Don't have much today that's important to say. I am sick and it's Friday, so, you know, it's a free day of sorts. My dad bought me the Aaron Sorkin Masterclass a year ago, and I've finally gotten around to listening to it. There's good stuff here and there, but the part I liked best was where he was like...it takes me about eight to twelve months to write a script, and most of that time is not spent writing. Most of that time, I get up, go through the day, and go to sleep, and I have not written anything. I spend more time trying to write than actually writing.
That was sort of a relief! Nice to know that not everybody out there is just this productivity machine.
I also recently read Cyril Connolly's Enemies of Promise, in which this critic, writing in 1938, attempts to analyze the things that stop a person from fulfilling their initial promise as a writer. And the thing he identifies as being the most pernicious is success.
And I think this is so true. I mean I think of the other YA authors in my debut year who had big successes in their first books, and because of that their publishers put them on the one book a year treadmill. And of course you don't actually get a whole year to write the book, because what happens is they spend four months deciding on or editing your proposal, and then you get three months in which to actually write the first draft of the book. Then the publisher is just always holding the whip to them, trying to keep up their sales momentum, and of course the quality of the books is never what it was with their debut book.
The result is that their debut book, which should've been their worst published novel (because obviously you ought to get better the longer you write, or at least during the first decade or two of your career), ends up being their best novel, and although they might publish for a long time, they don't ever get their feet underneath them for long enough to produce the work they're truly capable of.
Unfortunately, if you want to earn a living by writing, this book treadmill is the only way (aside from having one book that becomes a perennial seller so that you just make fifty thousand dollars a year, every year, no matter what you write). Otherwise you've got to teach, and although teaching is great, I think I'm with Cyril Connolly in saying that it too is an 'enemy of promise.' I think here the evil is more subtle. It's just that unless you write a very particular kind of book, teaching is inevitably going to take you away from your source material.
For instance, if you write beautiful books about life in the Mississippi bayou, your reward is that you end up getting a job, probably, at Michigan or Iowa and never see the bayou again! For some writers--those whose work already instinctively breathed the air of academe--this isn't a problem. But for others I think being cut off from your source material ends up, after a few years, killing off some part of your creativity.
But what can you do!? People need to live! They have to eat!
I don't know. There's not an easy answer. Having a non-writing-related day job and laboring in obscurity avoids several of these traps, but then there's the issue of time. Can you really take the time you need to write when you're doing something else for most of the day. Also, people write because they love writing. Ideally they'd like to do it more of the time. If they loved selling insurance, they probably wouldn't need to write. So there's always an impulse to find some way to make this your job.
Anyway, I am lucky, in some sense, that I escaped the book a year treadmill (see: the three and a half year gap between my first book and Winter 2020 when my next book will come out). I got to take my time to write a book that I really loved, and I feel very grateful for that. Of course, nobody 'gave' me that time. It was just a natural interval caused by me not being a runaway success and hence my publisher not feeling too stressed about getting another book out of me. But nonetheless it was valuable.
Maybe someday I will be a runaway success. That would be awesome! But for now I do treasure the way I still have a normal life. I'm still in contact with my source material. Most of my friends are non-writers. I live in a very unintellectual city, where I frequently encounter people who have very different values from me. This is good. I like it. Money isn't the least complicated thing about my situation, but I've so far made it work (my book advances have helped a lot with this!)
I don't know. We'll see. I'm slowly learning the value of taking my time and of tolerating failure. I used to think of all my many, many, many false starts as failures. Now I just think of them as getting me one step closer to a beginning that will actually work. It takes time though. An incredible amount of time.