Shut Up, Voices

innercriticI’m not someone who normally struggles with writing. Making the writing good, that’s different, but producing the words on paper, nope. I was a journalist in my early career, and if there’s one thing such a program of study beats out of you, it’s the whole “tortured artist” game.

We weren’t allowed to have writers block. Words would come or you would go. Journalism is also great training for book writing because it keeps you from feeling you’re saving the world. You are producing infotainment, setting it down for people to read, and tomorrow you’ll do it again, when today’s words are carrying out the coffee grounds or scooping puppy poop. Words is words; even though they can ignite, there are a million more behind where those came from.

In other words, don’t take yourself too seriously and don’t for one minute believe you’re the reason the earth can heal, now that you’re here.

So I’ve never struggled with getting a rough draft down. Until now. For the past two weeks, I’ve been working on just setting out the basics of a story. The whole while, my inner critic has been howling like a banshee, tearing like a panther, raging like a stuck bull.

Usually I’m pretty good at turning off those voices, sotto voice just beneath the surface of creativity: “This is crap; you don’t know what you’re doing; ‘you have made the mistake of thinking everything that happens to you is interesting’ ” (a succinct and heart-sinking sentence sent to Anne Lamott in a rejection letter). As Nora Roberts said, “You can fix anything but a blank page.” I always adhered to that.

Yet it seems lately as though each finger is burdened with a ghost, clinging as I type, all muttering a non-stop cacophony through which every word can be clearly heard: “You can’t do it. You can’t write any more. This is boring. This is bad grammar. This is bad writing. You are bad.” Tiny little ghosts, grinning an evil grin, unrelenting.

Shut up, I tell them; shut up. I would like to say that, with each word that fights its way out from under the babble, their voices diminish. But they don’t.

So, if this is the new phase of writing I’m entering, the “fight for your life” phase, one might call it, so be it. Eventually the shrieking voices will have to give up out of sheer boredom, I suppose, from being ignored.

But gol-amighty, I wish I knew where they came from so I could send them back there. I’m busy, here, and they’re taking up energy.

What if Editors SOLD Books (in Big Stone Gap)?

nicholeRegular readers will know that I spent a week in NYC last month, doing a couple of events and goofing off visiting my editor Nichole (in the photo) and agent Pamela. During the course of the week, Jack and I were delighted to have a conversation with Ken, head of independent bookstore sales for Macmillan, and his assistant Matt; we talked about coping mechanisms for small guys, marketing strategies for big guys, and the very hopeful demographics showing rises from 2011-2013 not only in sales of books at indie bookstores, but in the number of indie bookstores that are out there.
After the conversation, Nichole made the casual comment that she wished she knew more about how indie bookstores sold books. “It’s like the Gold Standard of bookselling, the handsell. And I’ve certainly recommended lots of books to lots of people, but I’ve never stood in a shop and sold one.”
Thus an idea was born. Nichole and her trusty assistant Laura have been saying repeatedly they’d love to visit Big Stone Gap. In addition, my publicist Jessica is from Richmond, VA, and she’s never been to the more rural climes. So here’s my cunning plan: we need people to explain to Nichole’s editor-in-chief why Nichole and Laura and Jess could really use a week of handselling experience in a small town.laura chasen
Wouldn’t it be great to have Nichole and Laura (in the photo) and Jess spend a few days RUNNING The Little Bookstore of Big Stone Gap?  Pamela, my agent, has often said that if prospective authors who send pitches to agents had to sell the books they were pitching, they’d change their pitch—and tune. You have to know what will and won’t sell—and how to sell it—to write a good query letter.
Nichole and I have often talked about the failed algorithms of A**zon, how people who want to read books that don’t quite fit a specific category can’t find them, don’t know they’re out there, and how sales reps (that is, those who sell books in bulk to bookstores from publishers) have to make things easy for the stores and build their own relationships of trust in order to do their jobs well. And that there’s a disconnect between the writers, the editorial shapers, and the sellers. Think of it: Manhattan’s finest editors bridging those gaps (in The Gap!).
jessicaSo here’s what we need: leave a comment on this blog saying why Nichole and Laura and Jess (in the photo of her birthday dinner with us in NYC) should get to spend a week (okay, three days) running our shop. (Don’t worry about Pamela and her assistant Michelle; we have a completely different plan for them.) And while the trio are down here we can show them a good time. Please, in your comments, explain why this is a good idea to Nichole’s boss (who will be interested).
And if Nichole and Laura and Jess get to visit, we’ll throw a party, and y’all can come say hi!