Great Advice for Writers: Interview with Courtney Alameda

Courtney is a friend and former fellow assistant with the Writing and Illustrating for Young Readers Conference. We met in Alane Ferguson's workshop several years ago. At the 2012 Conference, Courtney met her agent, John C. Cusick of Greenhouse Literary. She says he's a fabulous agent. Courtney now has an equally fabulous book contract. 

The following interview was originally posted at www.wifyr.com/blog

Those of us who know and love Courtney can't forget her enthusiasm for all things related to books. When she assisted in Holly Black's workshop, Courtney dressed as characters from Holly's books, including this unicorn.

Q. As writers, we spend a lot of time working toward the goal of being agented/getting a book contract, and very little time thinking beyond that point. What do you wish you’d known before you got your agent and book deal?

I could fill a tome with the things I wish I'd known, but the most important thing I've learned since the book deal is why I write. Previously, I thought I sat down at my computer each and every day because it was good for my career -- which wasn't necessarily untrue. But I found the book deal didn't make me any happier than I'd been before, no more validated in my work, no more secure. Shocking, I know!

So why do I write? For love, of course. Because nothing thrills me more than the moment of discovery, when I stumble into a scene that will tie the multiple threads of plot, character arc, and theme together; nothing is more tantalizing than my first glimpse of a new character, or the way a new voice feels as it slips out of me and onto the page. There is nothing more triumphant than weaving messy bits of a scene into a tight, coherent whole, word by word, line by line. Writing is an alchemical sort of magic, and it brings me great joy.

Q. What’s the best writing advice you’ve ever received?
The best writing advice I've ever heard isn't writing advice at all, as it actually comes from psychologist Angela Lee Duckworth's TED talk about success. Duckworth says, "In all [the] very different contexts [we studied], one characteristic emerged as a significant predictor of success, and it wasn't social intelligence, it wasn't good looks, physical health, and it wasn't IQ; it was grit. Grit is passion and perseverance for very long term goals. Grit is having stamina. Grit is sticking with your future, day in and day out, not just for the week, not just for the month, but for years, and working really hard to make that future a reality." (The Key to Success, TED 2013)
I want to repeat one part of Duckworth's statement: Grit is passion and perseverance for very long term goals. Most writers work, on average, 7 - 10 years before signing with an agent or landing a book deal. Your passion for your work must be unflagging if you are to succeed. Don't expect to be an outlier, expect to work hard. 

Q. What top three writing tips would you give aspiring writers? 
1. Creativity's force isn't constrained by the laws of physics -- the more you use, the more you have. With that said, it isn't always on tap, either. Learn how to write when the muse is silent. Learn to write when you're exhausted. Learn to write when you're sick, stressed, or sad. You will do all these things on deadline. Learn how to do it now.
2. Be unique, be you. We already have a John Green, a Veronica Roth, and a Markus Zusak -- but we don't have you. Not yet. 
3. And most importantly: Play! Like Albert Einstein said, "Creativity is intelligence having fun." Write every day. Read every day. If you stop having fun doing these things at least a little of the time, reevaluate your goals for your work.  

Q. Do you make writing goals?  Are there one or two you could share with us?
My goals for the year are fairly simple: write well every day, finish a new novel by summer, and apply to a few MFA programs for fall 2015. Goals are a large part of success in any field -- goals, and grit.

Q. How do you balance a daytime job with writing? Do you have a set writing time or daily plan such as writing for at least an hour or a certain number of words?
I once heard Markus Zusak say (and I paraphrase greatly here), "If you are to succeed, writing should be your first priority. If it cannot be your first, then it must be your second." Balancing a writing life with one's day-to-day activities does not happen spontaneously -- you must create a writing/life balance that works for you.
My writing life is messy. I find my creative mind is most active late at night and early in the morning -- perhaps 10 PM to 4 AM -- and so I ensure that I get a significant amount of time each week to write inside that time slot. However, I carry my laptop and notebook with me wherever I go, so I can fill up the cracks in my day with writing. 

Also, I've started to use Victoria Schwab's calendar trick, which I have found to be surprisingly motivational. You may view it here: https://www.youtube.com/watch?v=kvDtCIA-_dk

Q. Can you tell us some of your favorite authors or favorite books? What books or authors have inspired you?
There are too many authors and titles to name here, but I'll certainly point to Neil Gaiman. While working on the revisions for Shutter, I kept a copy of his Make Good Art speech on my desk. One page got particularly water-stained and worn, and it read: "The moment that you feel that, just possibly, you're walking down the street naked, exposing too much of your heart and your mind and what exists on the inside, showing too much of yourself. That's the moment you may be starting to get it right."
That line got me through a lot of hard, late nights -- not because the revision wasn't going well, or because my editor was snarky with my work (she's brilliant and kind, I adore her), but because I knew this book would go out into the world with too much of me in it, and that in and of itself is a frightening thing. Looking back, I needed those nights so that I could learn how to let go. The time is fast approaching that my characters won't belong to me anymore -- they will belong to my readers. Every day, that fact gets a little easier to bear.

Q. For those of us who feel like we could edit forever, how do you know when a book is ready to submit?
I'm calling on Mr. Gaiman again to answer this question, because he is far wiser than me: "Fix it. Remember that, sooner or later, before it ever reaches perfection, you will have to let it go and move on and start to write the next thing. Perfection is like chasing the horizon. Keep moving."

 Q. What do you do when you receive advice on your manuscript from several different beta readers, and they all give you conflicting ideas?
Good feedback will resonate with you. Part of maturing as a writer and an artist is developing a strong sense of self on the page, and knowing what your intentions are for each manuscript, each scene, each sentence. Eventually, you will get so good at analyzing your beta readers' feedback that you will know, almost immediately, whether or not their feedback will take your work closer to your goal or farther from it. Above all things, stay honest with yourself, true to your work, and gracious to all your beta readers. 

Courtney Alameda’s career has been spent in and around books. She holds a B.A. in English Literature with an emphasis in Creative Writing from Brigham Young University, spent seven years working for Barnes & Noble, and currently works as an Adult & Teen Services librarian at the Provo City Library. Her forthcoming novel, Shutter (Winter 2015, Feiwel & Friends/Macmillan), is a tale spawned in part by Bram Stoker’s Dracula, in part by her experiences both paranormal and not-so-paranormal, and features a cast of monsters inspired by everything from Japanese folklore to survival horror video games.

Courtney is represented by John M. Cusick of Greenhouse Literary. A Northern California native, she now resides in Utah.

The 10,000-Hours Rule: Will Time Alone Improve Your Writing?

Many writers set goals, i.e. 1 hour or 1,000 words daily. How does your time work for you?

We’ve long heard the theory that 10,000 hours of practice is all that’s required to make you an expert in your field, whether it be illustrating, writing, or playing the violin.

But hours of practice alone isn’t enough. “Anders Ericsson, the Florida State University psychologist whose research on expertise spawned the 10,000-hour rule…[said], “You don’t get benefits from mechanical repetition, but by adjusting your execution over and over to get closer to your goal.” Focus, The Hidden Driver of Success, David Goleman. [DavidFarland.net link to  http://www.brainpickings.org/index.php/2014/01/22/daniel-goleman-focus-10000-hours-myth/]

If you want to improve rather than simply put in time, says Goleman, your first essential is focused effort. The second essential is receiving feedback from an expert eye.  For writers, that means it’s near impossible to go it alone. Critique groups, classes, writing conferences . . . what feedback has been the most helpful for you?

Originally posted at www.wifyr.com/blog (Artwork courtesy Eric Birkin.)

Rate Your Skill at Critique

It's interesting how we go to Writing classes and workshops, pay for pitch sessions, all for the opportunity to hear feedback, including criticism, on our work. Talking with someone about critiques, I realize I used to be too nit-picky. (My apologies to you who had to deal with my comma-Nazi former self.) I hope experience has taught me to criticize less and help more.

 

Here are the questions I posted on the WIFYR blog as ways to evaluate how well we do in the critique setting, both for giving and receiving advice on our writing.

 

Are you open to advice that can improve your work? As much as we'd all like to hear our work is wonderful, we only improve when we are willing to listen to ideas that make good writing better.

 

Do you listen rather than argue? When others critique you, stay quiet and give them a full chance to talk. You don't have to agree, but chances are you can still learn from their ideas. In a group critique, pay attention when it's another's turn. You can learn a lot from others' work, too.

 

When critiquing, are you positive and kind?  Having your writing critiqued has been compared to holding your firstborn child up for scrutiny. The author or illustrator has put weeks, months, or years of effort into his/her work. Start by saying something good, and then tread gently.

Are your comments helpful and selective? Overly harsh critiques are a sure sign of the inexperienced writer. Learn to choose which comments to make, and don't rail on every flaw.

 

No one enjoys criticism, but these techniques can help turn your critique into a positive experience that can move you one footstep closer to publication.

I had to add that last bit because of the cool photo I got of my daughter's footprints (barefoot was not my idea) after it snowed.

 

New Year, New Writing Goals

It's Jan 6th. Did you make resolutions to improve your craft? Or does the idea make you cringe? I admit to either not setting goals, or failing to keep them. In church last week, I heard a talk by a business manager who'd been successful in helping her employees make and keep specific plans. I've adapted some of her ideas on effective goal-setting for those of us who write.  If you didn't follow through last year, here are some ideas that might explain why, as well as how to do better in 2014.

1. Your resolutions are too grand. If you plan to win the Newbery this year, great. However, this is a wish. A more reasonable goal would be to plan to submit your manuscript or illustrations on a regular basis, monthly or bi-monthly, for example, or to plan publicity strategies for that already-published book.
2. You forgot to build in wiggle room. Decide to write from 5-7 am, seven days a week, 365 days, and you'll feel discouraged the first time you slip. A plan to write at 5 am four days a week lets you try again tomorrow.
3. Your goal is too vague. “I want to publish,” for example, is again more dream than plan. Be specific. As an alternative, “I will attend a writing conference and query 3 agents a month," is a concrete action that can move you toward your wish.
4. 4. You forgot reminders to keep you accountable. Put a sticky note in your calendar or a monthly alert on your phone. Better yet, ask a friend to check on your progress. Do the same for her.
5. You set too many. Your to-do list shouldn't exceed your daily word count. Joking aside, too many objectives can overwhelm as easily as goals that are too big or lack a specific plan. If keeping Resolutions is a challenge, this year, try setting just one or two. Plus one more: Use these ideas to help you keep the previous two.(A shorter version of this blog post was previously published at www.wifyr.com/blog)

Merry Christmas, Happy Hanukkah, or Welcome Snow?

Two things seem to baffle people during the holidays. One is what we're allowed to call them, the other is what to get for the people we love.

I agree with Kristen Lamb that some of the best giving is anonymous--Angel Trees and the like. http://warriorwriters.wordpress.com/2013/12/24/a-merry-klingon-christmas-holidays-for-the-add-nerdy-introvert/

When it comes to buying for my family, it's never that easy. I worry I'm spoiling my kids, then worry they'll get nothing they really want. And in my house, even though I buy early, I don't plan it all out. So the present opening process is never even. Usually the youngest gets the most presents, with us giving her sibs the small-toys-are-cheaper-than electronics explanation. This year, the middle child got the most. Her siblings finished opening their gifts, then we all sat there watching her open her remaining four or five, tempted to hum the Jeopardy thinking song. Do I have to add present-counting to  my already busy holiday schedule?

Next year, I think I'll buy them just three presents each, then give my kids what they really want: a gift card.
Or we'll skip the whole present thing and go on vacation. We give presents out of love. But there's something to be said for peace as well.

Turn Your Limits into Your Strengths

We've talked about looking at your work from a new angle. How about doing the same for obstacles? Here, my son the artist took the problem of a lamp post obstructing the subject's face and turned it into a pivotal piece of work.

For illustrators, what does deliberately chosen white space add to your focal point? For writers, does your character have a blind spot that might give her a unique dimension?

For all of us, what is one of your writing obstacles or blind spots? How do you work around it, or better, make it work for, rather than against, you?

I could swear I see a grand piano and an anvil in the background of this piece, also by my son. How does your focus allow the reader/viewer to use his or her imagination to fill in the open spaces beyond it?

Need Scene Depth? View it From a New Angle

I went hiking recently. As I picked my way down the trail, sliding on wet rocks, using branches and tree trunks to lower myself past giant steps of rock, I thought about my book characters. They're presently being pursued through desert hills. Yet while my main character and his friend have obstacles, I realized a more realistic setting could give them additional organic challenges. They can’t just walk along a smooth slope. They should be scaling rocks above uneven ground, sliding down steep grades while clinging to tree roots. And in my story, it rained yesterday. Where are today's slick stones and muddy trail?

Getting out on that trail gave me a completely different way to look at my manuscript, somewhat akin to the Coke bottle story you've likely heard. A teacher challenged his class to draw a glass Coke bottle. Most drew variations on the Coke's unique curved shape. But one student's sketch made everyone wonder. He sketched one large circle with a smaller one inside it. His angle? Looking straight down.

If you’re struggling with where to go in your story, ask yourself: How can I look at this problem, plot, or character from a completely different angle?

If you're writing about exotic cooking, maybe you need to go try a restaurant that serves a kind of food you've never eaten before. Then, instead of your character complaining about "little green flecks" in his food, you can talk about the flavors of truffle oil, or Thai basil.

You don't have to go for a long, muddy hike. (I went for the waterfall. The story idea was a bonus.) Consider finding a new experience. Or ways to look at a common one in an uncommon way.

[This is a different version of my post at wifyr.com/blog]