Three Reasons I'll Never Leave Scrivener

Like a lot of writers, I spent years hearing about the mythical, magical beast that is the writing program Scrivener. When I finally took the plunge and bought it on sale a few years back, I was simultaneously overwhelmed and underwhelmed. There was so much to learn! And it seemed really complicated! And it didn't jump out to me as being something that was going to especially help my writing! Was it really WORTH it, I wondered, sneaking back over to my precious Word documents?

Since then, though, I've become a diehard Scrivener convert. The moments when I have to go back to working in Word are painful. There are a lot of fancier functions on Scrivener that I skip completely because they are, for me, unnecessary or distracting—but the basic ones that I do use are transformative for me. Really truly, to navigate Scrivener to the extent that I do you basically need about 10 minutes of video tutorials and a few more minutes to play around. That's it.

Also, I started out using the "novel" format when I opened new documents, but that honestly introduces WAY more clutter than I ever actually use. I usually select "blank" when I create a new document these days.

Want to know how I use Scrivener and why I love it so much? Here you go!

1. I can keep a metric ton of information in one file

I typically have one document per book. That's it. In that document, I'm able to keep everything I need—multiple revision drafts; research pictures, notes, and websites; queries; pitches; and so forth. In my Scrivener file for WHERE THE WATERMELONS GROW, I've got

—4 revision drafts
—Research on farming, schizophrenia, and middle grade conventions
—Notes on characters
—The outline I made when before I wrote the book
—A timeline of events in the book that I made during my last revision
—Outtakes
—Multiple to-do lists for various revision passes
—The query
—The synopsis
—Twitter pitches used during #DVPit
—A brief summary I wrote before I wrote the book, to give myself an idea where I was going
—My dedication and acknowledgements
—Some notes on a possible companion book

This is what the sidebar for the WATERMELONS document looks like (with the draft folders collapsed because otherwise I couldn't possibly fit it into a screenshot):

This is really easy to do in Scrivener. You use the green "plus" button in the top left corner and long press it; it will give you the option to add a new page, a new folder, or import a web page. 

As a general rule, I use pages for small things like queries and such, and folders for drafts, research, and outline—anywhere that I want to collect multiple subpages into one area. Scrivener automatically has a special type of folder included for your draft—it looks like multiple pages together, instead of like the blue folder. I usually use that for whatever my active draft is. When it's time to revise and I need a new draft, I right-click that and hit "duplicate," then use the special folder type for my current draft. It doesn't make any difference that I can tell, it just looks different so I can always tell which draft I should make changes to. 

2. I can navigate around my current draft quickly and easily

It took me some time to get used to it, but now I LOVE the ability to divide my manuscript into subsections. I typically will split the document into new pages with each chapter and then type a very brief description into the sidebar so that I know what happens in that chapter for easy navigation. I also often use the colored flags on my chapters to show me where turning points happen, so that I can get an easy visual feel for whether one section of my story is getting way longer than the others. Here's what that looks like in my WIP, which I'm about 11,000 words into:

It makes it super easy to navigate between chapters, keep track of what's already happened, and so on. I often will find myself writing a new scene and want to refresh my memory about something in an older scene, and be able to find it really easily because I remember that the older scene took place in the chapter that was about the transmission, or whatever. This feature is helpful for both drafting and revision. In revision, I also use the flags in other ways—to show me where I've identified problems that I don't have time to fix right now, for instance. I'm a really visual person, and also not a super organized person, and being able to see everything laid out like this helps me SO much. Changing the symbols is really easy—you just right-click the icon and it gives you a bunch of options:

3. The corkboard feature is perfect for outlining

In a perfect world, I'd be using the corkboard feature in the way that it was intended, the way it's shown in how-to videos—to give a brief overview of what was in each chapter so that I could see the outline of my in-process book as I drafted or revised. Honestly, though, I've never found that that helpful. Instead, I typically start a new folder in my sidebar, completely separate from my draft document, and call it "outline."

I then switch my Scrivener to corkboard view—

and use subpages in that folder to make "notecards" for my outlining method.

(Side note: MAN the plot for WATERMELONS changed a whole lot between the outline and the final draft!!!)

If you highlight the folder itself and not the subpages—like I have in the screenshot above—they show up as notecards in corkboard view.

My outlines look like this:

(Obviously, my cards are usually expanded enough to read all the text on them—this is just so that it's easy to see a whole book's outline. If you want more info on how I outline, check out this post.)

And there you go! That's why I'm a diehard Scrivener user, even when much of the program's more complex functions I don't find particularly helpful. Also, software tutorials are NOT my strong suit, so I apologize if any of this has been confusing! I've found that Google is a wealth of Scrivener know-how, though, and that simple searches can turn up the answers to basically anything you need.

How To Know Which Publishing Path Is Right For You

Lately I've gotten into a bunch of different conversations with downhearted aspiring authors in which said author tells me dejectedly, "I just don't feel like I'm ever going to get an agent. And I don't deal well with rejections. I'm thinking of just putting my book on Amazon to see what happens."

And I get that. I totally do. Guess what? I gave up on my first query attempt after a whopping ten queries. The rejections were just soul-killing, and it was apparent very quickly from talking to industry professionals that that book never had a fighting chance, anyway. And while I queried my second book much more widely, after more than 100 rejections on that book, I came perilously close to quitting writing—forever.

I am going to venture a sweeping guess that there isn't a single published author out there, no matter how successful, who doesn't understand the toll waiting and rejection can take on a new writer's soul. Remember how J. K. Rowling got twelve publisher rejections (after she was already agented) before Harry Potter sold, and even then it basically sold because the daughter of a publisher liked it? No author achieves success unscarred.

For many authors, indie publishing is absolutely the right way to go. I have many friends who are happy, successful, fulfilled indie authors. I have indie author friends who are hitting lists, achieving bestseller status, earning indie industry awards. They love the way that they're publishing, and I'm so happy for them. But—and here's the big caveat—none of these authors just put a digital file on Amazon and walked away. All of these authors studied, invested in, and excelled at the skills needed to be a successful indie author. They knew that their genres sold well in their chosen format. They knew the tricks to use to build a readership base. And they also, by and large, write very quickly and are able to put out several books a year, something that can be crucial to an indie author's success.

When my discouraged aspiring author friends come to me and announce their intention to just put the book on Amazon to "see what happens," I cringe a little inside—because I've seen what it takes to make a successful indie career, and that being an indie author takes every bit as much work as being a traditional author. And what's more, I've seen that being an indie author also involves just as much rejection as being a traditional author. As an indie, you aren't getting rejected by agents and editors, but you are getting rejected by a host of people who can be even more scary: the general public. You're getting rejected every time you pitch your book to a bookstore and they won't carry it. You're getting rejected every time you do a signing event and nobody stops by your table. You're getting rejected every time you try to handsell your book and somebody walks away instead of buying.

Rejection is part and parcel of a writing career. There is no point at which you don't experience rejection. And so rather than choosing the publishing path that seems to be the easiest in the moment, let's sit down and examine a better way to choose the publishing path that's right for you.

What Are Your Goals?

When I'm counseling friends who aren't sure what kind of career they'd like to have, my first question is always this one. What are your goals? If you think about where you want your career to be in ten years, what do you see? What are the things that spell successful author to you?

By and large, your author goals will dictate your publishing path.

—If you harbor a deep dream of being able to walk into Barnes and Noble or your local indie and see your book on the shelf—that's not typically something you can get as an indie author (although there are definitely exceptions, particularly when it comes to local bookstores who know you as a local author).

—If you dream of starred reviews and mainstream award nominations, a traditional publishing path is a must. While indie markets have their own awards (like the Rone), and you will still be eligible for location- or affiliation-based awards (for example—if you're a Mormon author, as I am, you're eligible to be nominated for a yearly Whitney award whether you're trad or indie), the shiny stickers that most readers are familiar with (such as the National Book Award, the Pulitzer Prize, the Newbery and Printz Medals, etc.) are only awarded to traditionally published authors.

—If you want to have the largest degree of creative control, traditional publishing is probably not where you'll be happiest. In trad publishing, things like cover design, your book's description, and many of the finer points of editing are things you'll be involved in but not have final say over. Indie authors, on the other hand, have full control over all aspects of the publishing process, from layout to marketing plan.

—If you're an entrepreneurial sort and love the idea of building your author career like a business, you'll love being an indie author.

—If you want to turn out a lot of books each year and not have to wait for contracts to expire or the excruciatingly slow pace of traditional publishing, indie authorship is a perfect fit.

—If you don't want to have to worry too much about the extraneous details of your career—like cover design—and if you want support in marketing your book without having to hire a private publicist, then being a traditional author is probably your best bet.

—If you want to write for readers younger than 14, it will be much harder to achieve success as an indie. For middle grade readers and younger, reading is often still driven by "gatekeepers"—teachers, librarians, booksellers, and parents. Many kids in this category still don't have smartphones or e-readers, they don't have unfettered access to transportation, and their parents often still want to screen their reading for objectionable content.

—If, on the other hand, you want to write something like adult romance? There's a huge and booming market for indie books and you'll likely do quite well.

—The most financially successful indie authors achieve success by honing in on a limited "brand" and putting out one or more books a year that fit that brand. If you're a jack-of-all-genres who likes to move between age categories and topics, you might have a more difficult time establishing yourself as an indie author. While traditional publishing often still expects you to follow your debut novel up with another in that genre, you typically have a little more flexibility and less pressure to put books out as quickly.

Obviously, there are exceptions to every "rule" on this list. Traditional authors still have to be heavily involved in their own marketing, and some indie authors achieve great success writing slowly or hopping from genre to genre. Many authors ("hybrid" authors) do both quite successfully—writing for traditional publishers and then pursuing novellas or other genres independently on the side.

This post is not intended to either dissuade people from pursuing indie publishing or imply that it's less worthy than traditional publishing. Both paths, however, take work, perseverance, and the ability to handle a good amount of rejection. And neither path will make you happy as a writer if it won't help you achieve your ultimate goals.

So next time you're feeling discouraged, get out a sheet of paper and jot down a list of your writer goals!

a tale of early-morning derring-do

*technically these are degu. But whatever. Pretty close.

Guys, I'm feeling particularly awesome today.

Let me set the scene: A rustic home in the picturesque foothills of Oregon's Mount Hood. A mother and her four-year-old daughter tagging along with their extended family on a quick two-day jaunt for spring break. A very, very sleepy mother, who has been woken up twice in the night already to take her daughter, whose pull-ups she forgot, to the bathroom.

The clock strikes 6:50. The groggy mother is awoken by the daughter—who has been sleeping in a nest of blankets and pillows on the floor—standing beside her bed.

"Mommy!" the daughter says. "There is something CRAWLING UNDER THE BED! I think it is a very big spider or ant!"

(The daughter frequently speaks in capital letters.)

The mother peels her eyes open and sits up, only to ascertain about two seconds later that there is no spider or ant:

It is a mouse. A little brown mouse, scurrying frantically from one side to the other.

"A MOUSE!" The daughter exclaims in delighted surprise. "I never saw a MOUSE inside a HOUSE! It is so CUTE!"

The mother things, if we have to set up a mousetrap for this little dude, she is going to be scarred for life.

Thinking fast, she dashes into the kitchen and finds a cereal bowl. "Okay," she says when she's squeezed herself back into the bedroom and closed the door, through which the mouse has already tried and failed to escape. "We're going to trap it with this bowl. And then we'll figure out what to do with it."

"We will take it back to its friends and family!" the daughter declares. "It will miss its friends and family!"

Thence follows an exciting twenty minutes of chasing the mouse from one side of the room to another. Each time the mother gets close, the mouse darts back under the queen-sized bed and out of reach. The mother fruitlessly searches for peanut butter in the kitchen, finding none. "I just want to warn you," she says carefully to the daughter, "that if we can't catch it this way, we might have to use a mousetrap, and the mouse will probably die." 

The mother enlists the help of the grandfather, hoping he'll have a better idea. But just then, as they're waiting for him to arrive in the bedroom, the mouse scurries up the wall, and—

—with reflexes like lightning, the mother traps the mouse under the cereal bowl.

It takes her a few minutes to figure out what to do now that she's got the mouse immobilized under the cereal bowl. Heavy paper would work, but she's pretty sure that none exists in this simply-outfitted vacation home. Finally she remembers that she brought a paperback picture book to read to her daughter at night, and instructs the daughter to retrieve it from the shelf it's on. Ever so carefully, she slips the book behind the bowl, and—the mouse remains trapped.

"Now we can take it back to its friends and family!" the daughter cries. "But... do you know where its friends and family are?"

"I'm pretty sure," says the mother as she puts on her boots, "that they live in the trees on the other side of the street."

End Scene on a shot of the mother feeling sleepy but victorious, and seriously contemplating rechristening herself The Great Cindy, Valiant In The Face Of Speedy Rodents.

this is what it feels like

This post has been bubbling around in my consciousness for months now. More than once, I've thought about writing it and then stopped myself. No, I've thought. I don't want to make people feel bad. I don't want to burn bridges. I don't want to deal with responses telling me that the way I'm feeling isn't valid. I don't have the oomph to listen to people tell me I'm wrong. I just don't have the energy.

But you know what? It's been months, and the grease-fire that is the healthcare debate in our country is just getting worse and worse. Today, the most hardline conservative members of the House of Representatives convinced the White House to strip even more protections out of an already-terrible healthcare reform bill, and they're after even more—including the piece of the law that bans insurance companies from charging more to people with chronic or genetic illnesses. Like, you know, me. And I am left with this burning desire to share these feelings, to speak plain words, to do whatever I can to give people a peek into what it feels like to be a chronically ill, disabled adult with close to half a million dollars a year in medical bills right now. And I'm posting it on my public-facing blog, because this is real. It is important. And I am done being silent about it.

I will not speak eloquently. My words will not be beautiful. They will probably be angry, and they will definitely be stark. And maybe they will make you mad. If that's the case, I'm sorry—except not that sorry, because maybe that anger will also give you understanding, offer a glimpse into the anger and fear and hurt and grief that I've been feeling these last months. Because there has been so much of all of that. So much that some days I feel like I can't function. So much that some days I sit on the couch trying to disengage from news headlines while I hide furtive tears from my daughter. So much that when I gather my nice words to post educational items about healthcare on Facebook, it feels like a Herculean effort, because all I want to do is cry and scream and rage against the world.

Because this is what it feels like, being me:

On November 8th, 2016, you start crying as election results come in and you do not stop for days. You cry in your sleep, which you didn't know was possible. You cry and you cry and you cry and you think, how could people that I know and love care for me so little as to vote in a man who has made it his life work to undo the laws that are the only reason I have healthcare right now?

In the months that follow, you have lots of days where you don't even want to go out in public, don't want to go to church, don't want to run into anybody you know, because if they ask you how you're doing you know that they don't want to hear that you're having an existential crisis over how calmly everybody is debating what your life is or isn't worth.

You have always loved your country. Independence Day is your favorite holiday. But lately, you find yourself hating living here with a passion, fantasizing about moving abroad—and not even because of the superior healthcare, but because you aren't sure you can take another day of living in a country in which people spend their days saying things like Why should I have to pay for somebody who's sick? and you know, even if they don't, that the subtext of that is Why should I care if sick people die?

You get angry sometimes, when friends gush about your adorable child. You want to take them by the shoulders and shake them and shout DON'T YOU UNDERSTAND? DON'T YOU UNDERSTAND THAT THIS CHILD, THIS BEAUTIFUL GIRL WHO DANCES IN SUNLIGHT, IS EXACTLY WHAT'S AT STAKE? Don't you understand that I am fighting so that she can grow up with a mother, fighting so that I can live long enough to hold her own babies someday, as slim as that possibility might be?

You have had setbacks in your access to insurance in the past, but never before have you genuinely thought, I could truly die because of this. But now that thought is in the back of your mind always, always, without ceasing. You tell your husband to freeze your retirement for awhile, not to buy a new car, not to do anything with your first payment from your debut novel. You spend your time thinking of contingency plan after contingency plan. You pray all day some days. And other days, you don't pray at all, because you know that sometimes God allows people to suffer and you can't even bear to think that maybe he could allow your sweet daughter to suffer without a mother.

You cry typing these words. You cry and cry and cry.

Rich men with nothing at stake debate your fate in Congress. Patronizing friends and family assure you that "it will all work out," that "they have a plan to take care of everyone," that "it won't be as bad as you think," that "you have to be positive." And you want to yell, I have ALWAYS been positive. I am an optimist. But these months have buried my optimism so deep I don't even know where it's hiding.

People complain that their healthcare is expensive, and you think: Yeah. Healthcare IS expensive. Because for you, it has never not been expensive; there has almost never been a time at which you weren't paying at least 10% of your income in medical expenses.

People say I can't afford to use the health insurance I pay for, and you think: Good for you. It's lucky that you have that choice. Because no matter how high your deductible has been in the past, you have always had to meet it, because it was between expense and death. Because, in the end, you'd rather be broke than dead.

And through it all—through all the conversations and the headlines and the long, long nights of fear, you are never allowed to forget just how little your country values bodies like yours, just how little most people genuinely care. Sure, they might care about you, objectively, because you're related or because you write funny Facebook posts or because you have interesting conversations. But as a whole, your fellow Americans care only for bodies that are whole and strong and healthy. People talk about "making wise choices" and "saving for healthcare when you need it" and "taking care of your health so you don't need interventions" and you want to rage, scream, throw things, shout about how sometimes you're not lucky enough to be born with genes that work, and sometimes you cost half a million dollars a year in medical care for conditions that are interwoven with your DNA.

You think about all the tiny aggressions you've dealt with in your life—the people who snapped at you for using a disabled placard, or the professors who tried to flunk you because you missed all those classes due to repeated hospitalizations, or all the many, many people who simply haven't understood the reality of your limited, liminal life. And you think about how you always assumed that these were the outliers, the fringe wackos who lacked compassion, the few and far between.

And about how you were clearly wrong. Because now, those who lack compassion are not at the fringe. They are everywhere. They are controlling your government. They are making passionless decisions about whether a body like yours has any value at all.

And you are not sure you have ever felt so alone.

.   .   .   .   .

(Note: I'm disabling comments on this post, and while I don't have the ability to do that when sharing on Facebook, I will summarily delete any comments that tell me that I'm overreacting, that I'm wrong, or anything at all about the ACA legislation. Because this is the very deepest, rawest part of me, laid bare, and I am heartily done debating whether or not a life like mine has value. Period.)

In Defense Of Kidlit: Why "Harry Potter" Qualifies As Great Literature

Over the weekend, my college-age brother had a rousing discussion on his Facebook page responding to the question "is Harry Potter 'great literature?'" The bulk of the questions were from his fellow college students, dryly opining about how Harry Potter couldn't possibly be considered great literature because it wasn't as "intellectually stimulating" as Shakespeare. 

Needless to say, after 24 hours of reading those posts, my little kidlit-writing, Harry-Potter-loving self was getting kind of steamed.

Yesterday afternoon Mahon took Kate to run a bunch of errands. Background info: I've been sick, really sick, for two weeks, and done almost nothing but lay on the couch in that time. So the combination of sick + alone + stir-crazy and bored led to something that could be interpreted as foolish: I spent twenty minutes writing an 1100-word manifesto in response to that Facebook thread on why I'm willing to bet that Harry Potter will, in time, be remembered as a classic.

Here are the six points (all of the other titles alluded to were works, or authors, previously brought up in the discussion), plus one added for the purposes of this blog post because I didn't think of it till just now:

1) You cannot compare Harry Potter to Shakespeare or even to Robert Jordan or Brandon Sanderson. Those are ALL DIFFERENT CATEGORIES. Harry Potter is children's fiction; the others are all adult (and one is adult stage plays which is completely different also). The only sorts of classics to which you could reasonably compare Harry Potter would be things like ALICE IN WONDERLAND or THE CHRONICLES OF NARNIA; both considered classics just as much as THE SCARLET LETTER is considered a classic. Trying to be like "Harry Potter is no Bronte!" is like saying "Man, my sock really doesn't make a very tasty sandwich." Children's literature has different rules, goals, and things that make it great than adult fiction does. End of story. Even adult genre fiction (Sanderson, Jordan) are very different than children's genre fiction.

2) Classic literature wasn't "classic" when it was being published. In fact, most of the greats we read in English classes today were the pulp popular fiction of their day. Jane Austen? Read far and wide by people who were slightly embarrassed to admit they were reading books about a woman instead of "important literature." Shakespeare? Many of his contemporaries scorned him as an intellectual lightweight who just pandered to popular opinion. (And they thought that the things we recognize today as innovative were just stupid.) The ones who weren't in this category were, by and large, overlooked. In other words... people said the same things about most of our "classics" that people say today about Harry Potter.

3) JK Rowling is no slouch. Her "single mom rags to riches" image—which, by the way, is part of book marketing; people are more likely to read something by somebody with a fantastic Cinderella story than by a savvy classical scholar—aside, she was an extremely well-educated woman who'd been practicing writing for awhile when she finally got her big break. (On average in creative industries it takes, like, a decade to become "an overnight success.") The symbolism and classical scholarship in her books goes MILES deep. Few modern children's authors have such a subtle and masterful grasp on using symbolism and fine-detail-work as Rowling does. People rag on them for being long, but there are pretty much no wasted details in the series: think about how many "huh?" moments there were in the movies when they removed a bunch of the smaller, "unimportant" moments from the book. For an example of the kind of mind-blowing meanings hidden in microscopic details that I'm talking about, check out this link, which got shared during the Facebook conversation.

Also, few authors in any genre have as good a handle on long-form series; think of how many trilogies kind of fizzle out before they even get to the end, and yet Rowling managed to craft a behemoth of a series without a lot of dull, lagging spots, and with each book having its own strong story arc while playing perfectly to the arc of the series as a whole. The themes in Harry Potter are also incredibly deep as well—layers and layers of different themes that touch on some of the biggest questions literature can touch on (death, afterlife, loss, handling grief gracefully, friendship, imperfect people in positions of authority, the frailty of the wisest, prejudice, classism/racism, the supernal nature of good vs evil, etc). So I'd argue that Rowling did do a lot structurally that was meaningful—done in both a way, and to a degree, that most writers have not been able to pull off.

4) At the end of the day, people hate on both genre literature (ie, fantasy) and children's literature ALL THE TIME. In the children's lit world, we sit around and vent to each other about the incredibly rude things people say to us (like, "Oh, that's nice—do you think you'll ever write a REAL novel?"), because it's such a prevalent attitude in society. But make no mistake: just because a children's novel is more accessible and quicker to read than an adult novel doesn't mean that it's automatically less-than. There's a reason that children's novels tend to be the ones that many adults remember and speak of most vividly, and it isn't (as much as we English majors might sometimes like to think it is) because the general population is too stupid to comprehend HEART OF DARKNESS. It's because children's literature is a profound part of what shapes us and makes us who we are. Good children's books inform our opinions, our empathies, our deep thoughts. Good children's books are also universal in nature, tapping into deep themes and emotions from people all across the age spectrum, which is why adults often still gravitate towards YA and children's fiction plenty of the time. Just because something is written for children doesn't make it either childish or Not An Important Book. Likewise with genre fiction; just because something involves magic, or a funny best friend, or dragons, doesn't mean it can't also contain deep and important reflections on the human condition.

5) Even if all the above were not true... things can be great literature even if they're not replete with deep symbolism and statements on the nature of mankind. There are plenty of books that are considered classics today that are classic just because the author was very witty, or because she was terrific at creating characters, or because it was the kind of book that people just genuinely enjoyed reading. And particularly in children's fiction, great literature can take all forms; what makes it great is the two-pronged effect of resonance and endurance—i.e., how much it resonates with people, makes them question what they've believed or come to know themselves or the world better, and also whether it's a "passing fad" kind of book or a "stands the test of time" one. There are certain books that have had almost as much popularity as HP which I'm willing to bet won't be remembered as classics, because they lacked one or both of those elements. But, by the same token, I'm willing to bet that Harry Potter will be one that endures, in the vein of Lewis Carrol or C. S. Lewis or any other classic children's literature.

6) Things also don't have to be Great Literature to be worthwhile (though, as I said at length in my overly wordy essay above, I think HP falls into that category). Particularly with kidlit, not all books are going to have that resonance or endurance, and that's OK; at the end of the day, the sacred responsibility of children's literature is creating readers. 

7) In the English literature world, we sometimes fall into this false dichotomy—assuming that something cannot be both enjoyable and meaningful, that if we're not working rigorously to access a piece of literature, then that means that it, in turn, is not rigorously challenging us. Likewise, we often have a false dichotomy about other things that are "good for us", like vegetables: our culture is filled with this idea that vegetables are something that we have to suffer through in order to grow strong. Personally, I don't know about you, but I think vegetables are divine. Properly cooked, a bowl of green beans or steamed broccoli stands up there with dessert, as far as I'm concerned. The idea that healthy foods can't also taste good is patently false, and I think the same holds true for the idea that Meaningful Works of Literature can't also be accessible, enjoyable, or fun. Quite often, the works of fiction that have the most wide-reaching and transformative effect are also the most exciting—the kinds of books that we want to dive into and stay in, while simultaneously having our worldview challenged and our empathy deepened. Something can be both fun and important, both delicious and healthy. It's not a zero-sum game, where only the Really Smart People can access Great Literature. 

In fact, I'd say that the truly greatest works of literature are the ones that draw regular people into them, inspiring them to engage with a book even if they're not really the "reading type," while subtly challenging their worldview, their sense of self, and forcing them to reevaluate and recommit to a meaningful life. Great literature does all of this while also masterfully using literary techniques and creating the kind of narrative that lingers with readers for the rest of their lives. By all these metrics? I'd say Harry Potter succeeds very well, indeed.

The World Is Wide Enough: Dealing With Jealousy In Your Writing Life

Let me just start this post off with a little honesty: generosity and the celebration of others' successes is not, shall we say, my strong suit. I am by nature a jealous person; I tend to have a lot of knee-jerk envy even in situations where envy is abjectly ridiculous. When I was on the agent hunt, I felt envious of friends who found agents before I did, or even people I didn't know who found agents before I did. When I was on submission (which was thankfully a very brief time for me, and so I definitely didn't have room for jealousy!), I felt envious of friends whose books sold in two days. When I was waiting to announce my book deal, I felt envious of friends who got to announce sooner than I did. Even now, in this happy place of my-dream-has-come-true and before the full anxiety of being a debut author has struck, I feel envious of silly things, things I won't even be eligible for for a long time: starred reviews, fancy author blurbs, second and third book deals.

Why am I telling you all of this? Because I suspect that I'm not the only writer who struggles with the little green monster on the daily. And today, that's what I want to talk about.

When you're a struggling writer (and let's face it—we are all, at every point of the journey, struggling in one way or another), the sense of scarcity can be crippling. Every day, people are finding agents, getting book deals, holding their books in their hands, hitting bestseller lists. And with every author that achieves the milestone you're desperately seeking yourself, it can feel like your chance of succeeding just got a little further away.

But she signed with my dream agent, and now that agent won't be taking on new clients for awhile!

But if that editor offered on his book, surely she won't also offer on mine!

Her book is so similar to mine that surely no agent/editor/reader will want mine now!

His book is on more goodreads lists than mine, so it's sure to get more pre-publication buzz!

Her book sold for so much more money than mine, so she'll be a lead title and I won't!

I've been thinking a lot about this over the past two years, as I've battled my own jealousy demons. Often, a line from the very end of Hamilton comes back to my mind—just after Hamilton and Burr's infamous duel, as Burr realizes that their feud has cost him personally, as well as robbing the world of a fine and creative mind. I was too young and blind to see, he sings. I should've known the world was wide enough for both Hamilton and me.

This is the thing I hold on to, the thing I remind myself of, when I'm in the grasp of envy. The world is wide enough. Another writer's success does not rob me of my own chance; the only thing stolen is the way my bitterness sucks away my joy, hopefulness, and inspiration. Sometimes, that reminder can be tough to hold on to—but for me, at least, it's been the only way to survive the emotional ups and downs of a writing career.

Here are my concrete tips for how I've learned to handle jealousy in writing relationships:

1. Allow yourself to feel what you feel.

Some people have the mysterious ability to take unpleasant emotions, look at them coolly, and then choose to discard them. My husband is one of these. I am most definitely not. I've found that the more I try to stuff icky feelings away, the more they tend to lash out in nasty and uncontrollable ways later. For me, a key part of overcoming jealousy is allowing myself to sit with that feeling, and having compassion for myself for feeling it in the first place, instead of lecturing myself about what a terrible person I am and trying to force myself to stop feeling what I'm feeling through sheer force of will.

2. What is the jealousy really telling you?

For me, jealousy is often a surface emotion, a glossy veneer over the thing I'm really feeling deep down inside: Fear. Fear that I'll never get an agent, or sell a book. Fear that my book will bomb and I'll lose the ability to do what I love on a professional level because of it. That fear can feel paralyzing, but often, being willing to name and confront it helps the jealousy that overlays it to subside.

3. Talk to a trusted friend.

I'm an extrovert, and I figure things out through talking through them. An important part of dealing with any difficult situation for me is finding a trusted friend or two with whom I can safely share my feelings. It's important that they're somebody who will neither condemn nor validate your feelings—they shouldn't be the kind of person who will say either "Oh yeah, you're SO much better than that other writer, YOU should've gotten the agent instead!" or "How could you be so small-minded? Just grow up and get over yourself!" My trusted friends are often fellow writers, who can intimately understand the struggles I'm sharing with them, but are enough removed from the situation that they're able to empathize without being drawn into the middle of the fray.

4. If it's appropriate, talk to the person who sparked the jealousy.

Often, this isn't the right course of action. But twice in my career, there have been times where having the vulnerability to be honest helped salvage relationships that were really important to me. Early last year, while I was at a really dark place in my agent search, one of my dearest friends got an agent in a pretty fast, fairytale scenario. It. Was. So. Hard. For days, I wrestled with bitterness and envy, until that friend and I finally talked it out. Not only did our friendship survive that shift, it grew stronger as a result. Likewise, this summer when my book sold quickly, that was tough on another dear friend who'd been on submission longer than I had. Luckily for me (since she's an awesome friend I would've been heartbroken to lose!), we both worked hard to make sure that we were on the same page in how we planned to deal with that transition.

If you're the one feeling jealous, be honest with your friend. Tell her that you love her, and that you're happy for her success, but explain why it's hard for you to hear. Try to come to an arrangement that works for both of you in terms of how, and how often, she brings up her exciting news to you.

On the other hand, if you're the one who's had success and you know your friend is struggling with it, be sensitive to her feelings. Ask her if she'd like to be kept abreast of your exciting developments, or if she'd rather not have all the details. Know that she's thrilled for you, but also sad for herself, and that both those emotions can exist together without invalidating each other.

5. Focus on the things you CAN control.

Sometimes, that might be drafting the book you're working on, or polishing up a certain aspect of craft you're struggling with. Sometimes, that might be offering to critique others' work as a way to both get out of your own head a little bit and grow as a writer—last year when I was struggling so much, I offered to crit more than I ever have in my life, and although on occasion that was tough, it was also immensely helpful both for strengthening my own writing and for feeling like I was doing something that was objectively, measurably helpful and successful. And other times, it might be focusing on something completely different: A non-writing-related hobby, or parenting, or your day job. Writing is a tough business, and it's imperative to place as much focus as you can on the things that are in your control, because—like it or not—many things just aren't.

6. If all else fails, fake it till you make it.

I won't lie, I kind of hate that advice in most contexts. Who honestly wants to be superficial and shallow in the face you present to the world? Still, there are times where this nugget of wisdom really is the right answer, and in my experience, jealousy is one of them. Relationships with critique partners, friends, and your writing community are precious; don't allow your jealousy to ruin them. If you're struggling with another's success, put on a smile the best you can and fake enthusiasm and congratulations until those feelings turn into something more genuine—especially if they're not a close enough friend for it to be appropriate for you to open up about your feelings. Recognize that jealousy is a real part of the writing journey, whatever point you may be at, and, in the immortal words of Elsa, be willing to do the best that you can and let it go.

.   .   .   .   .

Wherever you're at in your writing career, remember this: the world is wide enough. The world is wide enough for your stories and theirs, too. The world is wide enough for lots of starred reviews. The world is wide enough for you to find a new dream agent, even if the one you always thought you wanted turned you down. The world is wide enough, and being willing to cheer others along even when you're struggling is what will, in turn, ensure that you have a solid cheering section when your turn comes. And it will: Because the world is wide enough for your success.

Best New Reads of 2016!

2016, man. It's been a year, am I right? Like many of you, 2016 has put me through the ringer in more ways than one. But there's also been some exceptionally good things—chief among them, the number of really fantastic books I've read.

In the last year I've read a total of 87 books, 19 of which were unpublished books I read either as a critique partner or as a Pitch Wars mentor. (I've definitely never had a year with so much beta reading before! And I can't wait until those books are out in the world and I can share them with all of you.) Of the published books I tracked on Goodreads, a whopping 30 were five-star reads. I read very few books this year that I didn't totally love.

Here are my top 14 favorite new reads for 2016, because 14 was as close to 10 as I could make my list go, listed in mostly chronological order. The links in the post aren't affiliate links, because I've never made enough on my affiliate account for Amazon to actually give me the money, so I decided to go the easy route this year. ;)


1. Happiness for Beginners, Katherine Center

Adult fiction. Totally delightful, perfectly-paced, and life-affirming women's fiction that manages to be both sweet and thought-provoking.

2. The War that Saved My Life, Kimberly Brubaker Bradley

Middle grade fiction. This is one of this year's Newbery Honors, and I just adored it. I particularly loved that while it's a masterfully done historical fiction, the focus is on the character's personal story, not the historical setting. After I got past the really difficult beginning, I loved how hopeful and lovely the story managed to be, despite being about such grim topics.

3. The Thing About Jellyfish, Ali Benjamin

Middle grade fiction. There were a lot of books that really stuck with me this year, but The Thing About Jellyfish tops that list. Gorgeously written, sweet, and sad, it beautifully tackles a very real experience for middle schoolers. I also loved how it was strongly hinted that the main character was likely on the autistic spectrum, but the focus of the story wasn't on her neurodifference, and the way the story told was very inclusive.

4. Hour of the Bees, Lindsay Eager

Middle grade fiction. I was a little bit freaked out when I first saw the cover and synopsis for this book in the spring, because I'd just barely begun querying my own middle grade book about magic bees (which pretty quickly got an agent and sold to HarperCollins, hooray!). Once I read it, though, I was relieved to see it's very different than my own—and fell head over heels for Eager's lovely storytelling and the unique way that she intertwines fables and family history with her contemporary story.

5. Because of Winn-Dixie, Kate DiCamillo

Middle grade fiction. No, I have no idea how I went 15 years after its publication without reading this one, but I loved it. Short, sweet, and guaranteed to bring a smile.

6. Goodbye Stranger, Rebecca Stead

Middle grade fiction. Stead is one of my favorite authors of this year, and of the books I read (the other being the equally fantastic Liar and Spy), Goodbye Stranger is the one that's really lingered in my mind. I love how well it tackles some really hard topics in an utterly sensitive and age-appropriate manner. Stead's sparse and straightforward writing, and her compelling and unique characters, are completely hypnotic.

7. Eleven and Holding, Mary Penney

Middle grade fiction. This was an unexpected gem; Penney's debut novel is another that tackles tough subjects with grace and humor.

8. The Storied Life of A.J. Fikry, Gabrielle Zevin

Adult fiction. I'd heard mixed things about this one, and wasn't sure what to expect going in, but I ended up devouring almost the whole thing in one night and absolutely loving it. The ending was a little abrupt and unexpected, but I loved the rest of the book enough that I was able to get over that. Sweet and life-affirming.

9. The Family Fletcher Takes Rock Island, Dana Alison Levy

Middle grade fiction. I also read Levy's debut novel, The Misadventures of the Family Fletcher, but while that was also a five-star read, Rock Island edged it out just a bit for me. I read this the week before Christmas, and the grin-inducing storyline plus the warm, summery setting were just what my tired midwinter heart needed.

10. The Key to Extraordinary, Natalie Lloyd

Middle grade fiction. Lloyd's debut, A Snicker of Magic, was actually the first book I read in 2016, and while I also loved that one, The Key to Extraordinary was even better. I loved everything about this book—the setting, the characters, the theme, the folk music woven through it, and all the references to lavender-peach muffins, which I'm still going to try my hand at making one of these days!

11. Courage for Beginners, Karen Harrington

Middle grade fiction. This was an unexpected gem that I picked up off a library display shelf one day. It was such a unique story, and while some aspects of it were so stressful to read, the plucky, voicey narrator kept me turning pages at top speed. Courage for Beginners manages to be both funny and heartbreaking, which is a pretty winning combination in my book.

12. Root Beer Candy and Other Miracles, Shari Green

Middle grade fiction. Green's verse is absolutely luminous, and her subject matter is sweet and sad, in all the best ways. It's also one of the best depictions I've read of a side character with cystic fibrosis!

13. Love Warrior, Glennon Doyle Melton

Adult nonfiction. Let me level with you here. I didn't really expect to love Love Warrior nearly as much as I did. I definitely didn't expect to find it profoundly moving, the kind of book I wanted to buy and reread the second I'd closed the cover. The Momastery blog can be slightly hit-or-miss for me, and while I appreciate a lot of Glennon's insights, I figured this book couldn't live up to the hype. But for me, at least, it totally did. In addition to being an honest and unflinching memoir that avoids stepping too far into navel-gazing or coy I'm-a-disaster-but-I'm-so-cute territory, Love Warrior is also packed with incredibly thought-provoking musings on society's expectations for women and for relationships.

14. The Weight of Feathers, Anna-Marie McLemore

Young adult fiction. McLemore's debut is gorgeously written, evocative, and unique; I can't describe it in words that really do it justice. The magical realism is light and perfect, and the story is so rich with atmosphere you could cut it with a knife.

Runners-up (it was so hard bumping so many favorites into this category):

A Study in Charlotte, Brittany Cavallaro

Conviction, Kelly Loy Gilbert

The Miraculous Journey of Edward Tulane, Kate DiCamillo

The Passion of Dolssa, Julie Berry

Okay For Now, Gary Schmidt

Liar Temptress Soldier Spy, Karen Abbott

Southern Charmed, Melanie Jacobson