…in which I chat about petty (temporary) theft, chapter breakout summaries, outdated technology, talking with potential new clients for my agent, and the art of multitasking.
…in which I chat about petty (temporary) theft, chapter breakout summaries, outdated technology, talking with potential new clients for my agent, and the art of multitasking.
Hey there! It’s May (June? It’s June? Wow, I forgot what month it is. Month #6). Here’s a random list of the things I’ve done over the past year:
I have to apply for my own job. I know. It sounds weird. It is.
I’m getting hired as a permanent employee instead of a contractor, but they still have to go through the interview process. Part of that involves updating my resume, which is a whole different beast. But part of it is pretty straightforward:
Have a stellar writing portfolio.
Writers are in the unique position that it doesn’t matter as much what your experience or job history is. What’s important is the writing portfolio. (The same goes for designers and illustrators.) You could have 2 years of experience or 20, but if your writing/art is stellar (or crap), then that’s what counts. It’s what they look at. Beyond that, they look for typical interview stuff: do you fit will into the team, are you clever, a fast learner, organized, filled to the piping brim with initiative?
Putting aside interviews and resumes, I’m going to talk about how to tailor your writing portfolio to the job you’re after, and what really makes it shine. (Grain of salt: if I don’t get my job back, then feel free to ignore this advice and also give me free cookies since I’ll be terrible and despicably jobless. Oatmeal raisin.)
If you can, include material that demonstrates you either have knowledge in the area tey are concerned with or that you are capable of communicating content clearly when you don’t have a background in it.
Here’s what this says to an employer:
- This employee can understand materials that they don’t necessarily have expertise in.
- Can work collaboratively with others when necessary and deliver a final product.
- Can display and interact professionally and present work to authority figures.
There you go! You just took that science presentation from college and made it into a business experience asset! And make sure that if they ask you about your writing samples, you expound on these skills.
Remember, they don’t necessarily care WHAT your writing is about, but what it says about your skills as a writer!
An interview and portfolio is NOT the place to discuss how you’ve written five books, 231 short stories and 23,000 poems but still haven’t gotten published. You might think “look how much I’ve done!” but they’ll think “and you don’t have ANY publication credits, yikes!”
Avoid the bitterness and suppositions that come with the numbers. Focus on the hard work of the process. There’s a method for using creative material to your benefit.
Let’s see that same format again, but this time for creative material.
Novel Excerpt: THE NAMELESS QUEEN
Mentioning the representation is sort of an ethos thing to prove that my work has the snuff to get represented and published. If you are citing work that isn’t published or represented, make sure to keep it succinct and clear.
Here’s a (not-so-secret) secret about writing: people think it’s easy. They think you write a book as a weekend hobby, and then you’re magically a mythical portmanteau between JK Rowling and Stephen King. They think you’re a Jphen Rowlking. Or something.
So if a potential employer asks about your Work-in-Progress (or even if you’re published), make sure you give them just enough insight to show them the hard work involved, but not enough to seem like a bitter wannabe.
Here’s a good example:
Interviewer: “Oh, I see here you’ve written a book? Are you going to get it published?”
You: “That’s the dream, isn’t it? Writing a book is all about time management and dedication, and it really involves a complex process of drafting, multiple revisions, fielding external feedback, and then marketing the book for representation.”
Did you hear all those buzz words in there? If not, I bolded them for effect. You can turn writing a book (what most people think of as a hobby for old folks and hermits) into a business venture. If they ask for more details, be prepared to discuss your life’s greatest passion as if its a logical business project. In reality, it is. You want to make sure your attitude and tone reflect that. After all, you’re after a job here, not validation for your personal work.
If you’re struggling with what to pick, just do the first 250-300 words. That’s the equivalent of the first page, which should be a stunning example of your writing. After all, that first page has to convince agents, editors, and readers alike to keep reading–so why not convince your future boss? If you’re not feeling confident enough to include it in your portfolio, don’t. It’s better to have a few excellent writing samples than a bunch of crap ones.
Be prepared to include unique forms of writing and associated work. Especially if you’re lacking a good number of pieces to include, it’s a good way to pad the portfolio and display diversity.
In fact, try not to have more than one of the same type of work. Don’t include three excerpts from your various unpublished books or two essays about similar renaissance literature. You want to display DIVERSITY. Show them your broad range of skills.
A lot of what you put in there will depend on what the job description is and if you have anything that can remotely display exposure or expertise in those areas. This is the same as the technical materials section. Use what you have to show how adaptable you are.
The diversity of your portfolio should shine and show that you are capable of tackling different types of projects with different types of content.
They’re going to ask you about your writing excerpts. Or at least they should. Or at the VERY least, they’ll be holding onto the portfolio to look it over when you’re gone.
If they DO ask about any of your writing/work samples, make sure you can speak about each of them in an educated, professional, and objective way.
If you use fancy English terms, like syntax, copy-editing, proofing, etc., know what they mean! And know how to explain what they are or how you do them to an interviewer who may not have writing experience.
For instance, if they ask about your book excerpt, etc., be prepared to discuss (briefly and succinctly, as always) the differences between drafting, revision, and proofing, and the different tactics and timetables for each. Or be able to display that you know that different areas of writing require different focuses.
Be prepared for people to think you are a secretary or that a secretary can do your job. Be prepared, but don’t believe it.
Like I mentioned before, people think writing is easy. They think anyone can write.
But not everyone can be a writer. This is something that a lot of people (and maybe even your boss or boss’s boss or coworkers or friends/family) don’t understand. So if you’re being hired by someone who knows a lot about writing and English in general, that’s great. Prove you know your stuff.
If you’re interviewing with people who don’t quite understand what goes into it, be sure to give them the “creative writing as a business venture” impression. Throw in some technical jargon that gives them flashbacks to High School English. Mostly, make sure they have a sense that you know that solid technical, professional, and creative writing are all difficult and challenging pursuits with a myriad of details to know and tackle, but also make sure you convey that you are more than willing to do that hard work.
This goes for any interview, really. Don’t make it seem like your job will be easy, because they’ll think you’re just not trying hard enough or you’re not equipped for it. Make it seem like a challenge you are willing, ready, and motivated to take on.
In the end, that’s the type of employee they want to hire.
I came across an article recently that had a really catchy message. The headline was something along the lines of “Writers Need to Get Paid”. The article went on to begrudge used book stores as a resource for readers. The reason, the argument said, was that the author doesn’t get paid when someone purchases a book from a resale shop. The solution, the argument argued, is for consumers to purchase e-books. The reasoning behind this is that e-books are often similar in price to used books.
Fair point there. If you have a few bucks and you want to read a new book, maybe it’s easier for you to download an e-book than to peruse the dusty shelves. And yes, the author gets a royalty for the e-book whereas they don’t for the used/resold book.
But the article went on to say that used book stores (and libraries to boot) were abominations that needed disassembly, dismantlement, and disparagement.
And no one disses my libraries, bro!
So. I understand the article’s outrage. Authors do not typically swim in the dough. Partly because the market is tough and complicated and huge, and partly because we, as writers, get distracted by the difficulty of swimming in a viscous substance like dough. But that’s a metaphor for ya–helpful until it confuses you.
The article in fact began with the statement that Writers Need To Protect Their Interests–in a very stand with me against the evils of corporate greed way. Except, instead of railing against corporate greed, the article railed against small business greed.
The article was a slam against the resurgence of used bookstores, given the fact that used bookstores don’t actually produce income for the writers themselves. Ergo, argued the article, used bookstores should die instead of revive, because we should care about the author and not the bookstore.
*contains energy of a thousand suns*
This either doesn’t take into account or ignores the way a market works. It also demonstrates a focus so zeroed in on the authors that it sidelines the even more important player: the readers.
Yes, authors are important to the buy/sell system of books, but you can’t dismiss the readers’ roles. (For those of you who understand markets and business and math better than I do, it’s the consumer.)
Indeed, the article started off with the proposition that we consider writing and publishing and getting paid like a business instead of just a fuzzy-feeling-hobby. And I totally get that. Wanting to have validation (in the form of dough, cookie dough, doughy-eyed looks from an adoring public, [running out of dough phrases]… and… doughnut something something relevant imagery) is an important part of producing art.
So, putting aside my doughy-heart of I-love-libraries-and-bookstores-and-art-for-the-sake-of-art-ness, my biggest issue with the article was this:
The article disregarded the importance of the resale market. Yes, re-selling goods doesn’t pay the original seller/creator. And yeah, that kind of sucks for the creator. But this isn’t something restricted to used book stores.
Flea Markets, Clothing Resale shops, Goodwill Resale stores, second-hand anything shops, E-bay, personal sellers on Amazon, garage sales, selling your old TV to that kid down the street who really wants to suffer in the independence of living in the garage, but he totally needs a TV still.
The importance of the resale market, I think, is two-fold:
OK, I know, I know. This isn’t the same thing as separating your plastics from your cardboard. But it is.
You’ll notice I rearranged the “reduce, reuse, recycle,” phrase and added an extra one. That’s on purpose, because it illustrates how people treat material objects when considering money.
It looks like this:
What does this mean in the realm of writers and their books?
It means that if a person can’t flow through the process of acquiring and releasing and re-acquiring objects, they will simply stop buying those things in order to prevent either a massive build-up of Things or a massive build-up of debt. If people are only allowed to acquire and access books at their market price, you won’t see an incline in sales or popularity—you’ll see a decrease.
And you don’t want people just to throw things away when they are done with it. That’s being wasteful on all accounts. It applies to clothes (resale), food (leftovers and charity donations), books (resale and donations), and, well, everything!
Speaking from personal experience, if I had to buy every book I read growing up, I would be at a vast cultural, educational, and personal disadvantage. That is to say that I would not have been able to read all of the books I did.
Because, to put it plainly, people can’t spend money on books (or any luxury) when dinner isn’t on the stove yet. That’s the beauty of libraries—putting books and knowledge and entertainment and joy in the hands of everyone, regardless of class and income.
And let’s twirl it around to get a full perspective on resale markets:
Whether it’s food, clothing, materials, or anything really, a resale market is vital in order to allow people of lesser means to function and survive. Resale markets are necessary. And they aren’t going to go away.
Markets exist on all levels, resale to wholesale, because the economy and income and luck are vast, complex, and sometimes disparate.
Yes, it’s a bummer that writers don’t typically make bank–and sure, there are aspects of the system that are unfair.
Chances are, you’ve been able to survive or simply benefit from having resale markets available, and I’m absolutely certain that you’ve benefited from libraries (tax-funded education) and schools (tax-funded education).
And I know this mostly because you can read this, which is a luxury and privilege that so many assume is a burden and a right.
So keep reading, keep sharing, and keep learning!
I was at a coffee shop last weekend with Twister (Twin Sister). Coffee, coffee cake cupcake, more coffee, and basically more coffee.
We were discussing things about writing:
While we were mid-discussion, a group of people pulled together a few tables beside us. A few people gathered over time, and it ended up being a table with about 7 people.
Because I’m a secret ninja spy with terrible eavesdropping skills, I maintained a super level of coolness with Twister whilst occasionally turning my ear to their table.
They discussed Divergent books and movie adaptations, character development, the risks and rewards of second person POV, and past experiences they had with critiques. And one of them was drawing something for her book, and it was GORGEOUSLY FANTASTIC. I wanted to snag a picture of that picture, but I felt leaning over and snapping a photo was probably a step too far.
Yes, I was probably listening more than I should have.
(To be fair, they were literally one foot away.)
((To be additionally fair, it wasn’t so much “intentional eavesdropping” as it was “overhearing words someone is speaking one foot away in the natural lulls of conversation”))
Basically, what I had stumbled onto was OTHER WRITERS. Out in the real, proper world! IN THE WILD. Wild Writers, as it were.
Putting aside the narration in my head (a la: here we are in the natural habitat of the elusive Writing Group–the coffee shop. If we’re quiet, we might just see them in their natural social habits), I spent a good chunk of my outing working up the nerve to say HI.
Not just because I wanted to try to encourage Twister to see if she could join, and not just because I wanted to confirm to them that I’m a pseudo lunatic writer who semi-stalked them through their group meeting. But because I wanted to be brave and say hello.
Writers can be an introverted breed.
So more than anything, I wanted to take a measured brave step toward How To Human.
Just like blogging, writing, public speaking, traveling, taxes, and cooking, it takes practice.
And the conclusion was good, too! I met another writer whose name is Becca. I learned that they were a writer’s group from a (relatively) local library. I got a dash of contact details.
I thought I would be nervous or afraid to speak to them. Granted, as Twister so very helpfully pointed out IN THE MIDDLE OF OUR INTRODUCTIONS, I successfully completed my transformation to a red, red tomato.
BUT! I found, at the end, that I wished I had spoken up earlier, as opposed to getting last minute details before leaving. Not that they would have appreciated me muscling in on their group, but it would have been nice to do a general info-trade. Like what genres or story forms we write, how long we’d been writing, everyone’s real name and such.
So at the end of it all, I wasn’t regretful of my nerves or fear, I only regretted that I hadn’t been brave sooner.
Which, I think, is something most of us can say about bravery and regret.
I recently quoted Amanda Rawson Hill as a Quotable Blog Post:
When you have to shelve another book and start over, you have to change your thoughts from “this is hopeless” to “This will be an amusing footnote in my life story.”
This quote from her excellent post on changing how you tell your own story struck me. Right in the feels.
Amanda’s post discusses how to keep keeping on as a writer when you feel like your career or dreams are stagnating.
This applies to all areas of pursuit, I think. All dreams, careers, sports, schools, rivalries, friendships, and just everything.
If you’ve been stalking my recent blog posts (x, x, x), you know that I recently became a client of New Leaf Literary & Media Inc., represented by the very wonderful Pete J. Knapp. Getting an agent is a HUGE deal on the writing journey toward publication. Agents are beautiful mythical creatures who guide you through the business of your passion (deals and rights and contracts and submitting to publishing houses).
So it’s a big deal.
But as with any journey toward a dream, there is a lot of self-doubt along the way.
How did I deal with it?
Well, Amanda had it right, I treated any downfall and deflation like an amusing footnote in my life story.
And it brings along The Three Feelings of Perspective (yes, yes I did just make up that title).
I wrote 4 and multiple fractions of books before The Nameless Queen. After each one, I had that feeling. The feeling of:
1. I have just finished an entire book and will soon by ruling the world! Come throw rose petals at my feet, mere mortals!
Of course, that was each time quickly followed by feelings of:
2. It will never be good enough to grace the shelves of my lovely mortal fellow humans, so I’m going to crawl under this here boulder for a while.
BUT! That feeling was just as quickly followed by:
3. I know I can do better. I know I can make something better than what I just did. And someday when I see my debut novel on a shelf*, the books I’ve written before will just be a number.
I’ll say, “Yes, I wrote X Number of books before I got published. And you know what? This is the one. Yes, my first book will always hold a special place in my heart. Then there was that one book I wrote, finished, and never touched again. Then there was that one that went on and on and on and on and I never got to the end. But that’s okay, because those are all just footnotes in my life story.”
After all, you only debut once, so you want it to be the best you can do. And then, after that, you have your whole life to keep writing and writing and writing. Years from now, the huge moment of getting an agent and getting published and being a debut author… those will be the highlights of the long story of Our Lives, and the moments that seem so big and tragic and full of doubt, will just be footnotes.**
And the same goes for your career and your family and your friends and travels and experiences and loves. There are footnotes and highlights, and it’s all a matter of time and perspective.
*the ultimate shelfie
**just in case your feeling a bit nihilistic: Yes, we are all footnotes in someone else’s story. But your story is the one you get to tell.
That’s the good stuff. Some dandy ole diatomic oxygen. Good for the soul (and respiratory system). I highly recommend committing to this resolution at a near-constant rate. It’s important to have a good give-and-take method, to strike an even balance. Once you hit your rhythm, you’ll be surprised at how much clearer and stable your life becomes.
Whether it’s catching some Z’s in the carpool or snoring into the fluffy drool-catchers we call pillows, the hottest resolution this upcoming year is definitely sleep. People everywhere are excited to dive into this fab trend. We’ve heard great feedback from people who tried this last year. Just check out some of the responses:
This is one of the most controversial resolutions of this year, but it’s catching a lot of support from all ages and demographics. “Eat food” is the mantra of the new year. We recommend you try to stick to this resolution at least 3 times per day. That’s a big scheduling time commitment, but you won’t be sorry!
Chairs, sofas, cars, flat surfaces, tree branches, beanbags… people just can’t get enough of sitting down! In the terrible epidemic of “standing” that has plagued the recent generations, people are really going back to their roots with this resolution. The best part is that you can work this seamlessly into your current schedule! Sit in the car while driving to work, sit at a table while eating food, or just sit down and breathe! This resolution really is flexible and pairs nicely with many other resolutions and a nice white wine.
Whether it’s a 2-word or 12-page text, a nicely worded email, a phone call, or a few terse words to the cashier who refuses to accept your yesterday-expired coupon, communication is key. This year, resolve to take that extra step. Make eye contact with a stranger, awkwardly wave at the person in the next car, say or type some words to people on The Interwebs. You won’t know how easy this is until you try! But it’s not for everyone, so make sure to think it through. Paying for groceries, commenting on a blog, saying HI to a relative… make this New Year something to remember!
This is the ultimate self-fulfilling resolution. Check it off the list just to check it off the list, and you’re already one step closer to checking MORE THINGS off the list!!!
All images in this post were made by yours truly*
*PS: “yours truly” is me**
**are you allowed to put a post script in a footnote?***