Alumni Voices with Danette Lane: The Toothbrush and the Pen

Jane Resh Thomas once told me “understanding clears obstacles.” I love the simple truth in this wisdom and remind myself of it frequently.

If there is one obstacle in my writing life that I have earnestly sought understanding for, it is the obstacle to writing every day. I know I do not suffer alone with this problem. Jamie Swenson taught us “how to get [our] butt BACK into that chair” in November, and Jennifer Mazi wrote an open letter to her distant muse just last week. In general, we writers spend a lot of time talking about our problem of not writing.

Why is that? Shouldn’t writing every day feel just as important to us as brushing our teeth?

I have worked on my writing obstacle for years. The easy BIC! fix never cut it for me. Then last month, while exploring various topics for this post, I discovered some blessed understandings that have shifted my writing paradigm. Disclaimer: What follows may only be ridiculous convoluted theories that have absolutely no basis in reality. (But they’re working for me.)

Here goes…

#1: What the obstacle to writing is not. It is not fear (What if I don’t get it right?); it is not doubt (I am not the one to tell this story); it is not procrastination (Today I will make a story collage); it is not laziness (ZZZZZZ); or interruptions (“Candygram!”); or even distractibility (Look! A chicken!). The obstacle is not any of these things--or all of these things. These issues are surmountable.

#2: What the obstacle to writing is. The obstacle is a basic failure to understand who we are as writers and how we are created to process the world.

Creative writers are a highly intuitive clan. Significant portions of us fall into the “Intuitive Feelers” or “Intuitive Perceivers” personality types when we take the Jung Typology test. This means we gather information using the five senses like everyone else, but we then take in additional data that goes beyond our senses: wispy connections, patterns, relationships, gut instincts. I’m not sure how much of this input we are even consciously aware of. While these pieces of data are not typical facts and figures, they are still a form of intelligence. It’s a mystery how this intelligence is stored within us, but we don’t seem capable of accessing it in the same manner as recalling facts and figures.

#3: The understanding that clears the obstacle. Additional tools are needed to cull and extract intuitive intelligence. Artists use paint. Monks use prayer. Writers pick up the pen. We rely on the writing process to access and free the unconscious knowledge our intuition has gathered and stored. This understanding offers us a serious motivation to write: To not write means leaving a considerable portion of our humanity and intelligence lying fallow within.

So being all I am created to be depends on me picking up the pen every day.

This new level of self-understanding has turned the simple act of brushing my teeth into a strange otherworldly experience. Every morning I pick up my toothbrush, and I see a pen. I pick up my pen, and I see a toothbrush. My intuitive intelligence must be working overtime, making a connection in the relationship between these two implements. Oddly, I feel thoroughly empowered by the visual reinforcement the delusion provides.

           

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Danette Lane is a 2010 graduate of the MFAC program. She carries her toothbrush (and pen!) back and forth between her residences in Florida and North Carolina.

Alumni Voices with Jamie A. Swenson: Easing Back In...

Okay. I will admit it – but just to you. I haven’t been writing lately.

Insert ONE MILLION TOTALLY LEGITIMATE REASONS for NOT WRITING here.

But this post is not about the guilt we all feel when we’re not actively working on a manuscript. It’s also not about my almost fanatical avoidance of anything beginning with NaNo or PiBo … No, it’s not about that. In fact, these days I try to not allow the guilt in when my writing career (or life) takes me away from the writing itself. It happens. We all have LIFE happening.

This entry is about how to get your butt BACK in that chair.

I’ve been away from creative writing for weeks now and it’s high time I return to the page. I’ve promised stuff to people. These people are aging at about the normal rate, so I imagine I should get something submitted to them within the next five to ten years. I think they gave me until December. So, back to it.

Easier said than done.

If you’ve ever stepped away from the computer for a while – you know – it can be a struggle to return. I feel a little like that addict who says something like, “Of course I can quit – I’ve done it a hundred times.” Still, of course I can get back into my writing routine – I’ve done it a hundred times before!

Here’s my list of HOW I’ll dive back in after a writing break. Some of these steps take a bit of time and advance planning to complete … so if you’re currently in the midst of a break … give yourself a break as you plan to break your break. (Wow. I’ve clearly been away longer than I thought. Hmmm….)

1.     Critique something by another writer. Nothing gets the creative energy flowing better than getting back into the conversation. Critiquing gets the brain thinking about writing craft instead of Kraft Mac-n-Cheese (Don’t tell me you’ve never been distracted by mac-n-cheese. Liar.) So, find a writing friend who needs a critique. And then, don’t phone it in. Do a spectacular critique.

2.     Schedule time for writing and only writing. If you haven’t been writing, that likely means that other tasks have seeped into your schedule. Time to reclaim your time. Even if you’ve overscheduled yourself this week – start blocking off days/hours/minutes next week for writing. (No, you cannot organize the Musical Pasta Dinner, attend every volunteer meeting that pops up, and make twenty-course gourmet meals every day – you need to spend some serious time writing. Just say NO. Trust me on this.)

3.     Read something. ANYTHING. If you haven’t been reading – that might be why you haven’t been writing.

(This next one might seem counter-productive, but it does work).

4.     Take a walk. Take a drive. Sit and watch the wind blow leaves around. But while you’re doing this – start actively thinking about the project that you’re ready to start – or resume writing. If you’re in the middle of a project – think about the voice, the characters, the reason you started writing. Fall back in love with your project.

5.     Announce your writing intentions to the world. Post it on FB, chat about it with family, let the neighbors know. “Yup, I’m heading home to write. See you later.” They will watch you walk away and think, “There goes a writer.” (hee hee). And you will start believing again too.

6.     Sign-up for a blog entry with Marsha Qualey. She will gently remind you that you promised her a blog entry. Then you will write it. Yes, you will.

7.     Remove all leftover Halloween candy from the surrounding vicinity.

8.     Write.

So, that’s about it. Good luck easing back into your work – and stop feeling guilty about the occasional writing break. We all need to step away from the computer every now and again … just don’t forget to return!

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Jamie A. Swenson is a 2009 graduate of the MFAC program. To learn more about Jamie and her writing visit her website.

Publication Interview with Jamie A. Swenson: If You Were a Dog

FSG/Macmillan, Sept. 30, 2014
illustrated by Chris Raschka

Please describe the book.

From the flap: “With joyful, impressionistic illustrations for Caldecott Medal-winning illustrator Chris Raschka and spare, rhythmic text that invites playful interaction, If You Were a Dog is the perfect read-aloud for your favorite little animal.”

As the story progressed from inception to copy-edited version, what were the major changes?
When I first started writing this book – I was all over the board in terms of what the kids might imagine being. A dog? A cat? A cloud? A paintbrush? Eventually, I revised and settled on using only animals. The other main difference between the first drafts and the final version is the ending – which was non-existent for years. Originally, the book was just a bunch of seemingly non-connected, yet fun and poetic questions.

How did those changes come about?
I focused on using only animals after one of my critique group members (a nonfiction writer) mentioned that some of the scenarios were animate and some were inanimate objects and it bothered her! It hadn’t bothered me until that moment – but then I clearly saw how I was not focused in the manuscript. The ending came about after Phyllis Root suggested that an ending that tied everything together might be a good thing. The moment she suggested I do this, it became clear to me what was missing and I added the final piece of the puzzle!

As far as copy-edited version changes – the only change made from the original purchased text to the finished text was one sentence. The original sentence read, “But you are not a dog, or a cat, or a fish, or a bird, or a bug, or a frog, or a dinosaur or anything of the sort … you are a kid who can …” My editor took out the words “you are a kid who can” and suggested simply “… you can…” which is fine, it has the same meaning, but in truth, I still like my version better! hee hee hee …

The one thing I am surprised that didn’t change are all the hyphens. I used a lot of them because I love them so. I thought they would be the first thing to go. “If you were a dog, would you be a speedy-quick, lickety-sloppidy, scavange-the-garbage, frisbee-catching, hot-dog-stealing, pillow-hogging, best-friend-ever sort of dog?” See. Lots of hyphens. In this case, they are necessary modifiers. I will, however, concede that in most cases I overuse them. Sorry. I am working on that issue. My critique group had FITS over this manuscript and kept arguing whether I was using the hyphens correctly or not. Eventually, I decided to just let the future editor decide and kept the hyphens they way I wanted them.

When did you first begin work on it? When did you finish?
This book was one that initially flowed out of me in the course of a few days – but then took a few years to figure out why it wasn’t working. The book sold in Dec. 2009 – my first sale! And will be out in Sept. 2014. That was a long, yet worthwhile, wait.

What research was involved before and while writing the book?

I actually did do a lot of research when writing this book – I wanted to know what dogs, cats, fish, birds, bugs, frogs, and dinosaurs really did before playing with how I described each one. I find it helpful to read nonfiction articles about the animals I’m using in my picture books because I often stumble upon a word, a description, an action, or a sound that I might not have thought about if I was just relying on my own brain to think it up.

Boom! Boom! Boom! , your first book, was published in 2013. What have you learned about the business of writing since then?

That it doesn’t get any easier once one book, two books, or three books are in the world. Each book is its own challenge and the writer needs to focus on the work at hand – not the books that are already out. It’s easy to get distracted from the work-in-progress while trying to support the books that are out there – there needs to be a balance between creative writing time and marketing support time. Also, one writer can only do so much to support any book – the rest is up to the publisher and the world.

Where do you do most of your writing?

I write at my kitchen table and in my head as I walk my dogs.

Do you remember the first book you loved?

The first book I truly loved was Katie John by Mary Calhoun. It was an early chapter book; I bought it from the school book fair. I read that book about a hundred times when I was in second and third grade. I wish I still had a copy of it so I could read it again, but, alas, it was lost at some point as I grew into longer books such as Anne of Green Gables. (I just Googled Katie John and see that it’s available online – hooray for the internet!)

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Jamie A. Swenson is a July 2009 graduate of the Hamline MFAC program. She lives and writes in Janesville, Wisconsin. To learn more about Jamie and her writing, please visit her website.

Inkpot Interviews: Tamera Will Wissinger

Tamera Will Wissinger is a January, 2009 graduate of the Hamline MFAC program. Her picture book, This Old Band (illus. by Matt Loveridge), will be published June 3, 2014 by Sky Pony Press. Tamera lives in Vero Beach, Florida. You can learn more about Tamera and her writing by visiting her website.

Please describe the book.

In This Old Band, a ragtag band of cowboys and a cowgirl dance, play their instruments, and make noise out on the open range while they count down from ten to one all day and night to the tune of a familiar folk song.

As the story progressed from inception to copy-edited version, what were the major changes?

This was always a counting concept book that featured rugged westerners, but initially I envisioned a story that included a duel. After many attempts and rewrites over a number of years, it became clear to me that these characters did not want to fight; they wanted to play!

How did those changes come about?

I started to think harder about concept books, what made them work, and what I had loved to sing or chant when I was young. Once I settled on the rhythm of "This Old Man," I shelved my original drafts and focus on ways for this band to perform. 

When did you first begin work on it?

I began working on that initial dueling story shortly after a trip to Jackson, Wyoming in 2008, however; I think the story probably began brewing in my mind after earlier trips I had taken to New Mexico, Arizona, and Colorado. Having grown up in the Midwest and spending much of my time in Florida, on each of those trips west I was captivated by how the dust and light work together, the sweeping landscapes of valleys, peaks and mesas, the sometimes lush, sometimes sparse vegetation, up-close wildlife and far away ranches, national forests, the good, hearty people, the history…I need to visit again soon!

When did you finish?

The current version felt complete in 2012 and that’s when I began submitting it to editors.

What research was involved before and while writing the book?

Before writing the book, I let my imagination run with the images from my western trips. After I had written a solid draft, I had a great discussion with fellow Hamline Alum and reader extraordinaire, Jamie Swenson, where she helped me clarify my purpose and the story’s focus. From that point, as I zeroed in on the specific images featured in each spread, I verified that those images would hang together to create the setting.

Gone Fishing, your first book, was published in 2013. What have you learned about the business of writing since then?

We may write alone, but producing a book and helping it reach readers is a wonderfully collaborative business. Before release, there is a huge amount of behind-the-scenes work happening with the editor and her or his team to complete the book and prepare for release – that includes artwork coordination, layout, first and second page reviews, copy editing, internal marketing and sales, promotions, etc. Then once the book is out in the world, teachers, librarians, booksellers, fellow authors, friends, children and parents – any book lover, really – can have a huge impact on how a book is received by helping spread the word through social media, word of mouth, invitations to events, etc. I’ve always treasured places where I can find books – libraries, schools, and bookstores – after the release of Gone Fishing I have an added admiration for anyone who helps books reach places where they can nurture reader.

Where do you do most of your writing?

Lately I've been "writing in my head" while I'm physically doing something else that doesn't require all of my attention. For example, while I'm cleaning or standing in line at the store, I find myself working through a plot point, or a rhythm or rhyme structure for a poem. I'm lucky enough to have a writing space in my home with plenty of books and a door when I need it. It's where I go when I'm ready to get those thoughts down or ready to decipher a scribble on a grocery receipt.

Do you remember the first book you loved?

Yes! It’s a counting book called Over in the Meadow, based on the original version by Olive A. Wadsworth and illustrated by Ezra Jack Keats. It was a gift from my grandparents and uncle and it came with a record. I loved hearing that baritone voice chant, “Over in the meadow in the sand in the sun, lived an old mother turtle and her little turtle one.” I’m sure I replayed that story hundreds of times, probably driving my mother batty. That rhythm and rhyme and those images are huge parts of my fiber as a writer and poet. I still have the book, but, sadly, the record has disappeared.