What else a writer needs to succeed (Part 3)
In this third installment of a series exploring the anatomy of a well-adjusted writer, the focus falls on another overlooked—and arguably undervalued—trait...
In this third installment of a series exploring the anatomy of a well-adjusted writer, the focus falls on another overlooked—and arguably undervalued—trait...
Here’s the good news: self-publishing puts authors in control of nearly every aspect of the publishing process. That’s also the bad news.
Despite having written between one and two million words to date, only a handful of them were spent in pursuit of poetry. And whenever I did venture from the comfort zone of fiction, it was typically because a teacher assigned it.
At first glance, the picture I painted of the well-adjusted writer might resemble some spineless creature. But even if writers tend to absorb ideas from the world around them like a sponge, that doesn’t mean they should lack backbones.
Nothing is certain except death and taxes, according to Benjamin Franklin. But if you’re a writer, you can add rejection to that list.
I know I’m not the first to tackle this topic, but there seems to be a dearth in articles pertaining to some of the more intangible qualities that, in my experience, benefit someone who wants to succeed—or simply survive—the sometimes schizophrenic lifestyle of an artist.
Titles represent anywhere from a few hundred to hundreds of thousands of words. They have to be worthy of all that hard work you put into your short story, novella or novel. And they must be marketable.
On a very basic level, the creation of a story can be divided into two parts: concept and composition. Without a command of both sides, a writer is bound to fall short of greatness.
Any dabbler in sword-and-sorcery fantasy has faced the challenge of naming a monarch or two. Far be it for me to disparage other namers of kings.
Whereas some writers find music (or any background noise) a distraction, I am fueled by the creative energy imbued in most melodies.