendencies we otherwise might not have matters. The tools we select are always within our control, but we must be aware of their influence to make more conscious choices about what to utilize.

But lets go back to those stats for a second. Each genre arguably has its own “feel”. This arguably is part of what endears readers to one type of book compared to another, and punctuation clearly is playing a huge role in providing that feeling. It’s a lot like music–hip hop doesn’t feel like classical, classical doesn’t feel like jazz. And within those, composers communicate within a set of rules in their own way–Brahms doesn’t sound like Mozart, yet they’re both “classical”. We cannot dismantle that completely, at least not all at once, because it would feel “off” to the reader who has a set of expectations about what the genre needs to be or have.

But what if we messed around with that? What if we broke away, committed more to our own style of punctuation and didn’t conform so much to the genre? The potential is there to create something entirely fresh–you know, that characteristic that agents and publishers say they are constantly looking for in manuscripts. What if, for example, a Victorian romance novel had the pointed brevity of Hemingway but maintained all the classic plot “essentials”? Wouldn’t that make it marvelously easier for writers to cross genres and not get unnecessarily labeled as one type of writer or another, to explore all kinds of storytelling instead of allowing themselves to get stuffed in a box?

And this all raises another question. Writers always influence other writers to some degree. As you might see in my posts, for instance, I use longer structures, and I’m not afraid of commas. It’s a testimony to the many hours I spent with Dickens, Austen, Tolstoy, Melville and a whole gaggle of others. So what if we’re holding ourselves back by immersing ourselves in a preferred category? What if we’ve read so much science fiction or whatever else that the sound and rhythm of it is too ingrained and we cannot truly speak as ourselves?

So this brings to the fore the need for writers to read a lot, and read everything. We need to understand that there is more than one sound, more than one cadence, more than one way to break ideas apart or string them together. And while all of us have to be concerned with “readability” for the audience, there is no “right” cadence, sound or method. We stay aware of that the more we expose ourselves to variety.

It’s a lot like Paul Maclean (Brad Pitt) finding his own way with his fishing rod in A River Runs Through It. Find your pace. Find your flow. It’s your own mark and secret byline, if you let it be.

 

How to Deal with Other People Finding Writing Success Instead of You


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You know those social media posts.

The exuberant ones.

The ones where people announce they’ve just found an agent, met some ridiculous word count goal or had a publisher snap up their book in a six or even seven figure deal.

On the one hand, I am genuinely over the moon for the writers who are putting up those messages on Twitter, Facebook and other platforms. And that’s because I empathize. I know first hand all the hours that goes into creating the manuscript, editing it and sending it out into the world feeling crazily protective and hopeful. And so I make it a point to congratulate them. They deserve every kudos, and I mean what I say in my responses.

Yet, there’s also the side of those posts that’s kind of like a punch in the gut.

With brass knuckles.

Maybe some razor blades.

And you know what? Just throw in a random bomb embedded with rusty nails and screws in there, because you know, what the heck.

There’s something about those posts, which I admittedly and ironically dream of putting up myself one day, that holds a crappy message. Something that says, “See? If you were just ‘good enough’, too, then you’d have that agent/deal/paycheck/fame. Comparatively, your writing is stinkier than the rear end of a hippo.”

Talk about a motivation killer.

But the thing is, none of those writers is saying that. They’re not trying to rub it in. They’re just genuinely so elated that they can’t contain it. And deep down, I know better. I understand that the industry is highly subjective and very much about making the right editorial connections. And I understand that even “bad” writing that’s a grammatical mess still can have a great story at its heart. So the real question is just how to bounce back from the temporary blech that seeing others’ success inspires. Because if I (or you) can just bounce back from that, you can keep writing, submitting and pursuing the writing goals you have.

So here’s what I’ve found personally works:

  • Read other types of posts. I’m not going to tell you to go on a social media fast, because that might not be realistic given your need to promote your work. But what you can do is focus on particular types of posts. Look at how many people are still drafting, querying, or just looking for advice on which writing tool is best. You might not have the deal or agent yet, but there are tons of people right where you are who can offer support and remind you that you’re not alone. Pay close attention to the posts where people share little bits of drafts–favorite lines, for example–or talk about a beautiful moment they had with writing. Those kinds of posts reveal what matters to other people and can remind you that writing is about a lot more than money or other perks.
  • Stick to a plan. If you are going about your writing inconsistently or without a plan, it’s easy to feel like you aren’t making real headway. But a plan lets you measure progress based on a specific strategy. Every time you post something, every time you send a query or take the half an hour you slotted for outlining, you can say you really did something. You are trying. You are not idle. You’re moving forward. And that’s a heck of a lot better than feeling like you have zero direction.
  • Trash your own writing. This might seem a little counterintuitive, but ripping your drafts to shreds teaches you not to get too attached, and to be open to trying new options that ultimately could make the content work significantly better. Even if you end up going with your original version, the exercise in exploration can give you a sense of progress and development that’s a huge confidence booster. You also might end up with snippets or new concepts that could lead to entirely new works later on.
  • Do something other than writing. Writers are just like other professionals in that they can attach a huge part of their identity to their work. That’s why it’s so painful to see the other “I made it” posts from others–it’s not just about having your project validated, it’s about having you validated. So if the sting is getting too sharp, go spend time in other activities or hobbies. This doesn’t mean stop writing. It just means that the writing should be balanced with other aspects of who you are. Do whatever you enjoy to remind yourself that, although writing is part of you, it doesn’t define your worth.

People who find writing success deserve to celebrate it and brag a little. This applies to you just as much as to anyone else. But since it might be a while until it’s your time to celebrate, don’t just wallow. Be proactive about staying in a positive mindset. You’ll produce better when you aren’t depressed and stressed, guaranteed.

Is Your Writing Really Mediocre? Here’s the Truth

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In my usual browse of article headlines on Feedly this morning, I stumbled across this gem from Hannah Giorgis in The Atlantic. Giorgis declared that much of what’s on Netflix these days is mediocre, and that we’re allowing our boredom to get the best of us when it comes to selecting what we watch.

I can’t say I necessarily agree with Giorgis–even if the content is well done, much of it relies on popular plot structures that are as worn as grandma’s 1947 couch cushions. The predictability can be a turnoff no matter how artistic the approach might be.

But of course, you have to ask, who ultimately gets to decide what “good” content is, not just in film and TV, but in all art?

In lots of cases, it’s just a few publishers or producers from a few big companies. In book publishing, for example, that means the big five (Penguin/Random House, Hachette Book Group, Harper Collins, Simon and Schuster, Macmillan).

Lots of writers dream of sending in a book query and getting a contract with one of the big five. There’s some prestige to it, the idea that your book was “good enough” to stand out from this enormous pack and get noticed.

The trouble is, the big five want sales. And much of what is on their list has nothing to do with how you write and everything to do with what the public happens to be buying at any particular time. They want stories that are going to yield a profit. And so when they look at manuscripts, if they don’t think it’s going to sell, they’ll pass.

Need an example? Try Jack Canfield, co-creator of the Chicken Soup for the Soul books, who had publishers tell him that the books were “too positive” (heaven forbid we have some positivity as mental health concerns are on the rise), that the title was stupid and that people don’t read short story collections. He was rejected by 144 publishers, and even the 145th made him prove via signatures he had interest in the manuscript.

Sometimes, publishers flat out miss the mark about what the public is open to. 500 million copies later, Canfield’s earned the right to tell them they were about as wrong as it gets.

So here is the conundrum. We have a very small set of gatekeepers who, for all their talk of wanting something fresh, by actions prove that what they really want is to keep reproducing what seems to work from a sales standpoint. But in maintaining that model, the gatekeepers automatically ensure that the public can’t engage with good variety easily. Perhaps the public would get out of the rut and buy other stories, if the gatekeepers would only allow them into the market. It’s hard to know.

So perhaps the problem is not the mediocrity of the manuscripts that are rejected at all. Sure, there’s a lot of you-know-what that probably wouldn’t hurt anybody by staying in the bottom of a drawer or getting corrupted on a hard drive. But perhaps there glorious flowers we can’t see because we’re not truly allowed in the garden.

As a writer, I can say that the most agonizing element of this situation is that writers never really are sure whether they are the weed or the rose. Perhaps they are spectacular and have been rejected dozens of times simply because what they have written doesn’t fit the model. But perhaps, the rejections lead us to consider, the writing really is subpar and beta readers just tried to spare our feelings. It’s easy to get discouraged and confused.

My biggest fear with this system of things is that our most fragrant and rare blossoms are never cultivated. I would not be at all surprised, for instance, to see a publisher reject a modern Georgette Heyer (a romance writer critiqued as as close to Jane Austen as you can get), simply because “the writing is too archaic”. Perhaps that grossly underestimates what the public is capable of enjoying and understanding. Or perhaps, in a worse scenario, it suggests that the system has denied our experience to such a degree that we really do need some schooling on what mediocrity actually looks like.

In either case, I see independent and self-publishing as increasingly necessary. It is only through these channels that the bias of the gatekeepers can start to have less of an influence on individual and overall public choices. But alongside that, we also need systems that are going to make access to those books easier for everyone at every level. That can mean more e-readers or libraries, or it can mean more writing English programs, tutors, book clubs, etc.

But it also means reexamining what it means to be eloquent, how to recognize and reject plot tropes and how to create tension and conflict that doesn’t require an on-screen explosion or special effect. That is more complicated to build, because it butts up against other social issues and nuances, like the way we teach or even racial and income disparities.

Reading and any other art is for everyone. The minute that the critique and development of it falls into the hands of a privileged few, our ability to determine what has merit becomes incredibly diminished. But if we become more democratic, if we educate ourselves away from the gatekeepers, mediocrity will lose its grip. That, I think, is a vision that can’t turn to reality fast enough.

In the meantime, be open to practicing and improving what you do, and if you have excellent feedback from beta readers on a consistent basis, don’t give up. Find a way to get what you’ve made out there. When your sales prove you were right, hold your profits in your naysayers’ faces.

Should You Work as a Ghostwriter?

If you talk to most people who want to be writers, one of their main dreams is to have their byline become familiar to others. But thousands of writers are flying under the radar as ghostwriters. Let’s explore ghostwriting a little more in depth so you can decide whether it’s right for you.

What is a ghostwriter?

A ghostwriter is someone who writes for a client, who then publishes the writing as their own work. In lots of cases, the ideas in the writing are actually the client’s. The writer simply puts them on paper, ideally capturing the client’s own voice in the content. Sometimes ghostwriters also fix or expand existing manuscripts to make them flow and read better. Most people who hire ghostwriters do so because they don’t feel like they are good writers themselves, or because they are too busy to focus on a manuscript by themselves. A good ghostwriter can help a client gain some additional exposure and reputation.

Lots of practice

One benefit of being a ghostwriter is that you get tons of practice not just generally writing, but also in being more aware of differences in formats, dialects and tone. You’ll have the opportunity to learn about a lot of subjects and industries, and to meet plenty of interesting people with incredible information and stories. This has the capacity to shift your thinking and way of looking at problems and the world.

Pay

Ghostwriting can be lucrative, especially if you find a larger project or a few clients who want to work with you for the long haul. But most ghostwriting projects are one and done, such as a single article for an online publication. They also often do not provide any sort of royalties. So you can’t necessarily guarantee a steady income, and you will need to continue to look for clients.

On the other hand, just as with bylined work, you need to protect yourself against scams. Bad clients are out there who consistently aim to grab content without compensating authors, so make sure you have your agreement in writing, try to get references/referrals, and get a downpayment and establish payment milestones. Be aware that if you get shorted, taking legal action isn’t always an option, even if you have a clear contract-based case, as the cost of the project can be much less than the cost and time involved in a lawsuit.

Your career

When you are trying to get editors to publish your work, most of them will want to see pieces you’ve published that you can prove you authored. The trouble is, with ghostwriting, part of the deal is that you’ll stay mum about the fact your client didn’t write “their” work. So while you can say you’ve done work as a ghostwriter, it’s tricky to let editors know which specific publications or people you’ve worked with without violating this confidentiality. Subsequently, it’s incredibly difficult to build a real resume, post your work on social media, or put clips on your website.

For this reason, ghostwriting can work better for people who already have some standing as authors. If you already have a few published clips, then you can use those to earn new ghostwriting jobs. You can start out ghostwriting just for the income, too, of course, but without the bylines, you’ll likely have a difficult time landing more permanent work, such as staff writing or a column. Many writers combine ghostwriting with bylined work to get the best of both worlds.

One thing to think about related to the above is that ghostwriting clients are often considered experts in their fields. That expertise has pull when editors are considering publication. So what sometimes happens is, your client will submit your work and get accepted based in part on who they are. If you were to submit similar work independently, the editor very well might reject your content. This double standard can be ridiculously infuriating, since you know the editorial decision isn’t always based in the quality of your work by itself. No matter how well you write, no matter how well you source the text, reputation bias can work against you. So if your clients get accepted and you can’t on your own, don’t automatically assume there’s anything wrong with what you’ve put on the page.

So how do you work around this? If the venue is one you know you’d be personally interested in, then once your client has a good relationship with an editor because of your work, see if the client would be willing to recommend you to the editor. This way, the editor is going through someone they already trust.

As a last note here, be aware that some publications do have strict non-ghostwriter policies. You never want to put yourself in a position where you and your client would have to admit you violated this policy. So know what venues expect before you sign contracts, and ideally, have the client agree to be upfront in their queries/submissions that they have or plan to work with a ghostwriter. That way, they can be honest with the editor about how they know you. If the client has been published with a venue with their own writing, then just have the client tell the editor that you’ve done ghostwriting for them for other purposes. Even with a recommendation, be ready to provide some samples.

The final word

Ghostwriting can provide an income and let you learn an incredible amount as you network. But it does not give you an easy way to promote yourself and your writing experience. You might even find that editors accept your work when they think it is from someone else, and that they reject it when you offer it under your own name. Combining bylined and ghostwritten work can be a happy medium, but you can choose one path or the other depending on your goals and needs.

Not “Just” a Writer

Recently, I had a friend of mine tell me how lucky I am that I am just a freelance writer.

Yes, she said “just.”

Although my friend meant well in context, I couldn’t help but be a little miffed by her comment, because I’ve heard it many, many times before. At the heart of the sentiment is always the idea that somehow, freelance writers are not serious professionals, that we are simply clickety-clacking away on laptops while sipping expensive coffee in some corner shop somewhere, totally relaxed and content.

The reality of being “just” a freelance writer is that we work hard–and I would dare to say, even harder–than those in more traditional jobs. We have no guarantee of having work the next day most of the time, so we are constantly anxious, constantly searching for the next project that could tide us over until we have to search yet again. It’s not unusual to spend just as much time looking for work as we do actually writing, and even when we find workable projects, the pay isn’t always ideal. So, often, we have to work more hours to make ends meet.

What’s more, being our own bosses isn’t all sunshine and roses. Sure, we can set our own schedules and such for the most part, and that’s great, but there’s no one to catch us. If we get overwhelmed or something goes wrong, we are the ones who have to figure the problem out, no matter how tired or frustrated we are. We spend a lot of time doing administrative work that we cannot bill for, such as handling invoices, updating spreadsheets and tracking tax information. Some of this can be automated, but not all of it can.

In short, the typical freelance writer’s day is very flexible, but as is true for just about everyone who owns their own businesses, it ends up being very long. A lot of the time, we don’t “clock out” after eight hours of work the way “normal” people do, simply because the administrative work and need to look for the next project is in addition to the standard work week that results in pay. Even when we do everything right, we still have the normal demands of household chores and family to handle once the pen is down or the computer is off.

Even if all this didn’t bother me, I’d still be a little upset by being called “just” a freelance writer, because this inevitably cheapens my craft. It perpetuates the idea that, even as major corporations around the world rely on writers to produce their website, general correspondence, marketing and other documentation, our work is not worth a decent, living wage. It implies that companies can push writers to the side, essentially discriminating in ways that would never fly with other workers. If writers do not fight this discrimination, the worth of what they do will always be in question and they will always struggle.

Why You Need to Grasp Plagiarism

Part of the joy of being a writer is being able to come up with something original, new and fresh. After all, it is this creativity and uniqueness that keeps content interesting enough for people to pick up or click on and which is the backbone of developing a loyal readership.

I am strongly implying here that true writing involves much more than putting words to paper. Anyone with basic grammar skills and vocabulary can do that. Being a real wordsmith means that each time you pick up a pencil or sit down at your keyboard, what flows out comes from your own mind and heart. Sure, you can grab data if you need to–that’s the heart of research writing–but the concepts in the work and the way you express them aren’t anyone else’s. If the ideas, words and sentence structure you put onto a page or into an electronic file are largely someone else’s and you don’t give them proper credit, you aren’t writing. You’re stealing. More specifically, you’re plagiarizing.

Plagiarism Defined

According to United States copyright laws, plagiarism at the most basic level means you are stealing intellectual property, passing it off as your own. People usually think this involves only copying directly or almost word for word, but this is only half the definition. Ideas count as intellectual property, so even if you are putting something into your own words, if you don’t cite your source, you are plagiarizing.

Importantly, if you are stating common facts, such as the fact people have 10 fingers, you don’t need to cite a source, and you aren’t plagiarizing. When facts come from specific research, though, giving credit is necessary.

It’s not that bad to do, right?

Um, wrong. When you put your byline to what someone else has done, you are taking the credit for their work, robbing him of the chance for proper recognition. In some cases, taking that credit also prevents him from getting the monetary compensation he deserves. You also can look at if from your own personal standpoint: If people discover you’ve plagiarized, you lose credibility as an author. Lowered or no credibility translates to people not hiring you or accepting your manuscript submissions. That means no income. No income equals the inability to do basic stuff like buy groceries and pay your rent.

Then of course there’s the legal stuff. If the original writer figures out that you’ve stolen his intellectual property, they can sue you for copyright violation. You might have to go to court and pay significant fines if this happens.

Preventing the Problem

Two little keys will help you avoid plagiarism. The first is to learn these beautiful words: “According to…” You also should know phrases like, “As reported by,” “[Name of author] stated that,” “In their [year] work, [title], [original authors] claimed that” and “A [year] study by [authors] found that…” Use these phrases whenever you’re summarizing concepts and ideas, such as entire paragraphs or entire articles, books and websites. Secondly, if you want to point out very specific parts of a work and feel the original authors said it best, the way to avoid plagiarizing is simply to use quotation marks around whatever they wrote.

More Information

A great online resource about plagiarism is plagiarism.org. This site gives an in-depth, layman’s-style definition of plagiarism and contains useful tools, questions and even a plagiarism checker option (account and service payment required). Another great site is from the University of Indiana Writing Tutorial Services. This site provides excellent examples of what is and is not acceptable when relying on someone else’s work to create new content.

Spotting Bad Writing Clients

In an ideal world, every client a writer has would be the most perfect, honest, well-paying person on the planet. To borrow from the Horton Hears a Who film, they would all be ponies who eats rainbows and poop butterflies.

Ah, welcome to the REAL writing world, kid.

First, let me say that most clients are pretty good. They might not always respond to your emails as promptly as you’d like, and an occasional payment might be late, but they give you clear expectations, sign contracts and compensate you for what you do. Others are more of the Voldemort type, however. They lurk passively in the background, quietly planning, scheming, drawing more and more people to their projects, until BAM! They show their evil faces, laughing as they betray your trust, wave their wands and pay only in despair. These Cients-Who-Should-Be-Ashamed are the ones to watch out for, and after a while, they’re pretty recognizable.

1. The pay rate is low.

Decent clients understand that writers have bills to pay. They also understand that much of what writers earn is pretax and goes to pay overhead expenses. These professionals are more than willing to pay their contracted writers a liveable, at-least-minimum wage. Some, bless them, even are willing to pay a percentage upfront or provide a bonus. If a client is offering just a few dollars, he likely either doesn’t understand what writers need to get by, or he doesn’t truly value the writing craft. In either case, it’s not a good situation.

2. They don’t want to sign a contract.

Some beginning writers are loathe to insist on a contract for their project, because they don’t want to come off as arrogant. Bad clients use this to their advantage. They say that a contract isn’t necessary, because they can be trusted. The truth is, bad clients try to avoid contracts simply because it makes it easier to get out of payment if sued. A good client will have no problem signing a contract because they know it guarantees you’ll do the work you promised. They might provide you with a version they’d like you to use because of their company’s policies, perhaps, but the use of the document is never an issue.

3. They don’t provide full contact information.

Some bad clients purposely withhold contact information, providing only a basic phone number or email address. They might say this is for reasons of confidentiality and privacy, but no legitimate business keeps their location secret. They withhold this information because it makes it easier to go AWOL when they don’t pay–in many states, a physical address of the client is necessary to serve legal notices, and file complaints, so starting work before you know where to get in touch is asking for trouble.

4. They postpone payments without prior notice.

Life happens. Miscommunications aren’t always possible to prevent. That said, the occasional payment postponement isn’t anything to squirt your pen ink over, especially if you’ve worked with the client before and he doesn’t have a history of payment problems. The problem is when they don’t follow through with the alternate arrangements they make. They say they’ll pay Tuesday. They apologize Wednesday and say they’ll get to it Friday, which comes and goes. They don’t offer a really good reason for the repeated delays, but they always make another promise. Don’t stand for this, because it sets a precedent that you’ll be tolerant of lateness and that you are not in true control of your business. Be upfront about the fact late fees will happen, let them know the next steps for collections (e.g., certified demand letter from an attorney, lawsuit, etc.) and give a precise schedule — to the hour — of when those steps will take place.

Getting Customers to Pay

As I write this, current clients owe me almost $2,000. This represents work spanning over the entire month of December and most of January.

The unpaid balances on my client accounts are not for want of proper documentation or billing. I know to the penny who owes me what and have records of all my Paypal invoices. The problem comes back to two simple facts of freelancing:

  1. Clients don’t always finish projects when they say they will, and
  2. Their correspondence sometimes leaves a lot to be desired.

The first issue isn’t always the client’s fault. I sometimes work with people who are hiring me on behalf of others in a company. When they need approval from superiors, who themselves might be waiting on someone else, things get bogged down really fast.

I make it a point to send follow up emails to my clients, but even so, people have a tendency to push writers off to the side if they get busy with other things in their life. This reflects a larger problem: The general consensus is that, apparently, writers don’t need to make a schedule, nor do they need to get paid on time and, you know, maybe eat or pay rent.

The best thing a person can do to combat both of these issues is to establish clear communication policies with a client in writing, putting them in project contracts. For example, the contract might specify that the first mode of contact is email, then phone, then written letter and, lastly, an attorney contact. The policies also can indicate how much time may elapse between communications, such as 24 hours. Another good policy is to require at least one correspondence per week, even if it’s just sending a quick email that says, “Just checking in!”

This strategy doesn’t guarantee you’ll be able to foresee the exact pay date for every project (clearly, it isn’t in my case), but it does give you the ability to know what is happening with each project and to make some assessments about how to adjust your budget or calendar appropriately.

 

Top 10 Signs You Are a Writer

1. You have at least one type of notepad or word processing application on your smartphone and use it to jot down ideas on the go.

2. Paper and pencil are on your nightstand, just in case your dreams are novel-worthy or you get inspired at 3:00 a.m.

3. The amount you spend on office supplies is dangerously close to your income.

4. There is always some kind of pen mark on at least one of your hands.

5. Your computer is always on, and you leave Microsoft Word running no matter what else you are doing on the machine.

6. Coffee and breakfast are fairly synonymous.

7. You wonder what people mean when they say they “clock out” for the day.

8. People always give you gift cards to stores like Barnes & Noble for your birthday or the holidays.

9. You run through possible lead lines in your head while in the shower, wondering if they’re good enough.

10. You actually care what weight a pencil lead is and what type of ink a pen has.

The Writer’s Balance

As I write this, it’s about midnight. I have to be up in roughly five hours. When I do emerge from my comfy boudoir, I’ll stumble sleepily out to my kitchen, grab a bite of whatever-fruit-I-bought-this-week and a soda (horrible morning habit, I know, but I don’t drink coffee and need the caffeine), and sit at my computer again. Most mornings, I am writing within fifteen minutes of the alarm going off.

What, you thought writers got to lounge around in their pajamas clicking away at the keyboard all day?

(Ok. I’ll admit, my morning work does happen in my pjs.)

I know each morning that I would love some extra sleep. But I also know that I have bills to pay and that my keyboard clicking handles that. I know most people can clock out in the early evening, but I stay late (in my living room or home office) so that I can be my own boss. When I am writing about something drier than months-old rice cakes, I make it a point to listen to music that revs me up.

The point is, to be a writer, you need to fight for balance. Our craft is a  passionate one, and you need opportunities to be…not creative. To just be. Remember, the best writing rule is to write what you know. If all you ever do is write, you leave yourself no room to experience and learn, to give yourself the foundation on which to hang your plots and ideas. As a result, the range of believable, authoritative content you’ll put out will be ultra small.