when reading is writing

Some of you know that this past week my writers block returned. I did the usual things -- tried to psych myself and write through it, read other people's writing instead, complained on Twitter, curled up on the floor in a fetal position.... (just kidding about that last one) before once again taking the advice I give to many writers in a similar position. I printed out the 80+ pages of the writing I've done this past month as-is (single space to save paper, although I regret not giving myself more margin space for annotations), headed for the coffeeshop, and began to read.

Maybe it was the iced vanilla chai that had mellowed me out (that particular brand always takes me back to my old hangout in Massachusetts), but once again I was pleasantly surprised (not to mention relieved) to find that it wasn't as bad as I thought it would be. Yes, it was a first draft in need of direction and description, with gaping holes in the timeline and telling rather than showing. But it wasn't bad. Heck, I even laughed out loud a few times (in a good way). It's always a great feeling for me to write something funny enough to make someone laugh, but perhaps it's even better when that someone is me.

I got through half the pages in three hours, making lots of notes and corrections, yet not crossing out entire blocks of text (although I suspect that will come towards the end). The realization that my novel isn't sucking is sometimes the very thing that snaps me out of my writers block. And even if it doesn't, I feel better about taking that physical writing time off and allowing the mental composing to take over again, sitting with the characters a little more, the whole lot of us hanging out in the coffeeshop of my imagination and chillin' out on iced vanilla chais. It certainly beats complaining on Twitter.

Sometimes reading is writing. It's such an important part of the process. Whether you read as you go along, following that day's writing, or wait until you're 30,000 words in, or until you've got the entire first draft of the manuscript done, the act of reading your manuscript (either with the eyes of an intended reader or one who knows these characters intimately) allows you to see both the little things and the bigger picture with more clarity. The revision process happens as you subconsciously ask (and answer) questions about meaning, order, arrangement, imagery, voice, behavior, setting, audience, purpose, style, and so much more. You find direction. You find little nuggets of gold, or keys to portals of brilliance. And sometimes you even make yourself laugh for all the right reasons.


And on a different note...

It figures--just as I was getting back into the groove of posting regularly on my blog, I got the news that I'd been accepted and invited to the Southampton Writers Conference on the east end of Long Island. Yep, I'm due north yet again! I've been wanting to attend this conference for years, ever since my mom started cutting out the full-page ads in the Sag Harbor Express and mailing them to me. And every year I'd gaze at the ad, reading the list of that year's participants (ranging from Alan Alda to the late Frank McCourt) and lament that I could barely afford to set foot on the campus.

However, I decided to put it on my 2011 to-do list, and lo and behold, the opportunity (not to mention the financing) came through. I was afraid to make the commitment at first, coming up with all kinds of excuses. But something inside me knew that I would regret not going far more than any of the so-called inconveniences I was contriving to feed my fears.

I'll be on the Island for almost the entire month of July, and I imagine most of my time and energy will be devoted to the writing sessions, instruction, networking, keynote speakers, etc. (plus, I need to go to the beach again). I would love to share my experiences with you, but be prepared for yet another blog hiatus. My apologies for abandoning you yet again, and my thanks to those who faithfully await my return.

more than words: playing the Taboo game

Back in my early teaching days, I had assigned my students to write an essay about the concept of Home. However, they were not to use the words home, house, warmth, comfort, familiar, etc. (I think we even played a couple rounds of the game Taboo.) Almost ten years later, I still remember some of those essays (and interestingly, so do they-- one of my former students recently told me that he saved that particular essay, citing it as one of his all-time favorites). The ones who really "got" it were the ones who mastered "showing" vs. "telling", capturing the meaning of the experience (or the experience itself) by using a completely different image or experience. They revealed a truth without explicitly telling it.

The other night I was on the phone with my twin brother. I was bragging about that day's word count (3200!), yet lamenting how disappointed I was with what I'd written.

"It's supposed to be a pivotal moment," I explained. "A breakthrough. It's emotional. Everyone's crying. But it's hard to write or describe people crying without it sounding like a bad soap opera. You know when you watch a TV show and the character's supposed to be so distraught, but the actor can't get him/herself to cry? That's what this scene feels like (and all my crying scenes/descriptions, really). Just so disingenuous. I don't know how to make it work."

My brother's advice floored me: "Play the Taboo game. Write it without using the words crying or tears and see what happens. Describe the physicality of what they're feeling rather than filming what they're doing."

Describe the physicality of what they're feeling... my God, that's brilliant!

I told him what a great idea that was, and couldn't wait to try it. "You know," I said. "That reminds me of an essay assignment I gave like ten years ago."

"Yeah, I think that might have been where I got the idea, actually."

Moral of the story: as writers, we need to remember that we're smarter than we think. And when it comes to description, conveying meaning, and showing vs. telling, we need to play the Taboo game every now and then, surrendering generic words and descriptions for unique ones. Revealing the truth without explicitly saying it. Try it in your own manuscript and see what happens. I will too.

wherever you go, there you are

I'm always flattered and humbled when someone sends me an email to tell me that I've inspired them to pick up writing. More often than not, many are writers who gave up on writing at some point in their lives because they or someone else told them they were no good, or that it wouldn't pay the bills, and so on.

I can't tell you how many of these aspiring writers are hung up on perfection. This is an observation, not a judgment. Just yesterday I posted on Twitter about the 2100 "teeth" I pulled. It was rough, man. And the whole time I was writing, a little voice in the back of my mind kept taunting me about how crappy the writing was, how it would never amount to anything, etc. I know the perfection hangup. I've occasionally got that monkey on my back.

Nothing is more debilitating than the fear that what you are writing is no good. The best of us have had this fear. Even a certain recent Oscar-winning screenwriter has had this fear. And nothing is more debilitating to the process than obsessing and worrying about perfection during the drafting stage.

There isn't a right or wrong way to write a first draft. Some, like me, bang out a first draft by seemingly spilling it all on the page without pausing for too long to consider the right word, phrase, description, etc. We don't get hung up on timelines or loose ends, not at this stage. We simply get it out of our heads. Once in awhile I re-read the last chapter or few pages I wrote before starting a new one, just to get a sense of place. Sometimes I even go back and re-read when I'm finished.

When drafting, I write until I run out of steam or hit a wall (couldn't decide which metaphor I liked better; both are applicable). I don't think I've ever stopped in mid-sentence or even mid-paragraph (although I'm probably forgetting), but I've certainly stopped mid-chapter, and I'm ok with that. I'd even be ok with stopping mid-sentence. I'm sure others have.

Many writers prefer to edit as they go along. They write a few pages, stop, then re-read what they've just written, making adjustments along the way. They write a few more, stop, re-read, re-write, and so on. Perhaps they don't want those loose ends or gaps in timeline. Perhaps it helps them organize their thoughts, develop their plots, better hear their characters. Perhaps it means less work later on. Perhaps they just like the idea of a tight manuscript.

There is no right or wrong way to write a first draft. There is no right or wrong way to revise, either.

But it's rare to find a first draft that is without flaws, even with the rewrite-as-you-go method. First drafts are going to be flawed. They're going to be messy, going to lack direction or depth. First drafts are going to have poorly constructed sentences, incomplete thoughts, under-developed ideas. First drafts are going to have characters who aren't sure what they're doing or why, or where they're going or why. They're going to have words that are cliche, descriptions that are confusing, dialogue that is forced. They're going to be either too long or too short. Too many words, or not enough. Too much info dump, or not enough context.

First drafts are not final drafts.

At some point, you've got to quiet the voice that is taunting you, telling you it's no good. You've got to shout back, "Of course it's no good, you idiot! It's a first draft! But I wanna have some fun, here. I have something to say, and I'm going to say it, and by the time my book is bound, I will have said it as best as I can."

Revision can be the sandbox where you play, digging for treasure, building castles and tearing them down again and loving every minute of it, or it can be the mudpit where you get stuck spinning your wheels. Of course I much prefer the sandbox, and it's way more fun to be there when I'm not criticizing my draft as, well, nothing more than a ton of sand. To get there, you've got to accept your draft for what it is, where it is, at any given time. As Jon Kabat-Zinn said, "Wherever you go, there you are."

Your manuscript will get to where you want it to be. But first you need to accept where it is. And you need to accept what it is not as well as what it is. Some days pulling out the words will be like pulling teeth. Some days will be the mudpit. You've got to allow your draft to be bad. And you can joke about it being bad, by all means; but you've also got to cut yourself some slack. And by god, you've got to have some fun. At some point, give up spinning your wheels in the mud and start making mudpies. What's the point of writing, otherwise?

where I've been

Hi. Remember me?

It shocked me to see that I've not posted anything in over two months. I've been busy, I swear. First there was the end of the semester. I felt like I was grading non-stop for four weeks, at least. The semester's end always makes me crazy. I eat a lot of junk food, clutter my living space, and mutter quietly to myself.

Following the end of the semester came the BookExpo America. I was invited and attended courtesy of AmazonEncore.

In a word, friggin awesome. Ok, so that's two words, but I kept saying it as one.

As if I wasn't already proud to be an AmazonEncore author, this trip clinched it. Everyone I met who is affiliated with Amazon Publishing fits the friggin-awesome description. Friendly, funny, committed, smart, encouraging, supportive... shall I go on? As if that wasn't good enough, I finally got to meet, in person, my good friends and fellow AE authors Rob Kroese, RJ Keller, and Karen McQuestion, as well as some others who had previously been names that kept appearing on the Kindle boards and blogs, like Craig Lancaster and Greg Smith, and the charming Maria Murnane. I got a little spoiled with the rock star treatment for the three days in Manhattan--nice hotel, limo pick-up, and people saying "You're Elisa Lorello? So cool to meet you in person!"

But perhaps the best part was seeing my Why I Love Singlehood co-author, Sarah Girrell. We haven't seen each other since spending a week in December, 2009 on our then-manuscript. Sarah and I were a bit like conjoined twins--we were rarely seen separately. We had a great time explaining to people how we met, how we collaborated, how we feel about being AmazonEncore authors (I'm tellin' ya, it was a love fest), etc.

Following the three days in Manhattan, I took an extended vacation on the East End of Long Island. Being on the beach--namely, the ocean-- was nothing short of life-affirming. As I wrote in a tweet, "I re-charged the battery of my soul. I also got sand in my ear." It was pretty tough having limited internet access (the folks at the public library were starting to set their watches by me showing up, I think), and I could do without the asshole drivers, but I'd suffer through both all over again if just to have one more day on the sand, with that big, blue, vast stretch of water and horizon, and my oldest, bestest buddy, who also happened to come to town.

Oh yeah, and my New York accent returned. Big time. Couldn't help it.

Meanwhile, lots of good things happening for Faking It. In addition to hitting the Kindle Bestseller list (again!) for 18 days straight, Harcourt Houghton-Mifflin will be taking over the print distribution in August of this year. That means a snazzy new cover (again!) and a lot more exposure in bookstores.

So then, after all this, What's next?

Back to writing, of course. The novel ideas are coming to me faster than I can get them on the page. Here's hopin' for a long, productive summer.

when the floodgates open

The writing has been coming at me like floodwaters these past few days, bombarding me with scenes and stories and snippets of conversations. They're not even in sequence.

I love when this happens. It's the part of the process that is magical--miraculous, really. I never know when it'll happen, but I have to drop everything (sometimes even pull over to the side of the road) and get it down on the page. Almost always, it comes to me longhand. My scribble can hardly keep up with the rapid-fire dictation that happens in my head, or wherever this stuff is coming from. I put my pen down and close my notebook only when I catch myself pausing for a thought. When it becomes a conscious act to come up with the next word, I know it's done. For now.

I don't love, however, the way it can wreak havoc with my sleep schedule or to-do list. Unlike other things, I can't procrastinate or re-schedule this writing--it won't let me. A couple of nights ago, I was up at 1:30 in the morning, and wrote for at least an hour. This morning it came to me after my shower, before breakfast (and yet, I was oblivious to the growls of my stomach). And once again I've been forced to put off doing laundry either 'til later in the day, or perhaps on Friday, if I can hold out for that long. And if I don't get a jump on the latest batch of first drafts from my students, then they, not I, will suffer for it and I can't let that happen.

When these writing floods happen, the writing itself isn't often that good -- an elegant turn of phrase might come out of it, or a funny joke, or a rather visual description -- little nuggets of gold in all that sand. But that's ok. That's what revision is for. Many times it is during these floods that secrets are revealed. My protagonist spilled his to me this morning, and I've been heartbroken ever since. I knew it was coming, and knew it wasn't pretty. I so want to spare him from it, but I can't. Because if there's anything I've learned, these bursts of writing are really about the truths that so urgently need to be told. They refuse to be ignored. For me to spare any character from pain is to be disingenuous to my story and to my reader. To me.

I'm tired, and my day is already shot to hell in terms of any semblence of a plan I had. But I was given a key to my protagonist's heart, and that's worth it all.

why I don't (like to) read my reviews

To date, my three books have collected over 200 reviews combined, and that's just on Amazon.com. I haven't checked GoodReads lately, or the many independent blogs who have been kind enough to post reviews. I'm appreciative of all those who read my books and take the time to write a review, be it positive or negative, but I've stopped reading them for the most part. Occasionally, one will catch my eye and I'll look at it, or I'll be alerted to a review on a blog and, if it's favorable, I'll post it on Twitter or the Faking It Fans page. But, more often than not, I find myself feeling worse, not better, after reading reviews. Even the good ones. And it is for that reason, among others, that I discourage myself for reading reviews. Let me try to explain.

Reviews are for readers, not authors. When a reader posts a book review, s/he is telling other potential readers of that book whether or not the investment--be it in time or energy or money--is worthwhile. As an author, I've already written my book. And read it. In fact, I wrote it because it was the very kind of book I wanted to read. I'm already sold that it was worth my time and energy (and even money).

Reviews develop a false sense of security (or insecurity). As a writer, I'm somewhere on the continuum of not as good as some (ok, many), and better than others. Most writers are. I'd be lying if I said I wasn't pleased that my books have gotten so many favorable reviews -- heck, what author wouldn't be happy about that? -- but reading them is a different story. If I were to read nothing but the favorable reviews, I'd start to think I was infallible, and that would affect my writing (not to mention turn me into somewhat of a jerk). On the other hand, if I read nothing but the bad reviews, I'd start to question my talent and worthiness to write at all. That, too, would affect my writing.

Of course I know that I can't and won't please everyone. I don't even try. Of course I want as many people as possible to like what I write. That's only natural. But above all, the first person I need and want to please is me. If I don't like what I write, I can't ask anyone else to. "To thine own self be true."

Negative reviews hurt. There's no way of getting around it. I tell myself it's just a bruised ego, I tell myself it's one person's opinion, I may even criticize the review. Regardless, I walk away from a negative review feeling like total crap. Why put myself through that willingly?

Some say the greater act of ego is to not read any negative review for the sake of sparing myself. Perhaps. But that's why I decided to refrain from reading all reviews.

Some authors read their reviews, especially negative ones, in order to learn what they can do better. This can be a helpful tool, I suppose, and I've read some reviews with criticisms that I did indeed take to heart. But I'd rather receive constructive criticism from those beta readers and others I entrust with my manuscript. As I stated earlier, reviews are for readers. Beta reasders and critique groups are for writers. This is not to put down reviewers, or to dismiss them.

Thing is, when it comes to reader reviews, that pesky ego gets in the way and I find it wanting to defend my characters and my work. Not good. I've seen authors self-destruct on blogs that posted a negative review, or ranted on Twitter about a bad review, trashing the reviewer as well as the review. So not good. In my early days as an indie author, I responded to an Amazon review in which I told the reviewer that she misinterpreted the ending of Ordinary World. At the time, my intention was to politely offer my insights and explanation as the writer -- I didn't mean to be accusatory or even bitter about the fact that she didn't like the ending. I've considered deleting that comment time and again, afraid I'd be lumped in with those aforementioned self-destructive authors. And while it hasn't seemed to hurt my reputation (phew!), it taught me a crucial lesson: Don't respond to any reviews other than to say thank you. And even that much is offered only if a reviewer has directly informed me of his/her review.


Let me re-state that I appreciate all readers who take the time to read my books and post a review. Like books, emails, lab reports, political speeches, business proposals, etc., writing an effective review of any kind takes skill and practice. The average reader doesn't make a living from writing reviews, and that's ok. My intention is not to discourage anyone from writing a review. I only want to keep my head where I think it belongs: writing the best stories I can, so I can get more of those favorable things that I won't read. I'll leave that up to you.

my advice about indie e-publishing

I've been getting a lot of emails from writers wanting to know more about how Faking It and Ordinary World became a self-publishing success on Kindle. More specifically, they really want to know how they can achieve the same success. I wish I could tell them that there was some formula to it, that if they follow each step precisely, they too will sell thousands of copies. I wish I could've bottled it-- or, at the very least, paid more attention at the time.

But unfortunately, it just doesn't work that way.

The x-factor to any publishing success or failure, traditional or independent, is the content. No one can really predict what's going to be a hit or a flop. Who knew that a series about a boy wizard was going to take the world by storm? Who knew that The Bridges of Madison County would sell as many copies as it did? Who knew that Water for Elephants or The Art of Racing in the Rain would be such literary sensations, especially without Oprah's help?

I had no idea if anyone other than my professor friends would like Faking It (and even then I questioned whether they would read it). I had simply written a book that I had wanted to read at the time, a story that kept me turning the pages, an idea that just wouldn't leave me alone. And when it was finished, I decided that I didn't want it sitting in a drawer with other unpublished pieces. Perhaps no one would like it, but I wanted to give them that chance to read it.

Fortunately for me, people liked it. But some don't. I'm ok with that (although stay tuned for my next post about why I don't like to read reviews).

For those who have been inspired by my success to write and publish their own novels/stories/ideas, I'm touched and grateful. And I do have advice. You may have heard the same advice from others, or you made have even heard it from me, either on this blog or in interviews or elsewhere. At any rate, here it is:


Write the best book you can. Don't rush to publish just because the iron is hot right now. Your book will only get lumped with all the others who have poorly written, revised, edited books. When one of my brothers was a mechanic and owned a service station, he used to have this sign posted in the garage: "Do you want it done fast, or do you want it done right?"

Ask others to read your work. This may happen in the form of a writers' critique group, or what are known as beta readers, individuals you recruit to read your manuscript. I like to show my work to a mix of authors, those well-versed in literature or the genre my work typically falls into, someone who has a particular expertise with an aspect of the character's profession (like art or computers, for example), or everyday readers with no particular expertise other than that they enjoy reading. These readers should be willing to offer you constructive feedback--constructive, by the way, doesn't mean disrespecting the writing (or the writer) if it's not working. But it also doesn't mean trying to preserve the writer's self-esteem. I've received criticism that was very hard to swallow. But when I cooled off and got my ego out of the way, I listened to it; as a result, my writing (and the novel) got better.

Do you always have to make the changes your readers tell you to make? No. But neither should you dismiss them altogether.

Edit and proofread as if your life depended on it. Or, at the very least, your livelihood. Because it does. If you want to be respected as an independently published author, go back to my first point about writing the best book you can. Editing and proofreading are part of that. An editor and a beta reader are not one in the same. Although readers may point out some editing and proofreading errors along the way, it's wise to have someone whose sole job to just edit.

When I published Faking It and Ordinary World, I couldn't afford to hire a professional editor. I trusted that my grammar and editing skills were strong enough to get by. And, in comparison to other books I've read, they were. However, it wasn't until AmazonEncore stepped in and brought in professional copyeditors that I realized how many mistakes I'd made. (Readers noticed, too.) I suppose the question you need to ask is, "Do you just want to 'get by'?" I realized that I didn't. Had Sarah and I not contracted with AmazonEncore, we would've hired a professional editor for Why I Love Singlehood. Heck, if I were to go back in time with what I know now, I either would've gone into debt or saved my pennies or worked an extra job to pay for an editor. Ditto for a professional cover designer. Which leads me to...

Hire a professional cover designer. The argument I just made for editing applies here. I always hated the cover I made for Ordinary World. It was worse than amateur, and I would even guess it's one of the reasons why the book didn't sell as many copies as Faking It (that cover wasn't much better, but it was more eye-catching and a higher quality photo, at the very least).

What this really boils down to is that
Self-publishing is more than a time investment. I had absolutely no money to invest when I self-published. I got lucky. I don't recommend others follow that path, however.

Make sure your files are formatted for Kindle, Nook, Smashwords, etc. Whether you do it yourself or hire someone else, get it right. Otherwise your readers are going to let you know in no uncertain terms that they're not going to waste their time or money on your book. There are plenty of forums on Digital Text Platform and elsewhere to assist you if you want to do it yourself (Smashwords has a style guide that you can download for free, although I had trouble with its directions).

Set your price accordingly. There's nothing wrong with selling your ebook at 99 cents, especially if you're an unknown author. Readers will be willing to take a chance on you, and if they like it, they'll tell others about it. I am increasingly convinced that the best price for an ebook for a known author is no more than $5.00, and I'm happy to keep Faking It and Ordinary World at $2.99.

And finally,
Buy this book. Rob Kroese's Self-Publish Your Novel: Lessons from an Indie Publishing Success Story says much of what I said here, and doesn't provide so much of a step by step guide as point aspiring authors in the right direction. I would've loved to have read this when I was starting out, and even now I learned some useful tips.


I wish all aspiring authors could experience the same taste of success that I have. None of these things will guarantee you'll make it, but they might improve your chances. Good luck.