A Writing Habit That Works for YOU

Amazingly enough, it's already May - which means THE PROMISED QUEEN, the third and final book in the Forgotten Empires trilogy, is out in just two weeks. That comes as a shock to me, I can tell you! 

It also makes this particular graphic quite apt and goes well with our topic this week: "When Life Gets In The Way: dealing with a schedule for writing when the world wants to go off the rails."

Nothing like a global pandemic and the attendant chaos to shake up the world a bit, huh?

I've been fortunate compared to many of the creatives I know - so many people have struggled to create art during this extraordinary time of upheaval - in that I've maintained a consistent output of words. In fact, I wrote nearly 120K more words in 2020 than in 2019 (recall that I am dubbed The Spreadsheet Queen for a reason), which I largely attribute to the fact that I didn't travel in 2020.

So, why was I able to stay on schedule when others couldn't?

There are a lot of reasons for that - including that I am blessed with happy brain chemistry and I'm not prone to anxiety - but I think the number one reason is that I've built a consistent writing habit. That's the foundation that keeps me stable and productive.

Martial artists like to poke at practitioners of yoga and meditation by saying, "But what happens when someone knocks you off your pillow?" The jibe is meant to shame those not into the fighting arts by implying that meditation is fine and all, but if you're attacked, it's fundamentally useless.

Believe me - I know this is exactly what they mean, as I used to train with martial artists fond of saying that very thing.

Whenever someone asks me about this topic, about work/life balance or maintaining creativity through upheaval, I think of that quip. 

What happens when someone knocks you off your pillow?

The answer is pretty obvious: You get back on.

See, the whole point of meditation (or prayer or self-care or whatever works for you) is to discover a solid, peaceful foundation within yourself. That's why it's called a "practice." It's something that you develop over time by doing it repeatedly. Nobody ever said it was in order to spend your entire life on a pillow in a meditative state. Once you discover that foundation, that silent core of peacefulness, then you know how to find it again. 

No one ever promised us lives where everything is perfect all the time. Things are going to happen to derail us - and the best we can do is find our way back to that foundation again, rather than being tossed about endlessly from one crisis to another.

A writing habit provides that foundation. The great thing about habits is we default to them. Bad and good, habits drive our unconscious decisions. Why not build a writing habit that works for you instead of against you?

Then, when the world knocks you off schedule, it's easy to get right back on again.

THE FIERY CROWN today at GRRM's Beastly Books!

Check out this super cool video of THE FIERY CROWN from George R.R. Martin's Beastly Books here in Santa Fe!

This was supposed to be a live event, but it's virtual now. Instead of a live interview, Melinda Snodgrass, of Star Trek: The Next Generation fame, interviewed me via Zoom and we had a great conversation. You can watch it this afternoon at 4pm Mountain Time here. You can also support this wonderful local indie bookstore by ordering a signed copy of THE FIERY CROWN from them - plus get it well before the May 26 release date! (Or you can preorder via the links below.)

Afterward, I'll be doing a Facebook Live *and* Instagram Live Q&A. Look for me on Facebook or Instagram, according to your preference. I'll be on once the Beastly Book event ends, around 5pm Mountain Time.

Our topic at the SFF Seven this week is "Updated writing tools/apps - what's new and different in your writing world." My answer? Umm... nothing? I'm pretty happy with my current system, which I've been using for years now. I write in Word, track everything on my own spreadsheets I've meticulously retooled in Excel, and I save everything in Dropbox. It works well for me and I see no reason to add more "tools."

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Making Time to Read

Our topic at the SFF Seven this week is reading! Do you set aside time for it each day? How do you decide what to read next?

Like most (all?) writers, I have always been a reader. My mom tells stories of me learning to read from Sesame Street when I was four, and how she stopped reading aloud to me before bed - a nightly ritual - because I started reading over her shoulder and correcting her mistakes.

So, yeah, I was one of THOSE kids. The ones whose parents yelled at them to get their nose out of the book and look around. The ones who carried their current book to class and snuck reading from it while the teacher was talking. The ones who read widely and deeply.

This continued into my adult life. My husband remarked once that he'd never known someone who read EVERY DAY. No matter how busy things got, I always got in some reading.

The only time this changed was when I began writing fiction.

For some reason, writing books took up the same space in my brain that reading books had occupied. At first I was kind of thrilled, because writing a book gave me the same joy and sense of enchantment that reading one had given me - and it lasted so much longer! And it was MINE! But then I began to see how dramatically my reading had dropped off - and I knew I had to fix that.

So, yes, I set aside time to read every day. At first it wasn't easy to rebuild the habit. I had to make myself observe that one hour of reading. It also took time to resume the habit of picking up my current read during spare moments. But now I read for usually a couple of hours every day.

As for how I decide what to read next? Any of you who've followed me for any length of time should know the answer to this! I have a spreadsheet, OF COURSE.

The Island of Lost Book Projects

Our topic at the SFF Seven this week is all about the things we want to do. We're asking everyone to name three projects we've been planning to work on for a long while and haven't yet touched.

It's kind of like the writer version of the Island of Lost Toys. Ever so sad.

Except that these kinds of lost projects still have hope of being rescued. I keep them in two subsections of my overall tracking workbook (in Excel spreadsheets!) called "Tabled" and "Potential." Really, the tabled projects don't count for this topic, as it specifies they must be untouched. The tabled projects are ones I at least started to write, then back-burnered for various reasons.

In the potential section, however, I have seven projects listed. One is a contemporary romance trilogy that I did start to write up a long time ago - relatively: six years ago - so technically it's a tabled project. Being a purist for these things, I moved it to that subsection.

That leaves four projects in there - one a more or less total surprise because I forgot I was ever going to do it. And really... I'm not going to. It's the third book in my Blood Currency series. See, the deal is, way back in the mists of time, I'd submitted PETALS AND THORNS to several publishers. Loose ID bought it and when I notified Ellora's Cave about the offer, they gave me a weird, disorganized answer. (In retrospect, this was a harbinger of their eventual implosion.) Later, the EC editor contacted me to buy it. I had to disappoint her, but she asked me to her write something else. That became FEEDING THE VAMPIRE. She asked for more and, because EC had this weird thing about there having to be three books in a series before they gave you a series title and something better than their one-size-fits-all reusable covers (and we wonder why they went out of business...), I pitched her a third idea for the series as well. I wrote book two, HUNTING THE SIREN, but by the time it came out the implosion had begun and I never wrote the third book. I don't even remember what the concept was, though I'm sure it's on my laptop somewhere. Anyway, I've bundled the first two books into one volume called BLOOD CURRENCY (the name of the series).

I really doubt I'll write more. Nobody has asked for more, so that says something!

Another project is taking one of my very first fiction stories, PEARL, and working it into a novel. I might still. I took down the story because it has a tragic ending and I figured that was off brand. But I'd love to have that tragic moment be a black moment prequel to a happier outcome. It could still happen.

The other two projects are kind of in the same bucket: anthologies I'd discussed doing with Megan Hart and that we kind of dropped for various reasons. One was an anthology of fairytale retellings and the other was an erotic anthology called SIN CAVE, a followup to THE DEVIL'S DOORBELL. Both titles are a play on misogynistic terms for female genitalia and pleasure. I'm kind of sorry we never got around to doing the followup of SIN CAVE, but I also think that if projects fall apart that way, it's for a reason. They don't have enough energy to carry them through. Also, with SIN CAVE, several of the authors in THE DEVIL'S DOORBELL are no longer writing. Maybe someday with a new cast?

I should caveat, too, for those of you with fingers poised to type outraged comments about the stories you're waiting for in my other worlds - this doesn't include those! Those are absolutely on the stove and simmering.

Still Bleeding - the Worst Rejection Ever

Why what do I spy with my little eye?!? @jeffekennedy Cover Flats WITH FOIL. 😍 #TheOrchidThrone @SMPRomance @jcon713 pic.twitter.com/XNrKSCjCvy

— Sarah E. Younger (@seyitsme) April 12, 2019

I had to share this tweet from Agent Sarah. We got the cover flats for THE ORCHID THRONE (out in September 2019, but review copies are going out now - eep!) and they have foil! That's the shiny stuff on the cover. It shows best in the video from her tweet, but here's a still pic, in case the video doesn't play. Super cool, huh? It's my first cover with foil, and it's SO PRETTY!

Our topic at the SFF Seven this week is Knife in the Heart: The Harshest, Meanest Rejections from a Publisher/Editor/Agent. I think this is a great topic because it's always good to hear that *every* author receives rejections. While 99% of them are usually vaguely kind, there's always some who have to be vicious about it.

This was on my mind the other day because there's one rejection I received about 25 years ago, when I was a super newbie author - and it was so mean I STILL THINK ABOUT IT TO THIS DAY.

I know, I know - I should really let it go. For the most part, I really have. I don't feel bad about it, but I do remember the words from this editor and they float back into my head from time to time.

So, I'd made this Huge Life Change™ and gone from a PhD program in Neuroscience to working as an editor/writer for a petroleum research group. The job had flexible hours, paid well, and let me develop my chops as a writer. I'd decided I didn't want to be a research scientist and wanted to be a writer instead. As part of this effort, I took courses from visiting writers at the university. One of the first was the class Essays on Self and Place. Thus, my early writing efforts were personal essays, also known as Creative Nonfiction.

(In fact, my first book was an essay collection: WYOMING TRUCKS, TRUE LOVE AND THE WEATHER CHANNEL.)

But before that happened, I was doing the magazine circuit. I'd send out work to places that published essays, from literary journals to commercial magazines. And I sold essays to that broad gamut, with my biggest score an essay I sold to Redbook for $1/word. I built this career largely through writing a lot and sheer tenacity. Which, come to think of it, is what I still do.

I'd read a piece of advice from some author I can't recall now to treat submitting like a game of ping pong. You submitted work, and as soon as it got rejected, you batted it right back out to another venue. I even called my folder of essays I was actively submitting "Ping Pong." I had a rule that I had to have every finished piece on active submission at three places at one time. As soon as a rejection arrived in the mail - and these were the days of paper printouts sent in the mail with a self-addressed, stamped envelope (the infamous SASE) - I had to whack that essay back out right away. I kept a list of publication venues (in a spreadsheet, OF COURSE), in order of preference, and I'd just go to the next on the list.

All in all, this approach worked very well for me. Treating the submission/rejection process like a game helped to take the sting out of rejections. It also meant I got a LOT of rejections. Every time that envelope showed up in my mailbox, addressed in my own hand, I'd feel the pain. They almost never *accepted* via the SASE. An acceptance came via phone call, maybe email (depending on the year), or as a thick envelope with their own postage containing a contract. Maybe even a check! I always wondered what they did with my SASEs in those cases, but it seemed cheap to ask for them back, even though I could have reused them.

So, yes, I received many, many rejections of various flavors, but I also published work at a steady rate in a variety of venues. I kept up a high velocity in my personal game of ping pong. It worked well.

This one magazine though...

It was called something like Women's World Weekly. I could be conflating several publications. But I do recall I discovered it in the Women's Bathroom at the petroleum research institute I worked in. Someone left copies in there every week. It was low-quality paper, with lots of ads for things women supposedly liked, and then those kind of heart-wrenching "real life" stories of love and loss.

So I sent them one of my essays on love and loss. And I got a rejection back pretty fast - hand-written, saying that it wasn't exactly the kind of thing for them - too long, or whatever. This was early on and I didn't always pay attention to the content of the rejections. Often they didn't say all that much that was useful. Also, I came from a scientific background and the non-scientific nature of their criteria often stymied me. Finally, I was busy - and the game of ping pong meant I had to get stuff back out there rapidly.

I sent them another essay on love and loss. I got another rejection saying no, it wouldn't work for them.

I sent a third essay. (Maybe I only sent two, but it might have been the third submission.) And I got this hand-written, black-ink, furious scrawl that said:

YOU JUST DON'T GET IT, JEFFE!

And I don't remember the rest. It was some sort of excoriation on how my work would never, ever, in a million years, be right for them.

Thing is - they were probably right. And it was true, that I didn't "get it." I was very new at that point, and green. I didn't yet understand how to discern what a particular publication or editor preferred. I viewed it all as a vast crapshoot - or a game of ping pong - and figured the right thing at the right time was what got accepted.

Which is actually very true.

But there was something in the sheer venom of that rejection that has always stuck with me. And sometimes I hear that guy's voice - the editor was male, which is interesting in retrospect - shouting at me in that scribbled note, telling me that my work was a waste of his time.

Of course, I took that publication off my spreadsheet and never submitted there again, which likely came as a relief to them. I sold those essays elsewhere, and I've gone on to build a career.

Still, every time someone implies that I "just don't get it," I feel the twinge of that knife to the heart. Funny, what gets to us, huh?

Being the Yoda of Long-Term Planning

Our topic this week at the SFF Seven is short term, mid-term and long-term planning. I assume as related to our careers as writers, though our topicnatrix KAK did not specify.

I suppose I'm a planner. After all, I am dubbed the Spreadsheet Queen for a reason. I have my writing schedule more or less blocked out through 2020 - though some of that is because I have traditional publishing contracts for books releasing in 2021. Traditional publishing really forces you into the long game, at least five-years out, which I know in many industries barely counts as mid-term planning. Also, because trad publishing is so slow and plans so far out, getting books in that pipeline requires looking ahead a couple of years on top of that. I wrote about this artful juggle back in April. I'd like to get better at this kind of planning with my self-published work, but so far that tends to be short-term to spontaneous.

All in all, I'd say I do a lot of short-term and mid-term (3-5 years out) planning. Longer than that? I don't so much.

Oh sure, I've learned how I'm supposed to. I used to work in corporate America and participated in those strategic planning sessions. I understand how the Japanese plan for centuries out, or however that saw goes.

It just doesn't really work for me. When I think about it, I just hear Yoda in my head.

When I look back, lo these twenty-plus years ago, when I decided to become a writer - and at those ambitious plans, dreams and expectations - I didn't predict very well. Things take longer than you hope, and play out differently than you dream. Also, when I started out I was really too inexperienced to know what would work well for me.

Some of the best things that have happened came out of the blue. I'm Taoist enough to be perfectly fine with the universe bestowing its blessings in its own time.

All that said, the very best thing I have done and continue to do for my mid- and long-term planning is to track how I work. I'm a believer in the concept that the structure of an hour becomes the structure of the day becomes the structure of the week, month, year, and lifetime.

Along those lines I recently initiated two efforts: tracking my individual writing sessions each day and using a tracker for different activities throughout the day.

Each of these is a one-hour writing session (though I track if it's shorter for some reason) and the average number of words for each session. The first tends to be lower because I often backtrack a bit to revise and ramp up, and the last is lower because I'm usually writing to a goal of 3800-4500/day and that 5th session is to pick up whatever remains - often ~500 words - if I have to do a 5th session at all. But it's interesting to me to see that the overall trend does drop off after than second session. This helps me understand what kind of speed and productivity I can reasonably expect from myself.

To track my activities through the day, I recently purchased a Timeular from Zei. That's it in the top photo above. I've only been using it for less than a week, so I'm holding out on the verdict, but so far I'm not in love. I'm not sure their definition of productivity matches mine. Also, I moved to using the app on my phone instead of the dongle on my laptop, because running the dongle/tracking program kept stalling my Word every few minutes. When I'm in the middle of a writing flow, getting that 30-second spinning wheel of NOT RESPONDING got to be infuriating. So, we'll see.

Overall that's more to illuminate how I spend my time outside of actual writing, to maybe pare down non-productive activities. To do that I might have to drill down to more than eight categories, however.

It will be interesting to see how the next twenty years play out!