By Caitlin Kelly
His play — written in 1777 — is still being performed…He, of course, died in poverty.
For many people, “being a writer” is one of their cherished dreams.
Some do it, through a blog, a self-published book, journalism, a commercially published book, of fiction, poetry or non-fiction.
Some write for digital outlets, at payments of $50, $100, $200.
Some write for major magazines with payments of $8-12,000 or more per story.
There’s a continuum from blog to commercially agented/published book.
There’s a continuum from a 700-word personal essay to 5,000-word reported story.
There’s a continuum from your first paid-for piece of writing, and your last.
Having written for a living since college — more than 30 years — here are some truths about this business, some less palatable than others:
It takes talent
Yes, it does.
Simply stringing together 1,000 or 10,000 words on….whatever amuses you…then trying to find someone who wants it and give you money for it doesn’t guarantee anyone else will find them compelling.
Just because you feel an urgent need to share a story doesn’t mean it’s de facto riveting.
It takes training
You don’t have to spend a fortune to attend journalism school or obtain an MFA, although many people make that choice. By doing so, they put their work in front of others’ eyes, and learn to take (or ignore or filter) feedback and criticism.
They learn structure and form and voice and genre and narrative. They learn how to create characters.
They learn a crucial element of being a writer — your work is going to elicit reactions, and not always the ones you want or expect.
The world is full of on-line writing classes and your city or town likely has some as well. If you’re truly serious about your craft, invest some time and money in learning and perfecting it. Attend writing conferences and talk to other writers.
It takes practice
I see many younger writers desperate for instant fame and fortune.
They watch women and men their age, or younger, nabbing big book deals, television series and lucrative movie deals with the naive assumption they too, can have this — and quickly.
We all crave success and admiration.
It might take longer than you prefer. In the meantime, you’re getting better.
It takes social skills aka charm
Maybe some people can bully or bulldoze their way to publishing success.
Charm is an under-rated skill.
Talk to the person in line for coffee at the conference.
Talk to the person who’s friendly to you at an event. You never know who they know.
Be someone people genuinely like, respect and want to help — not Mr./Ms. Needy and Demanding.
It takes skills
If you are fortunate enough to get a story assignment, or a book contract, you’ll need to actually know how to produce the commercial product they are expecting from you.
You are not An Artist here.
You’re a tailor being paid to make a suit to a specific size and shape.
You’re a stylist asked for a bob — who doesn’t dye your client’s hair purple because it just feels like a better choice for you somehow.
We’re hired help.
Stories get “killed” all the time because the end product is weak and boring, and years of work on a book manuscript can be dismissed by your editor as “unpublishable.” It happens.
Being able to sell a sexy version of your idea is only the start.
For a major magazine or newspaper story and certainly for a non-fiction book, you’ll need to find sources, interview them intelligently, research the larger context of your story, write, revise, write and revise.
You need to create a narrative structure and characters we care about.
If all this feels terrifying or insurmountable, work on your skills.
I also coach writers and offer individual webinars; details here.
This gripping memoir by a Canadian writer is one of my recent favorites…
It takes studying the greats
“You can’t write without reading.”
If you’re not devouring a steady diet of excellent work in your genre — and hopefully outside of it as well — you’re toast.
Read tons of terrific writing to try to discern why it works so well.
It probably means finding at least one (probably several) sources of reliable, steady, non-writing income, no matter the source
It doesn’t matter what the work is.
T.S. Eliot worked in a bank.
Poet William Carlos Williams was a doctor.
J.K Rowling survived on public assistance when she needed to.
If you’re hungry and cold and can’t get a decent night’s sleep and terrified of a medical emergency, get a job and build up your savings so that writing isn’t such a high-wire act.
Forcing writing to be your end-all and be-all, both emotionally and financially, can kill you.
It takes patience
No one writes a perfect first draft.
It means being edited
If you freak out at the thought of someone questioning your: diction, structure, tone, opening, middle, closing, length of sentences and paragraphs…let alone the factual veracity of your journalism, go away now.
Just don’t even bother.
Work that appears unedited (yes, here, too!) is rarely as good as that which has faced others’ tough, incisive questions.
A writer needs an editor, often many. Find several you like, trust and respect, and be ready to learn from their demands.
A smart editor is the valuable — essential — intellectual equivalent of a demanding personal trainer.
How badly do you want to improve?
It means being read
That means your mother, sister, ex(es), a lot of strangers.
You can’t predict or control what others will think or say of your most private and intimate thoughts — after you’ve retailed them publicly.
A thick skin is key.
It means being — publicly –critiqued
Few reviews have been as nasty as this one, which recently ran in The New York Times Book Review, and which prompted much social media discussion among fellow writers about its meanspiritedness:
Now, I write empty, high-minded claptrap all the time. I also delete 90 percent of what I write. About an hour ago, for instance, I cut the entire 215-word opening sequence of this review. A boss of mine once said, of an article I had drafted over several months, that I had done a terrific job of catching myself up to a conversation the world had been having without me. Now I had to delete it, and start over from where I’d ended — from where the world didn’t yet know what it thought. Tillman’s meditations on the Big Questions often read like those of someone trying to catch up to the world’s knowledge while selling that world her notes for $26.
The critic, a well-established man, shreds the first-time author, a young woman.
(Several other reviews were much kinder.)
It means being able to tolerate rejection without panic or despair
Rejection to a writer is like blood to a surgeon — a messy and inevitable part of every working day.
It means being lucky — or not
This is a field — like many in the creative world (fashion, music, fine art) — where the goodies are rarely distributed “fairly”, equitably or when we most crave or need them.
It might be getting a full ride for an MFA or J-school or an awesome advance you can actually live on for a year or more without doing anything else.
Maybe they won the prestigious award or fellowship you’ve tried for multiple times.
It might be winning a stellar review or getting your work optioned for a film or television pilot; (my book Malled was optioned by CBS television, and earned me an additional $5,000 as a result — taken out of my advance.) It was also published in China, and that paltry sum also went toward paying down my advance.
(See a pattern here?)
It might well be, (try Googling the ancestors of some Big Name Writers) they’re sitting on a boatload of inherited or family money — like one New York writer whose family name graces a Manhattan concert hall.
Maybe they married a high net worth partner or husband, allowing them to do nothing but focus on work-for-pleasure.
The fact is, this is often — and long has been — a deeply unfair business.
Allowing yourself to marinate in a stew of envy and insecurity won’t improve your writing one bit.
How badly do you really want it?