Thoughts on Writing, from Before I Started Writing

I recently reread my journal from December 2002, trying to find the exact dates we’d traveled to Aruba that month. I came across an entry about writing.

In 2002, writing was still a pipe dream of mine. I thought I wanted to write when I retired, but I hadn’t made any decisions. I wasn’t even sure I would retire when I became eligible at age 50, though that was my hope.

My journal

Here’s what I wrote about writing as of December 15, 2002:

“I’ve been doing some thinking about writing as I’ve [browsed in] libraries and bookstores. There are so many books—most with really cockamamie plots or poorly written. Surely I can do at least that well. I’ve also read an interview with a writer—talking about the difficulty of staring at blank paper and of editing. Surely I am no different, and surely I can overcome.”

It’s now fifteen years later, December 2017. I’ve added three more books to those so many books, with a fourth about to be published. I read recently that there are over 1 million books published each year. The competition is fierce. In 2002, ebooks were only a theory, now they are the majority of new books published. These days, there’s a publishing overload, and I’m part of it.

Some readers probably think my novels have cockamamie plots also. I think my plots are (mostly) plausible, but I’ve learned as I’ve been writing that realistic writing is in the eye of the writer . . . And the reader.

I also think my novels are written at least as well as half of those that are published. I don’t pretend to be a great literary writer, but I think I can tell a good story with reasonably strong prose.

And through it all, I have learned for myself the difficulty of staring at a blank page (though I stare at a screen, not at paper). It’s a challenge to figure out how to translate the scenes I see in my head into words. I am more forgiving of other writers now than I was in 2002.

Some days I write well. Some days I write poorly. I try to always remember Anne Lamott’s advice in Bird by Bird—shitty first drafts are the norm. I think it was Ernest Hemingway who first said, “The first draft of anything is shit.” Anne Lamott then expanded on shitty first drafts: “All good writers write them. This is how they end up with good second drafts and terrific third drafts.”

Along with many writers before me, I’ve learned to overcome the blank page and get that first draft written so I have something to work with.

I’ve also learned for myself the difficulty of editing. Once that first draft is done, the real work begins. It’s only through editing—sculpting the work to approximate ever closer what I see in my head—that the novel takes shape.

Over and over I edit. For me, it takes several more than three drafts to get to something I can call terrific. . . . Or even acceptable.

I’m in the constant revision stage with my work in progress, Forever Mine. On the whole, I’m pleased with it. But I still see rough spots. So I’m still editing. Like with sandpaper, each pass gets finer. Soon, I hope I’ll have done all I can.

I will overcome the difficulty of editing this book, as I overcame the blank page.

And then I’ll start with another blank page on another book.

Writers, what’s your biggest challenge in your current work in progress?

P.S. My apologies to readers offended by the language in this post. Hemingway started it.

The Power & Limits of Scrivener (for me)

As I try to polish and publish my third historical novel over the next couple of months, I thought it would be worthwhile to step back and take a look at the tools I’ve used in writing this draft, particularly Scrivener. I’m surprised that I haven’t written about Scrivener in almost a year.

For nonwriters and nonusers of Scrivener, this post will sound like Greek. My apologies.

And for Scrivener users, let me be clear that I’m using the Windows 1.9 version. I’m told the current Mac version has better features than the Windows version. (More on Scrivener updates at the end of this post.)

My history with Scrivener:

This current work-in-progress, Forever Mine, was the first novel I drafted in Scrivener. In the past, I drafted my novels in Word. I started using Scrivener in the summer of 2014 to write and organize my blog posts (I’m in Scrivener as I draft this post). Writing short documents (mostly 500-1000 word posts) turned out to be a really good way to get comfortable in Scrivener.

When I completed Lead Me Home in 2105 and Now I’m Found in 2016, I dumped the Word documents I’d used to create the print-on-demand (POD) versions for CreateSpace into Scrivener. I broke up the documents into chapters in Scrivener, and then compiled the resulting Scrivener files into ebook formats for Amazon (MOBI format) and Barnes & Noble (EPUB format). I learned a lot about the compile function in Scrivener doing the ebooks.

Drafting my current book:

When I started my current work-in-progress, I had two goals: First, I wanted to outline the book in more detail than I’d managed when writing my earlier novels. Scrivener, I knew, had better outlining tools than Word. Second, I wanted to see how far I could get drafting in Scrivener—would it prove an acceptable substitute for Word?

I found several advantages to outlining and drafting in Scrivener:

  • I could in fact outline, starting with a list of key scenes and turning points in the book, then building more scenes around these crucial points
  • I could move not only chapters around, but also scenes
  • I could label each scene by which character had the point of view
  • I could check the word count of each scene (and, if I worked at it, by chapter and total manuscript also)
  • I could import an 1847 calendar and other research tools, including character sketches, into Scrivener’s “Research” folder, for immediate reference
  • I could outline the novel using a three-act structure and various plot points, as described in a variety of novel-writing resources (this would be the first novel I tried to plot in advance, rather than shaping after a draft was done)
  • I could add a date field, so I could keep a running timeline going
  • I even imported the entire text of Lead Me Home into my Forever Mine Research folder, because the plots of the two novels are so intricately woven (same people on the same journey, but focused on different points of view)

But there were some disadvantages to using Scrivener:

Each week I had to spit out about ten pages to send to my critique partners, most of whom do not use Scrivener. At first, those pages were pretty ugly (Courier font), but over time, I learned to “compile” the chapters I wanted from Scrivener into a decent-looking Word document using settings that I saved to use week after week.

I don’t like Scrivener’s formatting features, which aren’t nearly as sophisticated as Word’s. However, the formatting was adequate for a rough draft, and I developed some “preset” formats that worked for me. I couldn’t divide the scenes with an image as I do in the published books, so that was another ugly aspect of what my critique partners had to see each week. But they’re patient.

As I worked, however, I decided that at some point I would have to dump the whole manuscript into Word and reformat it into the CreateSpace template for the POD. The compile feature in Scrivener simply wouldn’t get me where I wanted to go with the formatting.

I periodically did dump the manuscript into a PDF, so I could read through it on my Android tablet, but then I took the comments I’d made on the PDF and had to enter them into the Scrivener file. (Scrivener has an iOS version for Mac tablets, but not for Android.) I learned how to take the manuscript from Scrivener into the CreateSpace template with minimal fuss—as long as I complied using Header 1 and Normal styles, Word could interpret those and give me something I could work with.

Screenshot of my novel in Scrivener

Revising the novel:

I wrote the whole first draft if this novel in Scrivener, then started revising. I went through all the comments from my two critique groups and edited the manuscript, based on what they told me. I also did a lot of my own rewriting and correcting, and filled in what I’d left blank or sketchy on the first draft. All this, I did in Scrivener.

I also looked at the novel through each character’s scenes separately. This was a real advantage of Scrivener. Forever Mine uses six points of view, so I got to see how each character developed through the book. Scrivener lets the user create “collections” of scenes, which I did for each point-of-view character. I could have done more with this tool, and I might use it more on future books.

Converting to Word to polish:

Each run-through in Scrivener got easier, but I still thought Scrivener’s usefulness would end at some point. Many expert users of Scrivener stay in the program all the way through creating the POD and ebook versions. But I’m not that good at compiling, and I prefer the precision I can get in Word.

So about a month ago I “compiled” the entire manuscript as a Word document and switched from editing in Scrivener to editing in Word.

From this point forward, I’ll follow the process I used with my earlier novels—polishing and formatting in Word, then I’ll take it back into a new Scrivener file to convert to ebook format.

As a final note, Scrivener is about to launch a big update for its Mac version any day now. And users are told that the new Windows version will launch in a few months. I will likely update my Scrivener software when the new Windows version is available, but not until after the ebook versions of Forever Mine are published! Managing a software update and publication of a novel at the same time is probably more stress than I need.

For my earlier posts on Scrivener, see here and here and here.

Writers, what has your experience been with Scrivener?

Impact of Shorter Attention Spans on Readers and Writers

Twice in one day last week, I encountered references to people’s reduced ability to focus these days. Our shorter attention spans are due largely to the ever-present distractions from technology—and I know this is true, based on my own behavior.

The first time this issue surfaced was during the Association of Missouri Mediators conference I attended, in which the keynote speaker, Professor Noam Ebner of Creighton University, cited the following statistics:

  • Today we spend on average three minutes on a task before we are distracted.
  • Once we are distracted, it takes an average of 23 minutes to get back on task.

Moreover, he said, humans are not good multitaskers. Contrary to what we think, every distraction detracts from and delays our ability to perform the task we were doing. The ubiquity of smartphones is the primary reason for our distraction, though other forms of technology are factors also. Think of when email first entered the workplace and dinged at us every few minutes. Now those dings follow us whenever our smartphone is within hearing range.

This photo isn’t of me. In reality, as I listened to the webinar, I played the video on my desktop, listened to the audio on my phone, took notes on my laptop, and kept my tablet nearby. No wonder I was distracted.

Later that day, while I was listening to another presentation during the AMM conference, I read an article (yes, I was distracted by technology) on The Passive Voice blog entitled “Shorter Attention Spans.” The article quoted Carolyn Reidy, president and CEO of Simon & Schuster, during the Frankfurt Book Fair:

“You have whole generations being trained for shorter attention spans than books require.”

As a writer, I had to stop and think about that statement.

I remember my childhood years when I spent whole days immersed in a book, from after breakfast until dinner, with only a short break for lunch. During summer months, I often consumed two books a day for a week.

Even into high school, when I had the time, I could read for hours on end. I read my favorite Phyllis Whitney young-adult mysteries and the like in a day. I read many classic novels (such as Pride and Prejudice, Jane Eyre) over the course of a few days, or no more than a week.

Even as an adult, despite working 50 to 60 hours a week and raising two kids, I escaped into books when I could. I’d take a weekend afternoon, or stay up late into the night, to read. It might only happen once every month or two, but it was a favorite respite.

But now? I still read a lot. I probably average a couple of novels a week. But  I find myself reading for a few pages, then switching my tablet to email, then checking Facebook, then back to the novel. My attention span is definitely shorter.

What does this mean for society?

Professor Epner talked about how it is harder for parties in a mediation to focus on problem-solving when their attention spans are shorter. This leads to the need to have shorter mediation sessions, and to let the parties break to seek out information and do other “homework” in between sessions.

The ubiquity of screens and digital interruptions have impacted the quality of our communications also. According to Professor Epner, we don’t interpret body language or word inflection in the same way we used to. Our intuition and empathy have changed as a result.

All this isn’t necessarily bad, because technology has added new ways of communicating as it has changed face-to-face opportunities. But technology makes communication different. And if we don’t recognize the changes and consider them in our communications, we will not resolve problems and differences as well as we used to.

Now, think about what this means for readers and writers.

I described my own experience as a reader above. I do not read without distractions as I used to. I do not think I’m unique in this regard.

If other readers have changed as I have, then writers need to consider how to grab readers in shorter bursts and how to retain them as long as possible, or re-grab them after a distraction. Shorter chapters. More reminders of setting and situation in novels. More headlines and breaks and sidebars in nonfiction. More uses of metaphors that relate to today’s readers.

Carolyn Reidy of Simon & Schuster said we need to be sure books remain “central to the discussion of what’s going on in the culture,” while at the same time using social media to reach consumers more directly. I agree with both points. The challenge is to handle both book-length writing and social media snippets equally well, for the functions that each does best.

Writers, what do you do to attract and retain today’s readers that you didn’t do ten years ago?

On THE ARTIST’S WAY and the Truth in Fiction

I’ve kept the Post-It from September 2005

I’ve mentioned before that I attended a diversity program called “Women Supporting Women” in late September 2005. When I declared to the other participants in that program, “I will write a book before I die,” one of the women in the group handed me a Post-It note. On that Post-It, she wrote a quote from Julia Cameron, “Sudden problems in my life usually indicate a need to work on my art.” She also jotted down the titles of two of Cameron’s books, The Artist’s Way, and Walking in the World, and recommended I read them.

I wasn’t sure I had “sudden problems” in my life, though I did feel I was at a crossroads. So, as a good student, when I returned home, I went to the library and checked out The Artist’s Way. It appeared to be a book that might be helpful to me as I flailed at how to become the writer I wanted to be. Its exercises were as much about self-awareness as they were about artistic endeavors.

I quickly realized I would need my own copy of the book to highlight and mark up. I bought myself a copy and worked through it in some detail. Over the next year, I also bought Walking in the World and Vein of Gold, both by Julia Cameron, and a few years later when she published Finding Water, I bought it.

In the twelve years since I attended that diversity program, I have read all four of these books at least twice (as well as a couple of Cameron’s other books). Most of them I’ve read three or four times. I’ve highlighted my copies until there is as much yellow as white on the page, and their paperback spines are all broken.

While it would be an overstatement to say the books changed my life, they certainly have contributed to my growth as a writer. First, they encouraged me to proclaim I am a writer—which is very difficult for beginning writers to do. Second, they told me to do a little bit every day—write three pages, take one small step toward my goal, do something physical or repetitive with my hands or legs when I’m stuck creatively. Third, they provided tools for me to use in examining my life, in determining where I’m on track and where I need to change.

I was already journaling before I read The Artist’s Way, but Cameron’s encouragement of daily “morning pages” made me a more faithful scrivener. When I retired from my job at the end of 2006, I made a commitment to write in my journal every day, and I haven’t missed more than three or four days a year for the last eleven years—I don’t always write in the morning and I don’t always write as much as she recommends, but I write. The exercises in Cameron’s books have provided topics to write about when I’ve felt empty. As she says in her books, when the same subjects come up over and over in morning pages, it’s a signal that area of my life needs to change. (And there are always a few areas of my life I need to change.)

I’ve been less diligent about incorporating her concept of “artist dates” into my life. These are weekly times of play, where one goes on a small, solitary expedition to fill one’s creative well—anything from a concert at the Philharmonic to browsing through a fabric store (I’ve done both on my artist dates). Even though I don’t go on artist dates regularly, I’m more aware now of when I could use a shot in the arm, when I need exposure to something different and playful in my life.

Earlier this year I read through The Artist’s Way and did many of its exercises for at least the fourth time. What amazed me was how much I’d grown since the first time in late 2005 or early 2006. The first time I worked my way through the book, I was not at all certain that I could be a writer, nor did I know how to go about making myself into one. I needed Camerons encouragement. During the years, I have become a writer, and I’m proud of myself.

This time, I focused on the spiritual aspect of the artist’s journey. I wrote the following affirmations to myself:

1. God intends me to have a writing life, to be a writer, at least at this stage of my life.
2. My stories speak of human frailty and fallibility, of people trying to do their best, sometimes succeeding and sometimes failing—as such, they speak the truth.

Those statements are far too wordy to be memorable affirmations that I can use when I need to give myself a pep talk. So I shortened them:

1. I am a writer.
2. My stories speak the truth.

It may seem strange that I write fiction, yet tell myself “my stories speak the truth.” But fiction is only good if it faithfully portrays the human condition within the confines of a story with a beginning, middle, and end. As such, fiction often clarifies the truth in ways that real life cannot. After all, everyone reading this has not yet experienced the end of life’s story.

I’m not done with my journey along the Artist’s Way. As Cameron says in the epilogue to that book, “Growth is a spiral path, doubling back on itself, reassessing and regrouping.” I will probably reassess my life and my work using her exercises in the future, and I hope twelve years from now I can see that I have grown even more.

What affirmations do you tell yourself? And when have you found that fiction speaks the truth?

Help Me With My Next Book Cover—Take the Poll

I’m hard at work editing my next historical novel, titled Forever Mine: Love Along the Oregon Trail. And I’m starting to think about the cover image for the book.

Here are five possible covers. Which do you like best? Click on this link to vote for the cover you like best.






I will be adjusting text color, size, and placement, so this poll is mostly about the image. If you have any suggestions for changes to these covers, please leave a comment on this post, or use the contact form on this site.

Again, here’s the link to vote for the cover you like best. I’ll do a formal cover reveal later.

Thank you for your input!

P.S. If you subscribe to my monthly newsletter and voted when you received my October 1 issue, this post takes you to the same link. You can change your vote until I close the poll, but you can’t vote twice!

I Have Another Guest Post on “A Writer of History”

M.K. Tod offered me another opportunity last week to have a guest post on her blog, A Writer of History. I wrote about the lessons I’ve learned in the last ten years on writing a novel. These were the lessons I presented during my session at the Arrow Rock Writing Workshop in Arrow Rock, Missouri, last month.

Please take a moment to check out A Writer of History. It’s a great blog with interesting information for writers and lovers of history. If you browse through her posts, you’ll find lots of intriguing reading suggestions in the historical fiction genre.

My post can be found here.

Hope you are having some fun as you celebrate Labor Day this year.

Postage Costs in the 1840s

I wrote a post last year about the difficulties of mail service during the California Gold Rush years. I was thinking about this issue again recently when I bought first-class stamps at our local Post Office. I typically wait until I’m almost out of stamps (which I was last week), then I buy 100 stamps. I paid $49.00 for my five sheets of twenty stamps, or 49 cents per stamp. These stamps will last me until Christmas time, when I’ll have to stock up again with Christmas stamps.

1850s letter showing 40 cents paid for postage

In 1847, it cost five cents to send a letter less than 300 miles within the United States, ten cents to mail it over 300 miles (but still within the States), and 40 cents to mail it from Oregon or California to the States.

So in the past 170 years, the cost of mailing a letter from the West Coast to the East Coast has increased nine cents. Just think about that the next time you complain about postage costs.

Of course, because of inflation, one dollar in 1847 would be worth $28.14 in 2017. So the forty-cent cost of mailing the letter in 1847 would be equivalent to $11.26 today. In other words, our forty-nine cent price of a first-class stamp is a real bargain.

The fact that we can transport letters in mere days—using airplanes and automated sorting machines—at a price far below the cost our ancestors paid shows the miracle of technology.

Another 1850s letter showing postage paid

And the fact that our pioneer ancestors could transport letters at any cost from a frontier that didn’t even have roads shows the miracle of human tenacity and desire to maintain relationships and communications.

In my novel Lead Me Home, I had one character send a letter from a campsite in what is now Nebraska (Ash Hollow) to his parents in Boston. According to David Dary, author of The Oregon Trail: An American Saga (2004), in 1846 someone constructed small log cabin at the Ash Hollow spring, and the cabin served as an informal post office until 1850. So I had my character leave his letter in this cabin for someone headed back East to pick up and carry back to the States.

But as I wrote the scene, I was curious about how the emigrants paid postage on the letters. I didn’t think they would leave their letters with coins for postage attached, so I wondered how their correspondence actually reached their loved ones back home.

Then I learned that letters could be mailed “collect,” meaning that postage was due from the recipient when delivered. In some years during our nation’s history, collect letters cost more than those with prepaid postage, but a letter could be mailed with postage due. Prepayment of postage did not become mandatory until 1855.

So now I picture some kind-hearted mountain man on his way back East picking up a packet of letters at Ash Hollow and dropping them at the Post Office in Independence or St. Louis. From an official Post Office, the letters would make their way—just as ours do today—to the appropriate location. But the postman would only deliver the letter to my character’s parents in Boston if they paid the ten cents for delivery from Missouri. Of course, my character came from a wealthy family, so the ten cent cost would not have been a problem for them to pay.

What technological advances in the last 200 years do you think are the most important?