Depression runs in my family, so when my church offered a depression seminar several years ago, I took advantage of it. I was surprised to see a book I had read years before offered as one of the textbooks for the seminar. The title is Telling Yourself the Truth. In this book, the author focuses on the liberation that comes from breaking the cycle of lies with which we so often surround ourselves.
As writers, that dose of truth may be painful, yet it is also empowering. As Dana Elmendorf shares in a guest post on WritersDigest.com, there are hard truths every writer should accept. When you do, you become a better writer and more likely to achieve the success of your dreams. Here’s my take on the six truths Elmendorf shares, and why each truth is worth embracing.
1. My first work will not make me famous.
Elmendorf’s blog assumes you’re hoping to make it big with your first novel. I’d like to expand that to all genres. For most authors, the big break comes after persistent effort. Your initial work may propel you to fame. However, it’s far more likely you’ll spend a great deal of energy on honing your craft first. Here are some of the main reasons your first book may not find a publisher (or if you self-publish won’t sell).
Non-fiction specific:
- The market is saturated with similar topics. About the only subject that exudes the illusion of never-ending interest is weight loss. It’s a mirage. Even when you began with an original idea, there’s no guarantee others won’t sneak into the queue ahead of you.
- There is no market for your topic. There is hope in this scenario. However, if you failed to identify your market before you wrote your book, you may find yourself working backwards to find a market, only to discover you missed the target.
- The book is too ‘dry.’ Even when your market is education, there’s no excuse for boring, jargon-filled language. Two chemistry teachers in college proved this for me. I got the worst grade of my life, a C- my first year of college. While his fellow teacher totally failed at teaching ‘Chemistry for Dummies,’ two years laterBill Hemmerlin turned this chemistry flunkie into an A and B+ student. He dropped the jargon and used things we could relate to as he explained chemical processes. The takeaway? It doesn’t take sensationalism to write sensationally. It takes commitment to making content interesting.
- You fail to compel interest. Never assume your topic is interesting enough. You must build a case for why your book is too important not to read.
Fiction specific:
- Your plot is too complicated to follow. Too many characters, too convoluted a plot—both lead to quick rejection by editors and readers.
- You take too long to get there. Editors and readers aren’t willing to let you warm the car. They want you driving them to their destination the moment they get in the reader’s seat. From the beginning, you can’t afford to let the pace drop.
- You don’t give your reader reason to care. Characters that offer depth and insights into motivation are essential in fiction. Compelling issues, overwhelming challenges your readers can relate to—these things enlist empathy and curiosity.
- Your characters reflect common stereotypes. The spoiled millionaire’s son, the nasty high school prom queen, the cut-throat business executive and similar characters are so trite, your execution of the story must be especially good if you hope to succeed.
- Your moral message is in the reader’s face. If your story is compelling enough to bring readers to their own moral conclusions, your chances of finding a publisher increase. This is true even with publishers you might expect to be interested in “moral” material. Post-modern readers resist moralizing.
Considerations for both markets:
- Your writing is grandiose. Simplicity and clarity is vital for today’s reader. Use adverbs only when there isn’t an equivalent verb to convey the intensity of the action. Limit your use of adjectives as well.
- You use cliches. They may be convenient, yet they scream,”This is my first draft!”
2. My first draft will always need work.
This is especially true for fiction, yet non-fiction writers should embrace this as well. I agree with Elmendorf on this one completely.
I’m primarily a non-fiction writer who uses fiction techniques as a tool. While my first drafts are often better than novice grade, they never achieve their full potential until I search for the excessive drivel that flows from my fingers. I love writing, yet this doesn’t mean it’s easy work. As Nathaniel Hawthorne said in a time when flowery oratory was the norm, “Easy reading is damn hard writing.†Today, his words are as apples of gold in settings of silver!
Whether your genre is fiction or non-fiction, self-editing is core to success. Hone. Read out loud. Let it rest, if possible. You’ll come back to produce another draft with energy renewed. Easing ‘your pets’ out of the text won’t cause quite as much pain.
3. My choice of critique partners matters.
There’s a difference between critique partners and beta readers. Family and friends make good beta readers. Only fellow writers and editors render effective critiques. Even the best English teachers rarely critique fiction effectively. They’re strong on grammar, not essential fiction qualities such as “voice, character development, pacing, story arc, plot points, sub plots, inciting incidents, reversals, character growth,” says Elmendorf.
If you truly want to improve your writing, choose critique partners who understand your type of writing and your audience. Look for a writing-focused Meetup group in your area. Join an online writer’s critique group. (See 40 Places to Find a Critique Partner Who Will Help You Improve Your Writing). Seek honesty.
At the same time, recognize differences in values, and sometimes even jealousy, tarnish the critique process. It may be difficult for someone who holds an opposing position to critique you honestly. Sharing the same values can be an asset if you are writing for a specific group. However, if you want to reach out to an unfamiliar audience, open yourself to the critique of members of that audience.
4. My path should be unique.
It’s okay to emulate strategies, which proved successful for others. However, someone else’s path to success should be your inspiration, not your map. Instead, open yourself up to following a journey that embraces all the things you value. What is success if you regret the life you have when you attain it?
5. My writing must excel.
The mentality of “it’s good enough” is your enemy. Your success depends upon constant vigilance. Take time to study your craft. Never say, “I’m good enough,” even when you do attain fame. Famous authors hold their position only if their work remains excellent.
6. I need to pay my dues.
This is one truth I really struggled with for a while. What does it mean to ‘pay my dues?’ I have come to realize it means:
- Take lower paying work to build a portfolio.
- Spend time learning from the best.
- Put what I’ve learned into practice.
- Set goals.
- Recognize I won’t reach my goals if I don’t put in the time.
- Listen to my critics.
- Answer softly, even when my initial reaction is pain or rage.
- Turn to a coach when I’m stuck.
Do you recoil from embracing these truths? You aren’t alone. There’s always a tension inside us for what we want and what we must accept. It’s the foundation of fairy tales and Santa Claus. Neither are real, though we never stop wishing they could be.
Embrace truth. It’s not easy to edit repeatedly—Charlie Shedd claims he often wrote12 drafts before he submitted a manuscript. When he died in 2004, he had authored over 40 books. Many remain in publication today. Does leaving a lasting legacy appeal to you? Embrace these six truths.
