No writing effort is ever wasted. At the very least, it's practice, and a writer never knows when he or she might usefully cannibalize an earlier effort for something new.
As with many teens, my first jobs included babysitting and mopping floors at McDonald's. Since then, I've held jobs a diverse as selling used cars, selling apparel, cosmetics, and real-estate, substitute-teaching six graders, teaching undergraduate creative writing, and working as an editorial assistant for a literary magazine.
Predictability is boring! I want a book to take me someplace I haven't been before, show me sights I haven't seen, make me ponder questions I may not have pondered before.
It's 2010. I'm forty-three years old. I've just turned in the final draft of what will be my third novel when I decide I want a tattoo. Maybe it's a middle-age thing. Or maybe now that my kids are nearly grown and I have a career in place, I'm finally coming into my own.
I went looking for some preliminary information, and very quickly was struck by the sort of way the surface-level knowledge about Zelda doesn't begin to describe the person that she really is. You know, I had come to the project with the idea that she was, you know, just F. Scott Fitzgerald's crazy, disruptive wife.
I'm among the first girls ever to play Little League baseball, and to my knowledge, the very first in western Illinois. It was 1976, and I was a nine-year-old tomboy whose older brothers had played.
At 19, I went to live in the Philippines for three years as a U.S. Air Force 'dependent spouse.' I lived off-base in Angeles City and had to haul water for drinking and cooking.
My husband and I have, in some ways, a non-traditional relationship - especially when it comes to domestic duties. He does most of the cooking, dishes, and laundry, while I do most of the yard work. I love to mow the lawn! And I take great satisfaction in planting and pruning.
My stories seem to always in some way explore mistakes and misapprehensions and the possibility of redemption - though that redemption doesn't always occur in expected ways.
My creative workday starts with strong breakfast tea and a few minutes of journaling, both of which help me get my head in the story. So much of story-building for me involves immersing myself in the character and situation I'll be working on, just the way an actor does when playing a role.
Conventional wisdom tells us to avoid taking unalterable action while at a low point in life. I have never been conventional.
The distinctions of what makes a book one genre or another can sometimes be a bit muddy, but generally it's a matter of projecting who the audience will be, which is a judgment that's based on the subject matter. 'Mainstream' is the cleanest label for a book that draws readers of both sexes and from a wide age-range.
Point-of-view is a matter that readers rarely pay attention to, yet it's one of the most important story decisions an author makes.
There are as many routes to writing success as there are writers who got there. My advice, however, applies across the board: read widely, learn the craft by whatever means you can - workshops and writing programs are ideal, but even self-study can work - apply what you learn, and persevere.
The history of storytelling isn't one of simply entertaining the masses but of also advising, instructing, challenging the status quo.
