I got home this morning, brimming with enthusiasm and yes, a little hung over. (There was a social event in a pub on Saturday night and I had a few too many Stellas. Well, that happens, we creative types like to dive in the deep end.)
The Emerging Writers' Festival was a two-day event at Town Hall in Melbourne. There were 'skills sharing workshops' and 'panel discussions' and other hour-long sessions to go along to. I signed up for two skills sharing workshops and circled about eight panel discussions on the timetable, and managed to go to most of them.
To cut a long story short, here are ten things I learned this weekend, and a few I didn't:
1. The best way to be productive is to find a corner of your house that is entirely yours, and set up your computer right there, and call it your Office. Get out of your pyjamas and go to your Office every day, at a regular time even if you don't have any ideas when you first sit down, and just write. Respect the fact that you are a writer, respect your work and take it seriously.
2. Don't talk about your writing, ad nauseum, to anyone who'll listen. Don't talk; write.
3. Plumbers don't work for free. If someone asks you to write them something, maybe just a quick piece, 500 words on traffic jams or a couple of columns for their new blog... tell them sure, happy to help, here's what it will cost you. Remember, you're a writer, this is your job, and plumbers don't work for free.
4. Sometimes your work just isn't good enough. If you've been rejected seven or eight times, it's possible that you just aren't good enough. Get someone to look at it with a critical eye. Rework the second half. Be brutally honest with yourself or get some brutally honest advice. What happened to JK Rowling (got rejected dozens of times) is the exception to the rule.
5. Don't send your work to every single publisher and hope that someone bites. Research the publisher, see what they've published in the past and if their past work is like yours, then send them your manuscript. Don't send your sci-fi novel to the company that publishes vegan cookbooks.
6. Get a manuscript appraisal, but find out who will actually do the appraising. Make sure that person knows the genre. If you send it off for a generic appraisal the advice wont be helpful, it will be generic. If you're going to pay for it, make sure you're paying someone who knows what they're doing.
7. If you write something, whether it's one sentence or five chapters, and you think it's a little off, if there's a niggling voice in the back of your mind that thinks you could do better, then you should change it. Don't leave it there for the editor. Don't give your manuscript to an editor until you're as happy with it as you can possibly be.
8. If you can, get a mentor. Find someone who knows about writing in your genre and ask them if they could help you. If you have the opportunity, go a Writer's Retreat. It will be worth it.
9. An Emerging Writers' Festival wont necessarily tell you HOW to write.
It will tell you about the 'banquet of resources' available to you, the pitfalls and
risks, the benefits of a good writer/editor relationship, the need to
address your cover letter to Mr Publisher or Ms Publisher, not To Whom
It May Concern, and that if you ever do actually get published, there's
no other feeling on earth like it. But if you're an emerging writer
and you still aren't sure how to develop a character or write snappy
dialogue, you're in the wrong place.
On Saturday night there was a poetry reading/story telling/live performance event for all the emerging writers to go along to. Standing in front of me at the bar was a woman from a small, independent publishing house who had spoken at 'The Pitch' session, where publishers told the audience how they would like to be pitched to. She had ended her four-minute spiel with "good luck!" and it occurred to me, staring at the back of her head in the queue at the bar, that she was the only person who had said something directly, deliberately, pointedly positive to the crowd. By the end of the weekend, I'd heard it from a couple of others, but out of a couple of dozen speakers and professionals and lecturers and teachers
and editors and publishers and screen-writing experts and facilitators
at an Emerging Writers' Festival, only a few wished us luck and
talked to us as though we are about to embark on an exciting journey
and this is the start of something big and isn't it wonderful?
Everyone else told their cautionary tale or described the
loneliness of the writer's life or the fact that you can't break into
the business unless you know someone or just painted a picture so utterly
bleak that we were left wondering if there is any way we could ever, actually,
possibly come close to having a manuscript accepted by a real-live
publisher, let alone published. I tapped her on the shoulder and thanked her for being so positive.
A few hours later I sat by myself in wagamama's and thought about the purpose of an emerging writers' festival, and what makes an emerging writer different from an established writer. I couldn't help thinking about my kids, and particularly about Ella, who has started playing soccer for the first time this year. She was so nervous last week before her first game that she wondered if she was even going to be able to do it - this from a kid who can canter a horse and smash a baseball and leap tall buildings in a single bound. She's good at many things, but they don't give her confidence to jump into something new; she has to be jollied along and encouraged and enthusiastically cheered from the sidelines, preferably with pom-poms.
So who were these people at the festival, telling nervous, self-deprecating, doubting emerging writers that writing was hard work, that few people ever succeed, that you can try and try and persevere but there are no guarantees that a publisher will even read your manuscript, let alone consider it for publication or return your calls? Of course we know the odds are ridiculously against us. You don't need to tell us that. So what can we do to shorten those odds? Give us something we can work with.
While waiting for my salmon ramen, I wrote the following letter to myself in my journal:
I will write this book not only because I want to get my story finished but I need to prove these people wrong. I've got a 7 year old and a 10 year old and half my life is spent cleaning their clothes and cooking them dinner. The other half is spent telling them THEY CAN BE ANYTHING THEY WANT TO BE AND THEY SHOULD IGNORE OR BE ENERGISED BY ANYONE WHO DARES TO TELL THEM OTHERWISE.
I'm going to write my story - I've never felt more determined - because I can. And I enjoy writing. If it turns out to be shit, so be it. But I'm not going to NOT write it because a handful of people at an Emerging Writers Festival subtly suggested (deliberately or not) that I shouldn't waste my time.
Sincere thanks to the speakers at the Festival who were inspiring or interesting or just struck a chord - Karen Andrews (of course!), Daniel Ducrou, Matthew Clayfield, Jane Gleeson-White, Shane McCarthy, Marie Alafaci and the guy at the Pitch skills sharing session who said you can just send your story into The Age Travel section and get lucky, so what the hell are you waiting for?
If I write my book and get invited to speak at the 2010 Emerging Writers' Festival I promise to bring my pom-poms. Which brings me to my final lesson:
10. Emerging writers are just seven year old kids, playing their hearts out and hoping that someone on the sideline thinks they've got potential.
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