Tag Archives: Laura Resnick

Shutting Up Your Inner Critic

Dean Wesley Smith reposted an edited version of his essay on the attitude that “Writing is Hard,” and it got me thinking about how to get the inner critic to shut up. You know, the inner voice that says, “This sucks! You suck!” when you’re trying to get your first draft written.

I just came up with a nifty technique for shutting up the inner critic that I’d like to share. It’s sort of a mental combo of National Novel Writing Month‘s daily word quota assignment, Laura Resnick’s essay “The Long Haul” in Rejections, Romance, and Royalties where she compares writing to trucking, several episodes of Dirty Jobs with Mike Rowe, and thinking about my past experiences as a cafeteria worker.

Step 1: Choose a down-to-earth analogy for writing. It can be trucking, bricklaying, road paving, plumbing, cafeteria cooking, whatever. However, choosing an environment that will make your inner critic feel uncomfortable to be in is a definite plus.

Step 1 Example: I really liked Laura Resnick’s trucking analogy for writing a long fantasy novel, so I chose trucking. Instead of meeting daily mileage goals, I’d be meeting word quota goals. But the mindset had to be the same. I have yet to hear a story about a trucker moping at a truck stop about how his inner critic keeps  telling him his driving sucks…and so he’s stopped driving in mid-journey.

Step 2: Hone in on that inner critic voice that keeps showing up when you’re trying to write. Give it a physical persona that you can visualize in your mind–what does he or she wear? look like? what profession? etc.  (Note, if it takes on a persona that won’t be intimidated by the analogy chosen in Step 1, choose a new analogy.)

Step 2 Example: When I honed in on my inner critic voice, it morphed into an English professor guy who likes to wear tweed.

Step 3:Imagine your supervisor for your analogy to writing.

Step 3 Example: I found myself visualizing that I worked for “Flo.” She runs a small trucking company in North Carolina and loves to eat cole slaw burgers for lunch. There’s a stack of James Lee Burke and Nora Roberts paperbacks on the corner of her desk that she likes to read during breaks. Often she wears NASCAR T-shirts. She has 0% patience for whining or crap.  The trucking garage smells of diesel and there’s the rumble of engines as trucks pull up or drive off.

Step 4: The next time the inner critic voice shows up during a writing session, tell it “Go away. I’ve got a quota for this first draft I’ve got to meet.”  If the critic refuses to go away, make him or her go visit your supervisor to complain.

Step 4 Example: When Dr. Inner Critic showed up and wouldn’t shut up during the first draft work I was doing, I imagined sending him off to Flo to whine at her instead about the quality of my writing. Writers, by training, have very vivid imaginations. My imagination gave me a whole short scene of Inner Critic beginning his whine about my writing, and losing steam as Flo glared at him. Then she asked him, “Are you going to do L.M.’s work?” which made him hunch up as he replied, “No.” Then she ripped into him verbally with insults about his stupidity and laziness until he slunk off. I got back to work since there was a quota to meet. Inner Critic left me alone since showing up again would mean  another yellfest from Flo.

These days, whenever an inner critic voice pops up during the writing of a first draft, I do the steps above, and it shuts that voice up darn quick. I hope it does likewise for you all. Good luck!

Helpful Articles on Book Covers

Laura Resnick has a terrific series of five articles on book covers on her website under “A Book By Its Cover.” Considering the significant impact a good or bad cover can have on book sales in stores (especially if the reader doesn’t know who you are), it’s well worth the time to read these.   Here’s her summary of what the articles cover:

I: Cover Karma
How does a book’s cover affect sales, and consequently a writer’s career? Why are some books (and some writers) uniquely blessed or cursed? What did a publisher do right (or wrong) with regard to a given cover? How do publishers ensure success (or stumble into disaster) when planning a book’s cover?

II:  Green Books Don’t Sell
Yesterday’s conventional wisdom becomes today’s common misconceptions as art directors from New York’s major publishing houses explain the step-by-step process of giving a book a cover.

III:  But I Wrote the Damn Thing!
If author input were actively desired in the cover process, somebody would have mentioned it by now. Nonetheless, there are constructive, productive, and useful ways for an author to contribute to the cover process; there are also contractual ways to gain influence over this process.

IV: Steal This Cover!
Next to word of mouth, the cover is the single most important means by which an author reaches new readers. Find out how this has led to increasingly ruthless and volatile competition among publishers, and why people who don’t even read often have more influence over a book’s cover than the author, the editor, the cover artist, or the art director.

V:  Worth A Thousand Words
A profile of three illustrators: sf/f cover artist Michael Whelan, winner of many Hugo, Howard, and Chesley Awards; romance cover artist Pino, with over 1,500 covers to his credit; and Janny Wurts, a bestselling sf/f novelist who is also an award-winning cover artist.

Laura Resnick’s REJECTION, ROMANCE & ROYALTIES

I think what I value most about Laura Resnick’s essays in REJECTION, ROMANCE, & ROYALTIES: THE WACKY WORLD OF A WORKING WRITER is her brutal honesty.   This is not an essay collection for the faint of heart.

Let me provide an example from her essay “Passion” in the book:

Editors have told me that my advance is more than I’m worth; my work isn’t that good; I should write more like so-and-so; my work is “shit;” I don’t know how to write; my work is an “insult” to them; and I don’t “appreciate” them enough.   Agents have told me that I’m “not worth” their time; my query is an insult to them; I’m “self-destructive” (based on my choosing to fire that agent); they “hate” my work; and I’m lazy (I wrote a mere 1,400 pages that year).

Resnick covers a variety of topics in her essays, such as writer’s block, editors & agents, contracts, readers, horror stories about publishing, horror stories about book tours, nerves, cash flow, rejections, etc..

Because this is a collection of essays, certain thoughts get repeated over and over.   This becomes a mild irritant if one sits down to read the book in one sitting.  I found it better to stop for the day after reading four to five essays.

Resnick makes her living as a fiction writer, and she does not spare the reader details about the ugly side of the business.  However, she also has a wicked sense of humor.  Here’s a sample from “It Can Happen Here–And Often Does:”

Trish Jensen, writing under the pseudonym Trish Graves, sold them a novel called Just This Once in which the hero, among other things, mentors a teenage boy, steering him away from street gangs and toward organized sports.  So you can imagine the author’s shock when, upon reading her galleys, she discovered that the editor had changed the boy into a raccoon.

(I think I speak for everyone here when I say, “What?”)

You’ll have to read the essay to find out if the novel was published with the raccoon character change.