going viral--with enthusiasm, that is

I've taken a couple of weeks out of the writers success series to pay homage to some of my favorite people (who also happen to be writers), but I'd like to resume with the next lesson in the Law of Success book: enthusiasm. Rather than use Napoleon Hill's definition, I'm going to refer to another in the consciousness movement, Eckhart Tolle.

"Enthusiasm means there is a deep enjoyment in what you do plus the added element of a goal or a vision that you work toward. When you add a goal to the enjoyment of what you do, the energy-field or vibrational frequency changes."

That last bit probably sounds like a bunch of hocus-pocus, happy-crappy new-agey stuff, right? But think about it. Ever been around someone who was enthusiastic about a certain task, such as cooking or organizing a closet? The task itself not only became less daunting, but enjoyable. The momentum to do it shifted, and the task probably got done quicker than if you/they had approached it with dread.

Perhaps my favorite student evaluation comes from those who say, "Professor Lorello's love for writing made me want to love it, too. Or at least like it." Enthusiasm is contagious. It spreads not only to others but to everything we do, not just the things we normally like.

This is where the advice "Write the book you want to read" comes in yet again, because it's directly tied to enthusiasm. If you try to write a book by predicting the marketing trends, statistics of what genre readers like, or by copying the style of other writers, you'll only get so far. I'm sure I could attempt a vampire romance novel, perhaps even a mashup. They seem to be selling very well these days. But it would probably suck (no pun intended). Why? Because I'm not really into vampires. Because I wouldn't even know where to begin, other than a vampire who is remarkably similar to Ferris Bueller. Because I wouldn't have much fun writing it. It would be laborious, tedious, quicksand. It would be mudpiles rather than sandcastles.

The enthusiasm you have for your book will spread to others. They'll enjoy reading it as much as you did writing it. Ever watch a musician who is just having the time of his life on stage? Makes you wanna pick up a guitar and join him, even if you don't know how to play. Years ago, when I went to see Brian Wilson perform the Pet Sounds album, he told the crowd, "Listen to the harmonies in this one--they're terrific." We laughed, but we listened. And we loved it. They were terrific.

I find that so many writers (myself included) talk about the work aspect of writing, how hard it is. And yes, sometimes it is. But more often than not I find myself approaching it willingly, happily--yes, enthusiastically. And when I do, the time passes in a flash, the words practically jump onto the page, and I don't care whether it's good or bad. In fact for me, the "goal or vision" I worked toward--making a living solely as a full-time writer--was propelled by my enjoyment, my enthusiasm. My friends and family have called me whimsical, idealistic (even lazy), but I have often believed that work and play should be synonymous. That doesn't have to mean easy, but it should be enjoyable. It should be fulfilling. It should be energy releasing, not energy consuming.

Ben Cohen and Jerry Greenfield (founder of Ben&Jerry's ice cream), said, "If it's not fun, why do it?" I've tried to live by that motto, but all too often I get caught up in the complaining, the rationalizations, the practicality such a statement arguably lacks. Maybe it does, but I'm a much nicer, happier, productive person when I'm living it rather than trying to prove it wrong.

I love being a writer. That's the bottom line. I love putting words together, putting my imagination to play, making writing choices, solving problems, and telling truths. I love reading and re-reading those words, and re-seeing and re-writing them. I love creating characters and recording what they have to say. I love alliteration, love amplification, love repetition. I love when language becomes the sandbox. I love when someone else loves what I've written, laughs because of it, and is inspired to write something of their own. I love that I get paid for writing. And I love that I get to teach writing to others. I love talking about writing, and even writing about writing.

We should all be so blessed.

mind-ing the business of writers

Aaron Sorkin has put these words into the mouths of several of his characters: "If you're not smartest guy in the room, then surround yourself with smart people. If you are the smartest guy in the room, then surround yourself with smart people who disagree with you."

Napoleon Hill calls this "creating the Master Mind." Look at any of the most successful leaders in the last century, and you'll see that they are only as great as the people they surround themselves with. Any time you have two or more people collaborating their talents for a common purpose, you have a master mind.

When I was a TA at UMass-Dartmouth, I invited my colleagues (consisting of other TAs, adjuncts, and tenured professors) to the then-Uncle Jon's (now Mirasol's) Cafe once a week (usually Fridays, when we most needed it), where we enjoyed each other's company (and chocolate chip muffins) and talked teaching. We would discuss what kinds of writing our students were doing, what texts we were using, what worked, didn't work, ask questions, and seek advice when faced with a troublesome student or a problematic paper. We would also steal ideas from each other constantly (with each other's permission, of course). I have no doubt that these weekly "coffee klatches" made me a better teacher. Additionally, being a teacher and student simultaneously came with its own kind of enrichment (that more than compensated for the stress). There's something stimulating about being immersed in the very theory you put to practice on a daily basis, something that makes you want to do better, be better.

The same is true for writers.

Writers groups aren't only places to give and receive feedback on drafts in progress. They can be discussion groups of books we've read, genres we'd like to explore, styles we want to try out. And they can be a support system when you're stuck in that writer's mud. I enjoy talking about writing with other writers as much as I enjoy talking about the teaching of writing with other writing teachers. I enjoy their company.

My point is this: the act of writing is often a solitary one, but when it comes to the business of being a writer--specifically, a published author--to be successful, you must surround yourself with a group of smart, talented individuals to make your writing intentions come to fruition. (Of course, you need to have a clear vision of those intentions, but that'll be next week's post.) The whole really is greater than the sum of its parts.

This is especially important for self-published authors, who typically wear the hats of writer, editor, cover designer, publicist, advertiser, web designer, agent, tech support, and more. I was one of those do-it-all self-publishers, mainly because I had no money to hire others to do these things for me. When I give advice to aspiring self-publishers today, I tell them that one thing I would do differently is to learn more up front. If I am going to take on the role of cover designer, for example, then I need to learn everything I can about cover design: Photoshop, graphics, typeface, etc. That means either reading books, taking a beginner's class, or asking someone who knows Photoshop really well to give me a few lessons. Or, I need to come up with working capital to pay someone to design the cover for me, someone who's way better at it than I am.

Were I to self-publish today, I'd hire a cover designer and an editor, for starters (and I'd make sure I had the money to invest in them first). Why? Because another thing I learned from my experience was that I'm pretty bad at graphic design (despite having almost pursued it as a career when I was fresh out of high school) and good at editing, but not enough for the level of excellence I have for my finished product. I'm also not the best organizer and planner. I am, however, good at networking, and I'm a good ideas-person. I can contribute to the development of these things and let someone more talented execute them. That is also the value of a master mind-- the "mind" works collectively, in synergy. We all put something into the soup, or we stir, or even bless it.

As an author with a publisher, I still find master minds invaluable. Consider all of the following:

• My fellow Amazon Publishing authors and I brainstorm ideas about improving websites, taking advantage of social networking and technology to sell more books, and just plain ol' have a good time talking to each other. Each of us is good at something. Some of us are better at some things than others. We all bring something to the table. Best of all, we cheer for and support each other, plug each other's books, blogs, appearances, etc. We are not in competition with each other to sell books; rather, we are in solidarity to sell books.

• My fellow writers and I help each other get past stumbling blocks, workshop a page or two, vent our frustrations and share our successes. I take all my screenwriting efforts to my fellow screenwriters, who make them good. Why I Love Singlehood co-author Sarah Girrell and I can spend hours talking plots, characters, what-ifs. She is the first person I go to for feedback. My twin brother is another.
  

• My relationship with my publisher is such that I am part of their team. It's not "what are you doing for me," but rather, "What can I do for you?" and "Thank you." That sentiment runs both ways.

These groups don't have to be in the same room to be effective. In fact, in each of the above cases, my fellow master-minders are spread out across the country, even overseas. Would I like us to be in the same room? Yes, for the selfish reason of enjoying their company and needing a hug every now and then. But we are every bit as effective virtually as we would be physically. Every single one of them makes my books the best they can be.

Your master mind can also be comprised of those who you don't know personally, but are still in a position to inspire or advise you. In other words, READ. Read whatever you can get your hands on. I never get tired of reading Stephen King's On Writing. I dust off my favorite rhetoric and composition texts when I need to re-charge my battery (and really should start looking at what's new). I take advantage of blogposts, articles, and anything else that keeps me in the loop with the publishing industry and success stories of other authors. I read screenplays, novels in my genre, etc.

No matter where you work or what kind of career you're in, a master mind is a vital and enriching part of your success. If you want to be better at your present job (or you want to advance your career), start meeting with your colleagues or others in your field once a week, every other week, or once a month, be it virtually or physically. If you want to do something more fulfilling with your life, start surrounding yourself with those who can help you make that move. Most important, come to these groups ready to contribute what you can. You always have something to offer.

check all egos at the door

I really want to write a post about writing today, but not before I tell you how blown away I am by the response Faking It has received just one week after its AmazonEncore release. In particular, this Charlotte Observer article has given the Amazon rankings a hefty spike, inspired people to write to me, and made me feel da love. I can't express my gratitude and appreciation enough. It's motivating me to keep working on my latest novel-in-progress.

And if you haven't had a chance to pick up your copy of Faking It yet (have you gone to your local bookstore and asked if they're stocking it?), head over to Book Soulmates and enter to win a copy, plus a dozen roses! Cool giveaway, yes?


So, as I said, I'm grateful for all the attention the book is getting, and it's motivating me to keep writing; but there is a danger to this kind of publicity, and that's the ego slipping into the writing process. In fact, if you want writer's block, invite the ego in.

Aaron Sorkin has publicly spoken about being terrified to write "the thing that comes after The Social Network," and I can relate to some degree. Granted, I'm no Oscar winning writer, but I get the fear part. I've written two books since Faking It, but neither have matched its sales numbers. Understandable. They've not been around as long.

But all the ego needs is an excuse, and it doesn't have to be precedent on previous successes. It could be precedent on previous failures, rejections, or just plain ol' doubt whether anything you put on the page will be any good. You want to please your readers. You want them to like what you write. Perhaps you even want them to like you.

But try to conform your writing to that anticipation or desire, and you'll surely come up short. I can't write a character that I think is going to make other people laugh or mad. I can't put words into my character's mouths that I think other people want to hear them say. Ego sometimes makes you do that rather than sitting quietly and listening to what your characters have to say to you. Ego tells you it has to be good, otherwise you're over.

So how do we get past that?

By staying in the present moment, and trusting that the work in progress is exactly what it is and where it needs to be: in progress. That it neither has to be good or bad at this stage, and the only one making a judgment on it at this point is you, so stop that.

By remembering why you write in the first place.

By making sure you like what you write (and that you like you, too!).

And stop comparing it to your other works. We all know how one kid feels when s/he has to live in the shadow of an uber-successful older (or even younger) sibling, and how damaging it can be for parents and teachers especially to compare one to the other. The metaphor of authors' books as their children might be cliche, but it's cliche for a reason. It's a metaphor that resonates. Each book, like each child, is special for reasons of its own. Each one deserves its own love and attention, and needs to be honored for being unique. Fred Rogers's words still comfort me: "You make each day a special day by just your being you." That affirmation applies to our books, our stories, our characters--each and every one--as well as to us.

Embrace the gift of that specialness every time you sit down to write. It'll do wonders for your writing, and you.