Keeping a Journal in Tumultuous Times

By Barbara Stahura

Memory is a tricky thing even in the best of times. But in times of great stress and chaos, you might as well kiss it goodbye, for all the good it will do you in accurately recalling events. When your world explodes, memory, too, falls into fragments around your feet — disjointed pieces that later shape-shift, ooze into old recollections or couple with imagination to create new patterns, or disappear altogether. So when I entered the most agonizing, confusing time of my life, I took my journal along and wrote pages in it nearly every day. As a wife and an individual in the midst of turmoil, and also as a writer, I’m grateful that I did.

At the end of 2003, my husband, Ken, sustained a traumatic brain injury (TBI) as the result of a hit-and-run. For a short time, the accident shattered my life into chaos. Later, I settled into a weird rhythm so disconnected from my familiar life that it often left me breathless (and once sent me to the ER with chest pains). I had to maintain any stability I could for Ken’s sake, and for mine. Beginning the morning after the accident, I wrote in my journal nearly every day. At the time my reasons for journaling weren’t necessarily defined. I simply felt a driving need to record my thoughts. Now, though, I’ve had time to sort out and reflect on those reasons.

First, in the exhausting, agonizing weeks that followed the accident, I felt as if I had been cast into the deepest ocean without a life jacket. Visible land — the life to which I hoped to return with my recovered husband — was only a hazy strip in the far distance. Journaling provided a way to ground myself, at least for little snatches of time. It was a safe, private haven where I poured out my confusion, anger, and sorrow.

This had a positive result since I was less likely to express these emotions in the wrong place, as in the ICU, for instance, when Ken’s neurologist saw no need to speak with me. Furthermore, though any medical emergency is confusing, the addition of a TBI complicates the situation even more. The brain controls everything we do, directing not only our mental functions like memory and cognition, but also our personality, emotions, and all the other functions that blend together to create a self. And when the self of someone you love more than your own heart is diminished and damaged the way Ken’s was, you clutch whatever you can to keep yourself afloat. I clutched my journal as if our lives depended on it.

Second, Ken’s memory was damaged by the TBI (fortunately, it has returned, with only slight deficits). He remembers nothing of the earliest weeks after the accident and not much of his time in the rehab facility and the second acute care hospital where he was taken after developing a pulmonary embolism. Early on, I figured he might one day like to know what happened to him, to me, and to us during this lost time. I wrote in my journal for him, too. After he came home and was well enough to comprehend it (and, I’ll admit, decipher my handwriting), he read the entire journal and was grateful I had written so extensively.

Writers have long teased personal essays, memoirs, poems, and even fiction from true-life journal entries.

And, finally, I kept the journal because I am a writer. I knew I would eventually want to write my truth about this watershed event in our lives, and how could I do that without a record? To be enveloped by crisis and wanting to record it so I could later write about it, and even profit from it, can sound self-serving. Perhaps it is. But other writers understand. Writers have long teased personal essays, memoirs, poems, and even fiction from true-life journal entries. In the past eight months, I’ve read half a dozen memoirs from TBI survivors and their families, all of which used journal entries as memory aids and even as direct sources of narrative. And all of them have given me a clearer understanding of the devastation, struggle, and hope that surround this injury that is unlike any other a human being can sustain.

Like prehistoric pollen captured in cores of ancient ice, little nuggets of information glisten in a journal long after an event. Just as scientists use that pollen to infer a great deal about climate and plant life in centuries past, we writers can use our journal nuggets to illuminate much larger portions of our stories. Until I re-read my journal after Ken came home, I’d forgotten a bizarre, significant dream from two weeks after the accident. Now incorporated into the memoir I’m writing, this dream reminds me that I occasionally felt hopeful during the days when my husband sometimes couldn’t remember my name and when exhaustion and despair whitewashed my other emotions. I’ve also referred to my journal when writing several personal essays about Ken and brain injury. Each time, I’ve unearthed something vanished from my conscious memory that allowed me to present a clearer picture.

It can be wrenching to read my journal entries and relive those horrible, frantic weeks after Ken’s accident. But my journal now provides me something precious that was not available then: the luxury of remembering, at a distance and in great detail. Instead of feeling frustrated because that time has evaporated from my memory, I can turn to my journal. I didn’t record everything, of course, but I preserved enough to allow me to reconstruct events, feelings, and situations that otherwise would have been lost forever. As Ken’s wife, I’m gratified he also found value in my journal. And as a writer, I hope that what I scribbled all those months ago may someday have value to others who love TBI survivors.

Barbara Stahura is a freelance writer in Tucson, Arizona, who has written for a number of print and online publications, including Science & SpiritThe ProgressiveSpirituality & Health, and MSNBC.com. Barbara Stahura has a website.

12 Ways to Keep Your Nonfiction Book in the News

By Sandra Beckwith
Publishers are willing to publicize nonfiction books when they’re released, but they rarely do much after the launch to keep books in the news, even though most deserve ongoing media exposure. Here are some easy things you can do to generate continuing publicity for your title. Use a mix of these ideas to develop a 12-month publicity plan that will provide the support your book needs.

Turn the advice in your chapters into a series of monthly tip sheets. A tip sheet is a press release that offers tips or advice in a bulleted or numbered format. Start your tip sheet with an introductory paragraph that explains why the tips you’re offering are important, list your bulleted advice, then tie it all together at the end with a concluding paragraph. Send it to appropriate media outlets; the distribution list will depend on your topic.

Contact the press immediately when your topic is making headlines to offer your expert perspective. This is a sure thing with most local media outlets when it’s a national news story because you’re giving them a local angle. Fax or e-mail (no attachments) your bio and a cover letter explaining your position on the breaking news to the appropriate media contact. If you’ve done enough interviews to prepare for the big time, pitch the national news outlets, too.

Add the media to your newsletter distribution list. The same useful advice or information you offer subscribers in your print or electronic newsletter could be of interest to reporters covering that topic, too. I got a book contract several years ago from the publicity that resulted from adding the media to the distribution list of a newsletter I publish.

Repackage your book content into bylined trade magazine articles. Depending on the terms of your publishing contract, you might need to do some rewriting so it’s “new” material. Make sure the author credit at the end of the article includes your book title.

Capitalize on holidays and special months, weeks, and days by distributing a press release with useful, newsworthy information related to the topic, or by contacting the press to offer yourself as an expert information source. For example, many daily newspapers run articles in December about how the holidays are especially difficult for people who are grieving the recent loss of a loved one or facing the anniversary of a loss. This presents many coast-to-coast interview opportunities fosr the author of a book on grief and loss— but only if the author reaches out to the press. And November 15 is “National Clean Out Your Refrigerator Day”—surely there’s an ASJA (American Society of Journalists and Authors) member who can capitalize on that occasion!

Contact the public relations department of your industry’s trade association to offer yourself for media interviews. Association public relations people are often contacted by writers like us looking for members with a particular expertise to interview. Make sure your association knows about your qualifications and the topics you can comment on, and you’ll get referral calls.

Conduct a newsworthy and relevant survey on your topic and announce the interesting results in a press release. The author of a cookbook designed to make cooking simple and easy can survey people about why they don’t cook more, and release the findings in a press release sent to newspaper food editors and cooking magazines. The release should include information about your book’s connection to the survey topic.

Sponsor an attention-getting contest and announce the results in a press release. To promote my humor book about men, I conducted a “Worst Gift from a Man Contest.” The resulting press release led to nationwide media attention, including a holiday appearance on a national cable TV talk show.

Push your publisher’s publicist to monitor ProfNet for reporter queries related to your topic all year. Alternatively, subscribe to ProfNet via its PR Leads reseller and respond to appropriate queries. A $99 per month subscription via www.prleads.com is more affordable than a ProfNet subscription.

Monitor ASJA forums for source requests . ASJA members frequently post requests on the magazines and newspapers forum for interview sources.

Tell the media when you’re visiting their market. Reporters love to interview experts who aren’t local, so if you’re in another city for any reason, contact the appropriate media people two weeks before your trip to offer ideas for articles they can write based on an in-person interview with you. If you’re in town to speak, send an announcement press release several weeks in advance and offer to do a pre-event telephone interview.

Repurpose your best tips into a free booklet. Write and distribute a press release that describes the booklet and how people can get a free copy; make sure both the booklet and the release include information about your book, too.

Generating ongoing publicity is work, but it’s not rocket science. Invest the time so you boost sales while contributing to your author platform. You’ll see the rewards at the end of the year.

Sandra Beckwith, the author of Streetwise Complete Publicity Plans: How to Create Publicity That Will Spark Media Exposure and Excitement, teaches the online “Book Buzz” class for Freelance Success. Learn more at www.sandrabeckwith.com.

Review Becoming a Writer by Dorothea Brande

Review by Lynne Mahan

Becoming a Writer
by Dorothea Brande
First printing: Harcourt, Brace & Company, New York, 1934
J.P. Tarcher, Inc., Los Angeles, 1981
175 pages

Some of the amazing things about Dorothea Brande’s Becoming a Writer, a writing how-to book (in addition to the fact that it was written in 1934), are the techniques used by  Brande to loosen up a writer’s creativity. The fact is that, without creativity, a writer cannot write, so all the technical information in the world cannot unlock the muse, thus causing the writer discontent. Brande believes “that basis of [this] discontent was that the difficulties of the average student or amateur writer begin long before he has come to the place where he can benefit by technical instruction in story writing.” She goes on to say that the frustrated writer seems to think there is a magic or trade secret that successful writers have, and she says in a way he is right.

Her target audience includes “those who are fully in earnest, trusting to their good sense and their intelligence to see to it that they learn the elements of sentence and paragraph structure, that they already see that when they have chosen to write they have assumed an obligation toward their reader to write as well as they are able, that they will have taken every opportunity to study the masters of English prose writing and that they have set up an exigent standard for themselves which they work without intermission to attain.”

Motivated to write the book by attending one too many technical classes where the instructors never addressed the magic, Brande breaks the problems down into four categories; the difficulty of writing at all, the one book author, the occasional writer, and the uneven writer.  She suggests that “we must try to cure them where they arise—in the life and attitudes and habits, in the very character itself.” Addressing them one at a time through the lens of character, Brande zeros in on the issues and creates exercises to practice.

First, the two sides of the writer, the child and the adult must be discerned in daily activities. Creativity is the child’s world, spontaneous and imaginative, and the adult is the business manager; first work, then play. Call it left brain and right brain, or child and adult—some part of the writer has to dream up the plan and some part has to execute the plan. Brande gives us hope that they are both embodied in us and can be recognized and utilized at the right time and place to reach our writing goals.

As we learn to know ourselves through Brande’s exercises, we progress to levels of writing discipline very similar to Julia Cameron’s morning pages and writer’s date. Natalie Goldberg’s techniques are similar, as they involve freeing yourself to write anything without the internal editor, stopping us at every word to check for accuracy.

Following the exercises religiously frees our creative side (the child) and honors the adult to provide for the real passion (the writing). Set up a time for writing. Under no circumstances stand yourself up. If you do, she warns, “give up writing. Your resistance is actually greater than your desire to write, and you may as well find some other outlet for your energy early as late.”

Her intention here is not to discourage, but to encourage the writer to set up a time daily to invite the unconscious to come and play. If the child (the unconscious creative mind) knows it is acceptable to come out every day at eight in the morning, come it will, and serve until it is put away when the adult must provide structure so that the child can come another day.

She says simply, “for the root of genius is in the unconscious, not the conscious, mind. It is not by weighing, balancing, trimming, expanding with conscious intention, that an excellent piece of art is born. It takes its shape and has its origin outside the region of the conscious intellect. There is much that the conscious can do, but it cannot provide you with genius, or with the talent that is genius’ second cousin.”

In a way, this simplifies the writing process. Turn it on and turn it off. Although, when you are a writer, you are writing all the time. But there is a time to turn the faucet onto the paper, and that is the delicious part of writing. To see the words you have been nurturing in your unconscious take form before your eyes.

Brande has several other very practical suggestions. She advises exchanging coffee for Maté and enjoying a meditation session before your writing appointment. She also advises to pay attention to the people who encourage your flow of consciousness and those who do not. If watching television stifles your creativity, do less of it (she would advise!). Be aware of what puts you in a creative mindset and what does not. Be disciplined! “If you are unable to finish a piece of work at one sitting, make an engagement with yourself to resume work before you  rise from the table. You will find that this acts like a posthypnotic suggestion in more ways than one. You will get back to the work without delay, and you will pick up the same note with little difficulty, so that your story will not show as many different styles as a patchwork quilt when it is done.”

I liked this book. I loved this book. The fact that it sat on my bookshelf for nine years has nothing to do with the book. Had I picked it up sooner, I would have avoided many pitfalls.  Brande’s 1934-style prose was a little difficult to wade through at times, but soon I found myself sitting down with her for a cup of Mate and discussing my latest writing block . . . this review!

Dorothea Brande was born in Chicago and later attended Mrs. Starretts’ School for Girls and the University of Chicago, Lewis Institute of Chicago, and the University of Michigan. She held editorial positions at Chicago Tribune, and the Board of the Journal of American Medical Association. She taught private writing classes and lectured throughout the country. Among her other books are Most Beautiful Lady, a novel, and Wake Up and Live, which sold over 2,000,000 and was published in eleven languages. (I remember it on my mother’s bookshelf.)

According to the National Cyclopedia of American Biography, volume 39, she was a member of Phi Beta Kappa, an Episcopalian, a Republican, and enjoyed reading, knitting and embroidery!

I leave you with her words. “All that is necessary to break the spell of inertia and frustration is this: Act as if it were impossible to fail. This is the talisman, the formula, the command of right-about-face which turns us from failure towards success.”

Interview: Rudy Shur of Square One Publishers

Interview by Jenna Glatzer

Rudy Shur is the publisher of Square One Publishers, and the author of the book How To Publish Your Nonfiction Book, part of the "Square One Writers Guide" series. Rudy has been responsible for the acquisition of more than 1,000 books, many of which have become bestsellers. He has lectured on the topic of nonfiction publishing at numerous universities and colleges across the nation.

How did you gain the experience to become a publisher?

I began my career in publishing as a field representative for a college textbook publisher. Basically, I’d go out to college campuses and try to get college professors to adopt my company’s textbooks for their classes. Having never sold before, it was a great learning experience. My next job was at another college textbook publisher, but this time, in addition to being a representative, I was also an associate editor. That was great training. I would look for professors to write books that I thought would sell based on my own selling experience.

After several years of doing this, I had the silly idea that I could do it better on my own. In 1976, I co-founded Avery Publishing Group. Initially, we produced college textbooks. As time went on, though, we began producing trade books for a more general audience. While I had had some great experience working for other companies, it was essentially a learn-as-you-go experience that provided the core of my publisher’s training.

In 1999, I sold Avery to Penguin Putnam, and two months later, I founded Square One Publishers—and I am still learning.

As you mention in the book, small publishers usually don’t offer the kinds of advances big houses can offer. What are some of the reasons why a writer might prefer to work with a small publisher?

While big houses do offer larger advances, statistically most of their authors never see more money than their initial advance. Part of the reason for this might be that today’s large houses tend to put in minimal editorial and marketing time on the vast majority of the projects they handle.

On the other hand, some well-run smaller publishers put much more emphasis on the editorial process, so that the final manuscript is as good as it can be. Additionally, they often spend much more time promoting a title (in their own way) than do larger houses.

Another benefit that smaller houses offer is longevity for titles. Many of the large companies keep their average book in print for approximately 18 months–only 1 1/2 years. Many smaller publishers keep a book in print for years. In some cases, they treat their backlist (older) titles as though they were front list (new).

However, let me point out that all small publishers are not created equal. Therefore, before signing any publishing agreement, it’s vital to check out the publisher.

Why is so important for a writer to identify the category in which his or her book would fit?

There are many reasons a writer needs to know what his or her book’s category is:

  • Identifying a category allows writers to more accurately target specific markets and audiences.
  • By knowing a book’s category, a writer can better select potential publishers who have experience publishing and selling in that specific area. Without a clear understanding of a book’s category, a writer simply chooses publishers at random.
  • When a book does not fit into any established category, there may not be any commercial publisher equipped to sell the book. Such a situation usually leads to negative responses from publishers.

In writing my book, I found that the chapter which identifies the twelve categories of books was the hardest to write. Once completed, though, I think it became one of the strongest features of my title.

Let’s say my book has been orphaned by a publisher. Is it wise for me to mention this in future proposals, or might this work against me?

The fact that a writer has had a book in print always strengthens the author’s credibility, and should definitely be mentioned in a cover letter. It is the fact that an author’s book was accepted by another publisher that impresses an editor, not that it may now be out-of-print.

I liked that you suggested a touch of humor in the writer’s response postcard. Are there other places writers can interject a bit of “personality”or humor, or is it usually best to “play it straight?”

Many times the nature of the project provides the ground rules for using humor. If a work is serious, humor may not be appropriate. If the topic is somewhat neutral, the use of humor may be fine. I’ve been told that you never know who’s at the receiving end of a query letter, so you may not want to take a chance with humor. While that is a legitimate point of view, if the topic allows, I think a natural infusion of humor can put an editor in a more receptive frame of mind.

You surprised me with a statistic: most books only sell about 5,000 copies. At big houses, a book will typically go out of print quickly if it doesn’t sell well right out of the gates, but at smaller houses, backlist titles may stay in print for years, even if sales are slow. As a writer, what should I hope for? Is it always good for a book to be technically “in print” even if it’s barely selling, or should I hope it goes out of print so I can try to sell it again or self-publish?

This is a complicated question and I probably can’t adequately answer it in a few paragraphs, but what the heck. If writers do their homework correctly, they should have some idea of how many copies a book like theirs will sell in the marketplace. Having a realistic number will provide them with more realistic expectations of success.

Here’s where it gets cockeyed. Sometimes it is best to have a publisher hold onto a book even though its sales are low. Sometimes taking a book back from a publisher is absolutely better. Writers have to ask themselves three things:

  1. Is the market really that big?
  2. Can I do a better job than the publisher?
  3. Do I really want to become-and can I afford to be-a bookseller/publisher?

If the answer is yes, the writer should still think about it before taking the first step.

Why is it a bad idea for an author to say their book is unique?

Unique books are one of a kind. They are different. Editors hate different. Different books have no established markets. If one unique book actually makes it to bestsellerdom, there is a likelihood it is an exception to the rule. Most editors know this and avoid publishing exceptions. Aspiring authors should never say they have a “unique book” unless they enjoy the feeling of rejection.

Once I’ve been offered a contract, do I have time to start looking for a literary agent? Should I bother, if I’m pretty sure the publisher won’t budge on fees?

If your project has the true potential of selling in big numbers, it is wise to consider getting an agent. If your project has a limited market, consider reading my chapter on “The Deal.” It tells you what you can do to negotiate a more favorable contract.

What do you think about the system of bookstores sending unsold copies back to the publisher? Do you think this is likely to change? Would authors make a great deal more money if there were no returns allowed?

The system of taking back returns was started shortly after the stock market crash of 1929. During the Great Depression, it was a way publishers could keep bookstores in business. Before the crash, bookstores kept what they ordered. I personally think that the present system is terrible, but as far as bookstores go, there is little likelihood that things will change soon. If the system did change, I don’t think it would make too much difference regarding the royalty payments. However, it would eliminate the need for publishers to hold back portions of an author’s royalty due to the possibility of returns.

It seems that for better or worse, Pandora’s Box was opened in 1929 and it’s not going to close until technology figures out a better way to produce and sell books.

Let’s say I have the terrific fortune of having two publishers interested in my manuscript. Now I want to start my own private "bidding war." Do I tell Publisher 1 who Publisher 2 is? Do I get into specifics about what the other publisher offered?

As a rule, I would not tell one publisher who the other publisher is. As far as specifics about terms go, let one publisher know what the other is offering, and see if they can match or better them. Do it in a very business-like manner; do not sound as if you are playing a game. My advice is simple: Get the best deal from the best company.

As a publisher, what are your favorite and least favorite parts of your job?

I love publishing. I think I even like the things I don’t like. The hardest part of the job is the amount of work required to do a good job.

Anything else you’d like to add?

Did I mention that my book is available through your website, and that my book is part of an ongoing series called The SquareOne Writers Guides, which includes How to Publish Your Poetry, How to Publish Your Articles, and How to Sell Your Screenplay? Did I also mention that all our other titles can seen by visiting our website at www.squareonepublishers.com? And did I mention that I have numerous employees who need to be fed and sheltered, and that any purchases of our books would be greatly appreciated?

The Healing Journey of Journaling: Madness, Rapture and Angst

By Julia Rosien

Women in conflict with the law have taught me more about my own journals than any book or motivational speaker ever will. I teach journal writing at a federal prison for women. They write to heal. And their writing reflects a path filled with heartache, shame, courage, and for some, hope.

We gathered for the first time on a snowy afternoon in November. The wind pushed against the institutional windows as I wrapped my hands around my steaming coffee. I had just handed each woman a journal. Some leafed through the pages to read the quotes, while others nervously twirled a pen or munched on a bag of chips.

I pointed to a prompt I had written on the board and asked each woman to write it on the first page of their journal.

I am hopeful.
Like the Phoenix rising from the ashes,
knowing that from those remains comes
A new beginning.

Then I asked them to write a poem using that as a model. They could use a list of things to describe themselves and every sixth line had to begin with I am. I sat back as they began to write. When we shared what we’d written, their descriptions of themselves surprised and delighted me. These women were bruised, but not broken.

Here are some of their words:

I am summer,
still as a steamy afternoon,
alive with promise,
the sky is mellow, like an vanilla cookie,
comforting, like my grandmother’s hug, my daughter’s warm hand.

I am a diamond,
a complicated pattern of emotions,
joy, grief, anger and love,
compressed into a perfect, admired jewel,
sparkling and priceless.

I am navigating solo through my life,
the space between sinner and saved,
so much like my other
of a lifetime ago.
similar on the surface, changed inside,
learning the ropes, getting burned, but holding on…

I am hopeful.

Permission to Enter, Please

Each woman stood at a doorway. Some walked through, eager to begin their journey of self-discovery. Others hovered, waiting for guidance. One woman locked her emotional door and left the class. She thought the demons behind that door were just too huge and too powerful to conquer.

My doors differ from a fellow teacher’s doors and from our students’ doors, but they exist. Some people swear they don’t harbor “emotional baggage”; they bury it in a place no one can touch. Instead of the ground though, they’ve buried it behind that door. Each time something terrible happens it gets shoved “in there.” And another padlock is added to that door, until its weight bears the soul down.

I began journaling again during a severe depression. I retreated to my journals to heal, to find a way to live my life with happiness and purpose. Writing created a bridge between my past and the future, between my fear and courage. I soon realized I possessed everything all writers have—paper, pen, language, my mind. I required no special talent, skills or experience—only a willingness to explore my despair and my ecstasy.

Looking back through the journals I’ve kept throughout my life, I wonder about that girl who wrote of her life in melodramatic prose. Her first journal entry is at twelve years old and her letters sit like fat little balls of dough on the lines. At sixteen her free-spirited strokes glide across the page like sails on a boat. Sometimes though, her writing resembles a soul searching desperately for a body as her words trail down the sides and across the bottom. It’s as if she’s afraid she’ll run out of time and forget what it was that was so important. Nothing is written in passive tones; it’s all emotion and angst and tears.

Journal writing is not second nature though, and there have been times in my life that I’ve reduced it to a luxury, something I only do when I have time. But I’ve learned self-care is anything but luxury. Self-nurturing provides the foundation for a fulfilling life. Journaling can be a vital component of that journey.

Moving Beyond

Each of us has unique stories to tell, yet we shy away. When we write to express our feelings, we often censor our true thoughts. When the raw truth puckers our taste buds, we deny the specifics rather than confronting them head-on. Perhaps telling it like it is, rather than how we wish it to be, is not so easy. Editing our words, or sugar-coating the truth, makes swallowing easier.

journal writing isn’t about writing a masterpiece with grammatically correct sentences and stunning phrases. It’s about telling the truth, your truth.

Perhaps you’ve thought of writing, but the time didn’t feel right. Or maybe you thought you didn’t have anything to say, or felt that you couldn’t put pen to paper (or fingers to a keyboard). But journal writing isn’t about writing a masterpiece with grammatically correct sentences and stunning phrases. It’s about telling the truth, your truth. Your words, the color of ink, the slant of your handwriting, and the doodling (or lack of it) makes these stories uniquely your own. There are no deadlines, grades or judgments. Only you determine the start and finish.

Your stories, like fingerprints, memories, emotions and way of processing information make you unique. Dressed up truth is like donning gardening gloves when you’d really rather just stick your hands in the cool, dark earth.

If you can’t delve into the garden with both hands, try using a shovel first, working on the border. Instead of stepping into the middle with a shovel, sit on the edge and examine each event in your life as you would examine a weed or a flower. Write about what you saw one day, what you felt the next. Take baby steps. Remind yourself that expressing your story without censorship is necessary and beneficial.

When you’re ready, take off your gloves. Give yourself permission to bleed and then heal.

We are not who we present to the world, but a complicated tapestry of emotions, experiences and beauty that can’t be realized with a cursory glance. Like the underside of a tapestry, our journals reveal the loose threads of life, the knots and lumps. Looking below helps us understand, even years later. Maybe our journals are more of a guide than anything else. They help us navigate our lives, and maybe they’ll help others understand us after death.

They’ll be our defense and our alibi. They’ll be our secrets, our lies and our truths.

Write it by yourself, for yourself.
Write for your loved ones, your children, your parents, and your significant other.
Write for someone not born yet.

Here are a few suggestions for rediscovering you within your journal:

1. Make Sense of Pain

Write down your traumatic experience using your five senses and your feelings. Keep writing until it becomes less painful and loses its power to hurt you. If you have a chronic or life-threatening illness, for example, a journal can be the perfect place for you to discover your inner strength.

2. Take Control of Your Life

Instead of worrying, turn to your journal. Draw a line down the center of the page. On the left side list what worries you and on the right side list what steps will help you resolve the issue.

3. Stay Focused and Motivated

Whether you are trying to reach a weight loss goal, a financial dream, a spiritual plateau, or an educational aspiration, use your journal to log your progress.

4. Use Your Journal to Practice Positive Thinking

Taking time to list at least one thing you give thanks for. Finding and focusing on at least one positive thing in your life makes it hard to paint your whole world black.

5. Make Scribbling in Your Journal A Happy Habit

Pick a comfortable spot with minimal distractions and try to write for at least 15–20 minutes a day, depending on the subject. A log-type journal requires daily entries while major life issues are best dealt with if you write for a few days in a row.

Julia Rosien wields her pen for newspapers, international magazines and various on-line venues. She teaches creative writing at a women’s penitentiary, and at community college. Words she tries to live by: “Happiness is a way of life, not a destination.” You can find Julia Rosien at her website

Dry Dock: When Real Life Takes Writers Ashore

By Sarojni Mehta-Lissak

To set things straight, I am not a writer who suffers from writer’s block. Yes, the occasional lull passes through me and I feel stymied, but writer’s block is not my issue — real life is. Since becoming a writer, I have seen patterns emerge that interfere with my writing life; those life events that fall into our paths regardless of our professions, circumstances we must tend to which take us away from writing.  Yet, I have come to see these periods not as fallow, empty or unproductive, but as quiet times, absorbing times, periods when we come out of the water — as a ship in dry dock — while we take care of life’s responsibilities.

All of us experience low points in life and make the necessary adjustments to cope with these challenges. Writers are no different. When crises hit, we too, must take time away from our work to find solutions or tend to issues that hopefully are short-lived, but can be chronic and ongoing. We’re lucky if it’s simply a plumbing problem, but often it is taking care of an aging parent or tending to a sick child.  What’s important to realize is that these times away from our writing are not really “lost” times, they are simply periods that are dormant, because they must be, as we turn our attentions off the page and to the problems at hand. Though we are not actively writing, we are collecting images, documenting events, and absorbing our life circumstances to use in future writing.

Being in dry dock allows us to take in life, deal with the concrete nuts and bolts of it, and then get back into the water — the writing life — with a renewed depth and a broader range of material from which to draw upon. I have come to resist these quiet times less, as I realize that almost on a daily basis something happens which takes me away from my writing, whether it’s a family concern, a load of laundry or even a phone call from a friend.

As all writers know, our need to produce constantly and regularly is almost obsessive — perhaps even uncontrollable — yet we must allow ourselves to be freed from this strong need in order to attend to the practical aspects of daily living. We must believe in ourselves and in our capabilities. We must know that we can indeed, retrieve our words and thoughts at a future time to write about them when life is not pulling at us so vehemently. If we wrestle with this dilemma, then we are wrestling with ourselves, for life will continue to happen, regardless of our being writers.

I recently had an illness and found myself in bed for three days — nowhere near my computer.  I actually didn’t miss being in my office because my focus was on getting better; writing was simply at the bottom of my list. Yes, I was conjuring stories and articles in my feverish delirium, but I didn’t have a compulsion to get up and write. I tried to have trust in myself that these inspirations would reappear at a later time if I were meant to write about them. I think this is why writers are at times so tormented; perhaps we feel that if we don’t write, right now, it will all evaporate and be lost forever. Though pens and notebooks are great companions, we must trust in our ability to retrieve our words.

We are the captains of our own ships and we can choose to remain at the helm when in water, or when in dry dock. Life will continue to infiltrate our writing time and we can continue to resist it, unless we look at these breaks as times of gathering. Even though our fingers are not at the keyboard, if we are open to the experiences falling into our paths then we can use what we have learned for better writing in the days ahead. This is when we can incorporate the range of emotions and circumstances we have collected . . . until we sail once again to the open seas, as writers filled with bounty.

Sarojni Mehta-Lissak is a poet, fiction and freelance writer.  Her work has appeared in Wild Violet, The Birthkit Newsletter, Midwifery Today, FamilyTravelFun.com and Moondance.org. She has a website

Profit Vs. Pleasure: IRS Rules Strict on Losses

By Julian Block

Those obliging folks at the IRS allow write-offs to ease the pain for losses you suffer in ventures entered into make “profits.” But long-standing rules disallow deductions for losses incurred in pursuing “hobbies.”

Because of that distinction, the feds program their computers to bounce returns that show full-time salaries and other sources of income offset by losses from sideline undertakings that turn out to be hobbies — writing, photography, and painting, to cite just some of the activities that are likely to draw the attention of the tax collectors.

How do IRS examiners determine whether your intention is to turn a business profit from, say, your writing — or just to have fun? They get their cues from Internal Revenue Code Section 183, which provides guidelines on how to distinguish between a hobby and a business. To take advantage of Section 183, you have to establish a profit motive.

To cut down on disputes, the law presumes that you are engaging in a business rather than a hobby — with the IRS as partner who is entitled to a portion of your profits — as long as you have a net profit in any three out of the last five consecutive years. Net profit is IRS-speak for an excess of receipts over expenses. (By the way, Congress, in its wisdom, decided that writers and the like are not as deserving as individuals involved in the breeding, training, showing, or racing of horses. It conferred an easier standard on the latter: two out of seven years).

So, usually, not to worry when you have at least three profitable years during the last four. Satisfy that stipulation and you are entitled to fully deduct your expenses this year, even if this is a loss year.

A QUESTION OF “PROFIT”

What if you have red ink in more than two out of five years?  A much misunderstood point is that flunking the three-out-of-five test is not fatal. You still can establish that you conduct a “for-profit” business, provided you pass an IRS “facts and circumstances” test.

These are some of the circumstances that the IRS takes into account in determining your intention to make a profit:

  • The way you conduct your writing activities — for instance, membership in writers’ organizations.
  • How much time and effort you expend in the conduct of your writing career. The burden of proof to establish that is on you, not the IRS. To back up your deductions, in the event of an audit, save such records as queries to publishers and programs from writers’ conferences. Note, too, that employment full time in some other field (as is the case with most freelancers) does not trigger an IRS refusal to classify you as a professional writer.
  • Your success in carrying on other business endeavors.
  • The amount of occasional profits, if any, that are earned.
  • The elements of personal pleasure or recreation.
  • Your history of income or losses from writing. In particular, is there a string of losses?

Your activity has to be real work; you can not use a hobby that has no income and lots of expenses to offset other income. If you want to write the Great American Novel and have been at it 30 years, if there is no income, there are no deductions.

Copyright ©2004 Julian Block. All rights reserved

Julian Block is a syndicated columnist, attorney and former IRS investigator who has been cited by the New York Times as “a leading tax professional” and by the Wall Street Journal as an “accomplished writer on taxes.” This article is excerpted from his Tax Tips For Freelance Writers, Photographers And Artists. His publication covers key changes introduced by the 2003 tax act, shows how to save truly big money on taxes — legally — and explains the steps you should take to reduce taxes for this year and even gain a head start for future years. Julian Block has a website. His books are available on Amazon.

Writers’ Resolutions for the Newly-Published—and the Yet-To-Be Published Alike

By Karyn Langhorne 

It’s that time of year again: the time of reassessment and reevaluation, renewal and revision.  In short, it’s time to resolve.

Since we’re all writers here, it seems appropriate to use this space to make some writing resolutions for 2005, resolutions that are true for me—and might also resonate for you as well. I’m writing them down here to solidify them for myself . . . and in the hope that the public confessional aspect will help me to stick to them better in the year ahead.

So here they are, my Top Three Writing Resolutions for 2005. Feel free to adopt as many as apply to you—and Happy New Year!

1. Let ’Em Live!

If you’re like me, you probably have a least a couple good ideas every day—and maybe more. Sadly, though, most of my good ideas die quick, brutal deaths. They should be killed off by editors, agents or publishers. But those folks never even see them, never even hear about them.

Why?

Because I kill my good ideas first . . . before anyone else can.

It may be only me, but I think writers get so used to rejection that we exercise a kind of “preemptory rejection process” or PRP.  PRP means that, in the speed of thought, we talk ourselves out of viable plans, possible story ideas, and future revenue streams. In short, we save ourselves the trouble of writing out proposals, and the pain of rejection by “getting ourselves . . . before THEY can.”

When I write about it in a column like this, it’s obvious to me how damaging and dangerous PRP is.  Sure, there are times when an idea is really half-baked and needs to stay in the oven a little longer . . . and there are ideas that we probably should toss out with the trash before they stink up the whole room. But there are many more ideas that need to have their moment in the sun– or least to be offered to the world– that never get their chance because PRP reinforces our laziness and appeals to our desire to protect our tender feelings from the possibility of further rejection.

And that’s the problem. PRP thrives in a mindset that assumes rejection. But maybe, just maybe there’s an acceptance or two or twelve out there with my name on it— with your name on it.  With PRP as my default expectation, I may never know how many acceptances are possible for me, and if it’s your default expectation, you’ll never know how many acceptances belong to you, either.

The truth of the positive possibilities of presenting ideas more aggressively was confirmed by my talented editor, Selina McLemore, who, when I informed her of the deluge of ideas coming her way, responded enthusiastically.

“I think it’s great to pitch as many ideas as you can,” she said. “When editors talk to new writers BEFORE they sign them, they’ll ask questions like ‘Do you have other projects you are working on? Are you developing any other story ideas?’ You want to have as long a list as possible. Lots of ideas shows an editor you’re always thinking . . . and that’s a good thing.”

So, my first resolution for 2005 is to change my selector from “assumed rejection” to “I-don’t-know-what’s-going-to-happen-but-I’m-willing-to-give-it-a-shot.” I’m not quite willing to assume that what I submit will be accepted . . . but I’m willing to give up PRP and see what happens.

What about you? Are you squelching your ideas before they’ve had a chance to grow? Maybe you should consider resolving to replace your PRP with something a little more optimistic in 2005!

2. Review the contents of the “The Drawer” for marketable ideas and get them out there.

You know “the drawer.”  The place where dead ideas go.  The home of stories with great beginnings that never grew middles or endings.  The holy repository of finished projects that were rejected all over town, and for unfinished projects with no clear future. Every writer has a “drawer,” a file folder,  or a floppy disc (or several of them) of projects that never quite made it out into the world.

The drawer is suspended animation.

Too often, however, writers consider the drawer not as project hibernation, but as the project graveyard. Once surrendered the drawer, the project is never revived again– except in reminiscent conversations, “Yeah, I started a story about that once, but it’s gone to the drawer now.”

Opening the drawer is like revisiting the skeletons in your closet– sometimes it’s a reminder of weaknesses, a chance to confront failures. Shifting your view of the drawer from death to life means being willing to confront your failures and to see them as stepping stones to a better, stronger and more vibrant future project.

In 2005, I’ve resolved to go deep into the drawer– and to look hard at its contents. I’m going to stop looking at the drawer as “defeat” and start seeing it as a “resting place” for those projects that I either didn’t have the ability, maturity or life experience to finish back then… but that might just have a shot now that I’m older and wiser.

Or not.

The point is, I’ll never know if I’m not willing to re-read, re-open, and reconsider.

Again my editor, Selina McLemore, agrees: “If you have one idea I like, I’m going to ask you about your other ones.  Even if those ‘dead ideas’ aren’t your absolute best, it’s great to be able to present as many ideas as possible. You might say something to an editor like, ‘Well I’m always thinking, and while I’m not in love with everything, some of my ideas have been x, y, z…’ And as I said before, having lots of ideas shows me you’re thinking all the time. That’s what editors want to see from writers: new ideas, all the time.”

How about you? What’s in your drawer? Maybe 2005 is the year to revisit a project from the past– and make it your magnum opus for the future!

3. Network with other writers.

Friends are good things—not just because it’s good to have folks around you who have similar interests, but because you never know whom you can help– or who can help you! Already in my long and checkered path to becoming published, I’ve met people who have turned out to be great supporters, friends and resources (some through this column, thank you!) who have helped me in innumerable ways.  They’ve taught me that the more willing I am to share, reach out, network, and assist others, the more good things come back to me in ways both anticipated and unanticipated.

I’ve been hesitant to share in the past; partly because I’ve doubted that my experiences would have meaning or value to others. And it’s true, not everything I do or say has worth to everyone. But that doesn’t mean my words are worthless to everyone either.  Sometimes, one little comment goes a long a way to one person, and that alone is enough to make the communication worthwhile.

Are you holding back because you think your contributions won’t please the masses?  Maybe it’s time to stop thinking about “the masses,” and start thinking about the impact you might have on just one person, if you’re willing to put yourself and your work out there!

In 2005, let’s all resolve to help each other—as fellow writers and as human beings—and see what a difference it can make!

Happy New Year—and happy writing!

Karyn Langhorne is a “recovering” lawyer and a long time writer, who recently signed a two-book deal with Harper Collins. Her first novel, A Personal Matter, will be released in September, 2004. She has also written several screenplays and a play, Primary Loyalties, which was produced off-Broadway and was optioned by NBC-TV in 2000. Karyn Langhorne has a Website.

Review: Ask the Pros: Screenwriting 101 Questions Answered by Industry Professionals

Ask the Pros: Screenwriting
101 Questions Answered by Industry Professionals

Edited by Howard Meibach and Paul Duran
Lone Eagle Publishing Company
2004
205 pp.
Amazon.com price: $12.57

Review by Patrick Beltran 

Ask the Pros: Screenwriting is not your typical screenwriting book. Edited by Howard Meibach (of Hollywoodlitsales.com fame) and writer-director Paul Duran, this book does not attempt to teach you how to write a screenplay – at all. The book is exactly what the subtitle says it is: 101 Questions Answered by Industry Professionals.

Now, I have to admit that when I first sat down to read it, I did not think I was going to like this book or find much value in its approach to screenwriting “education.” A big fat frequently-asked questions (FAQ) list, in book form, for screenwriters? Containing such hoary gems as, “what makes a screenplay great?” (that was the first question of the first chapter). As a well-read wannabe, I prepared for the worst; I expected to find all the same questions and answers that I’d already read and heard in various forums, and in a thousand different ways, from every screenwriting seminar, how-to book, and advice columnist on the web.

So you can imagine my surprise when I started liking the book – and my total shock when I realized that I was actually learning from it.

Based on the “Ask a Hollywood Pro” forum from hollywoodlitsales.com, the premise of the book is deceptively prosaic: Gather a long and impressive list of working Hollywood professionals – writers, directors, producers, agents, studio executives, etc. – and get them to answer, in detail, the most common questions that screenwriters always ask about writing, selling, making movies, and breaking into the business. Arrange the answers according to question topic and the profession of the answerers, pepper the pages with sidebars to give extra details and relevant definitions, and voilà, you have Ask the Pros: Screenwriting.

But the real value, I discovered, comes not from the individual answers but from the collection itself – from seeing how each answer compares, side-by-side, with answers by similar professionals responding to the same questions. Look, we’ve all heard stories about the capricious nature of Hollywood, about the Politburo-like mindless conformity that supposedly permeates the corridors of power and leads executives to march in lock-step, regularly rejecting mega-blockbuster scripts like, say, My Big Fat Greek Wedding (“You’ve got to be kidding, right? There’s just no Greek demographic.”). Intellectually, we know that’s not the whole story – we know that good scripts rise or fall for a lot of reasons, and that somewhere on the other side of that monolithic Wall there are individual human beings with differing tastes, opinions and abilities.

Well, Ask the Pros: Screenwriting puts that diversity of opinion in stark black and white, right on the page for all to see. Sometimes the effect is comical: for example, one of the questions the producer-experts answered was, “How much does [script] coverage affect your [development] decisions?” One producer said, “coverage is very important”; a second one’s answer started off, “coverage is a waste of time”; and a third one said, in essence, “It depends.” Other contrasts weren’t so dramatic, but everywhere I looked, I detected subtle shades of difference in approach, attitude, and expectation. I suddenly realized – hey, these guys are professionals, and even they don’t agree on the best recipe for wannabe success.

This was the first, best lesson I learned from reading this book: When it comes to an artistic, creative endeavor such as making movies or writing screenplays, there is always more than one right answer.

The second best thing about Ask the Pros is its sidebar blurbs. I especially like the “Buzz Word” definitions, which explain various “Hollywood-speak” words in ordinary English. These are terms that most of us in “flyover country” (everything between NY and L.A.) don’t use in day-to-day life, but that regularly appear in industry magazines such as Variety. For instance, did you know that “tyro” means first timer? (As in: “Tyro scribe Jim Jones just sold his spec script ‘Drinking Kool-Aid’ to DreamWorks for an undisclosed six-figure sum”). Or that Praisery is another word for public relations firm? And if you ever see a film directed by Alan Smithee, you’ll know (after reading Ask the Pros) that this is a Director’s Guild-allowed pseudonym, and it is probably being used because the real director didn’t want his or her name associated with what he considered to be a train-wreck of a picture.

Ask the Pros also includes a CD-ROM with a demo copy of the latest version of Final Draft script formatting software. If you’re serious about your wannabe status, and if you want to have any real hope of ever tasting success on the other side of that Wall, then you absolutely must invest the money to buy a scriptwriting software package. I don’t care, save your dimes for a year if you need to, cause this type of software gives you 50 spoons’ worth of traction when you’re digging for that next killer script. Final Draft is one of two packages recognized and used throughout the industry (the other one is Movie Magic Screenwriter). The demo CD enclosed with this book has a full-featured copy of Final Draft that you can take for a time-limited test drive. If you like it, you can activate the full copy simply by purchasing and entering a valid serial number.

Bottom line — Ask the Pros: Screenwriting is useful for getting inside the heads of the many Hollywood professionals interviewed. Although the book won’t help you with the mechanics of writing a script, it will give you a clearer picture of how the whole Hollywood success thing works (or doesn’t). It also helps prepare you for what you’ll encounter once you type “The End” and want to scope out which section of the Wall you’ll slam yourself into first. It’s a first-rate spoon, this one: I give it an A. Now go, young wannabe tyros — dig and be happy.

Patrick Beltran is a screenwriter, independent producer, and freelance writer who works as an IT professional during the day to pay the bills. He lives in Virginia with his wife and three daughters

Sales Tracking: New Ways to Drive Yourself Absolutely Crazy

By Karyn Langhorne

Just when there’s no more re-writing and revising . . .

Just when the book is finally on the shelves . . ..

Just when the efforts at promotion seem to be finally paying off . . .

There’s something new to worry about.

Sales. And a fresh crop of ways to drive an author attempting to build a career completely crazy.

Let’s start with the one of the most-widely known and easiest to become utterly and completely obsessed with: Amazon.com.

As most of you know, Amazon ranks books on its site according to number of copies it has sold. When you research a book on Amazon, you’ll find a little number that indicates its sales rank in comparison to the other million or so of books listed on this mega-sellerÆs website.

On the first day of its release, A Personal Matter/cite> ranked 1.3 million—dead last, or close to it, I’m willing to bet. A few days later, the book had risen to a rank of 52,000. A few more days later, it jumped up to a ranking somewhere around 8,000. When it climbed to a number in the 4,000 range, I started imagining myself making the top 100, seeing myself in reach of the Holy Grail—Amazon’s numero uno

Until it fell back to 8,000-something the very next day.

And if that wasn’t bad enough, that same day, I learned that Ingram Book Group, the book wholesaler responsible for supplying many libraries and independent bookstores, has several tracking tools authors can use to monitor sales . . . and drive themselves even crazier.

Apparently, Ingram tracks the Top 50 Titles by Demand in a number of categories. Since A Personal Matter is classified as a romance novel, there’s the Most-Requested Romance List, a weekly run-down of who’s hot . . . and who’s not. I haven’t figured out how to access this one yet, but when I do, I’m sure I’ll just have to add it to my weekly “things to do” list. You can also call Ingram and check out your progress through their automated stock report line. (1-800-937-8000, then press 4, then press the ext # 36803.)

You can learn lots of useful things with a simple phone call. The automated stock reports hotline can tell you: whether Ingram had to reorder your book (which is always a good thing); how a new book is selling compared to a previous one; whether demand for earlier books increases when a new book comes out.

New York Times top ten bestseller Sherrilyn Kenyon, author of Night Play and the upcoming Seize the Night, recommends that obsessive authors making their first call to Ingram’s stock line need to call in before the book hits Ingram to see what the pre-order is. The average midlist author will have a preorder that falls between 700-1500 copies. While she adds that there are a few authors who are above 5,000 — and even some above 10,000 — there aren’t many who fall into that category. Armed with the pre-order numbers, an author can use Ingram’s stock line to get an overall look at how the book is doing.

But Sherrilyn is quick to remind excited newbies (like me) that Ingram, as an on-demand distributor, is just a small part of the overall market and while the information is helpful, it’s like looking a single slice of pie and calling it the whole.

Of course, I had to try it. Had to. Right away.

It was too late to check on the preorder — my book had already been available for a month when I found out about Ingram and this automated stock line. So I just had to dive in and find out what I could. I dialed tentatively, with the same hesitation I now feel when I visit Amazon.com. Will the news be good? Or will it indicate that there’s no demand for my book whatsoever?

I learned that Ingram has 219 copies of A Personal Matter in stock . . . and that it shipped 13 this week. Since August 31 (release date) it had sent out 384 copies.

Thank goodness — someone bought a few copies of the book!

But beyond that, I understand the caveats of my betters. I’m not exactly sure what this information means . . . any more than I’m sure of what the ranking numbers (beyond, let’s say, the top 100) on Amazon really tell an author about how a book is doing in the wide world out there.

Which means I’m going to have to ask some more questions.

Next Month: The skinny on how publishers track author sales.

Karyn Langhorne is a “recovering” lawyer and a long time writer, who recently signed a two-book deal with Harper Collins. Her first novel, A Personal Matter, will be released in September, 2004. She has also written several screenplays and a play, Primary Loyalties, which was produced off-Broadway and was optioned by NBC-TV in 2000. Karyn Langhorne has a Website.