What have you learned? have your goals changed in the last 5 weeks?
This course taught me how to market myself as a writer (and artist), get into freelance writing, network with other writers, self-publish, submit to publishers, and apply for graduate programs, jobs, and internships.
It showed me how writers have the unique ability to share their unique interests and stories through their work. Anything I'm interested in: gardening, painting, philosophy, physics- has a place in the world of writing, whether its magazines, journals, or online spaces. People want to teach others about every subject imaginable. People want to learn about everything, no matter how obscure. So, writers will always be needed.
This course showed me that there is a "place" for every writer, and many different ways to share your writing and your talent.
When I first took this class, I didn't think I wanted to start my own magazine, get into printmaking, or start a blog. Editing and graduate school are still among my goals, and I'm glad I learned more about them. I'm glad we got feedback on our resumes and cover letters, too. I feel like this class forced me to actually organize a portfolio that always seemed complete in my head, and get it together online.
When I had to respond to my favorite discussion question, I looked for one that didn't deal with the writing process and my ways of overcoming fears and obstacles. I thought of ways to skew a question so I could write something that, overall, was inspiring. But, as much as I think I'd hate it... I think analyzing my fears as a writer would be well worth the effort.
"What are your biggest fears as a writer? Are you conscious of them, or do you try to walk them off, write through them? Try to think of a list of all of your demons, both original and intimate."
When I first read this, and questions about my avoidance techniques and how I conquer them, all I could think was - I don't. Strangely enough, I think that in itself is a fear. I'm afraid that I don't conquer my writer's block effectively and I let my own self-conscious demons or procrastination get to me. I'm afraid that that fact makes me a bad writer. Or, means that I'm not a writer at all.
I don't let ideas or freewriting pour out of me as much because I usually dismiss an idea that isn't mind-blowing. If I wouldn't want to read it, I don't bother trying to write it. This doesn't mean I'm a very judgmental reader. I just have a very hard time paying attention.
For most of my life, I literally didn't read. A lot of people are surprised to hear that about me. People hear I'm a writer and want to discuss literature with me. But, the truth is, there's very few books that I have actually finished cover to cover. The thing that made me want to be a writer, was that first book that I did finish. I discovered that there was really awesome, touching writing out there... that could grab my attention. It just didn't look like any of the books that I was told I should read. Growing up, family members always assumed that because I was a teenager, I would like fiction and novels like Twilight or Nicholas Sparks or Danielle Steel. I always thought these kinds of books were like watching television. They were entertainment for people who liked to read. But, I never felt engaged by them. Then, people who thought I was intelligent or interested in writing would give me classic literature like Metamorphosis, Jane Eyre, and The Hobbit. But, these books, regardless of what messages they had to offer, put me to sleep. When I got to college, I tried much harder to be knowledgeable about classic literature. I wanted to impress people.
So, because it was so hard for me to become engaged by writing, I began to sort of worship the writing that did have a hold on me. Whenever I go to write, I compare my ideas to these finished works that are beautifully crafted and simple, full of mind-blowing synecdoche and metaphor. But, I can't forget that every work starts out as an idea; a little seed that needs time to grow and change. I don't consciously think that my favorite authors just sit down and masterpieces flow out of them in a single draft. But, I live in a time of instant gratification. It's hard to grasp that something could take years to develop. I took piano lessons for more than 10 years when I was a kid. And, back then, I read flash cards, and studied little by little to learn to read music. But, I never once sat down at the piano and wished I could just play my favorite symphony.
People say that stuff is easier to learn when you're a kid because you're a "sponge." I don't think we lose our sponginess as we grow into adulthood. We lose our patience. We succumb to expectations of how good we are supposed to be at things, and avoid those that are time consuming or difficult. When I was seven years old, no one expected anything of me. So, I didn't waste one thought on worrying whether or not I was disappointing anyone. I never disappointed myself. It made a slow progression and practice seem natural. I'm glad I wrote this piece.
The topic that intrigued me the most in the "hard questions" section was "the single most important concept you have learned." Before I answer, I must explain that before I ever considered myself a writer, a student, a musician, a laborer- before anything... I was simply an artist.
When I was a kid, I thought visual art like painting and drawing was going to be my only focus in life. Before I began kindergarten, my mom had taught me the alphabet, numbers, and how to write my name. But, drawing was something I had actually practiced on my own time. When I was seven or eight years-old, my mom met a lunch aide at my elementary school who gave art lessons. Her name was Miss Medd. I went to her house once a week and she gave me a drawing lesson for one hour. It didn't feel like a lesson. It felt like hanging out with someone who had endless encouragement, exciting knowledge, and cool art supplies. It felt like I was cut short every week. My mom gave the lady ten bucks, and I had to go home.
Aside from her sweet personality, artistic talent, and exotic furniture, I think I mainly loved Miss Medd because she talked to me like I was another human being. I didn't feel like I was eight years old and she was sixty. I felt like she was my friend... who knew a lot more stuff than I did. This brings me to the most important concept I've ever learned. On my first lesson, she whipped out a book called "Drawing With the Right Side of Your Brain." I was left-handed. So, it would come easily to me, she said. Each lesson consisted of working on a drawing together. She had lots of ideas, but, I could draw whatever I wanted. If I chose a picture of a sexy model from a magazine, I would just sit there and try to draw it, as she worked on a drawing of a bunny rabbit or whatever. As we drew, we talked about whatever was on our minds. As I hit obstacles, she gave me tips. Sometimes she would demonstrate how to use a new medium. But, mainly... the bulk of instruction came when I first began a new sketch. When I began a face, she told me to stop drawing a face. She told me to look at shapes around and between features. The most important concept I have ever learned is the concept of "negative space." It was like all she had to do was remind me, and with that idea in the forefront of my mind, my art improved immediately.
When one begins to draw, or create anything for that matter, they must break it down into sections; they must start somewhere. So, most people consciously think "OK, I'll start with an oval for the face, then the eyes, then the nose" etc. We think in terms of positive space. When we see an image of a girl standing in a field, we call it a "picture of a girl." At a glace, no one thinks about the ground she is standing on, or the distance between her and the tree in the background. In order to draw something from life, you must always consider the relationship the subject has with its environment. In order to get an image of a person anatomically correct, one must test the relationships between the lengths of the arms and the torso, the distance between the ears and the shoulders, etc. etc. etc. This concept gave me a whole new way of looking at the world around me. It showed me the importance of understanding the interconnectedness and relationships between everything. It improved my ability to replicate and reveal life.
People love to talk about themselves. But, when it comes to why they are deserving of a job, a lot of people, myself included, go blank. The only thing worse than looking like an asshole for bragging is bragging about things that aren't even brag-worthy. When I sit down to formulate a resume or personal statement, I always shoot down my first ideas. I feel like things I've accomplished don't count. The pressure to seem "professional" can make anyone question whether or not the things they've worked hard on are impressive enough, legit enough... or just enough.
I've found that, as corny as it sounds, being yourself is the best thing to do. I've been trying to think about all of these scary, official documents as just... formal representations of who you are. Stressing about whether or not what you have to offer is good enough, is pointless.
I like to think that by adamantly incorporating the word "timeline," Facebook has given a sense of growth to our online profiles and identities. Now, you can scroll through years of someone's photos and comments, and it gives a feeling of looking through a childhood photo-album. So, when skimming over one's teenage years, you can expect some embarrassing content involving braces, prom gowns, etc. When flipping through someone's early twenties, we can usually expect content involving college activities, self-discovery, and beer. Sometimes, lots and lots of beer.
Personally, I don't want to 'delete' my online identity- including the beer, embarrassing outfits, and cries for attention. But, I certainly don't want my random, obsessive bouts with rap lyrics to define me as a professional writer.
Whatever decisions you make regarding your online identity will always work out in your favor.
There are online networks for sharing resumes and professional work. Facebook can be one of those. But, Facebook is also a place to communicate everyday thoughts with friends. We shouldn't be afraid to let the two identities overlap. Company executives and academia professionals are human beings, too. Everyone will judge everything you do whether you like it or not. A photograph or comment could be enough to make someone dismiss you or not take you seriously. But, that's a risk we have always had to run in face-to-face interviews as well. Attractive people make more money and are found more "trustworthy" by the general public.. If you wouldn't play "dress-up" for a job position in real life, why should you online? As for the ".will always work out in your favor" part- surrounding yourself with people who accept your values and share your interests will lead to more opportunities for self-expression and less pressure to save face.
As far as getting an agent is concerned, where do I start?! Also… when is it necessary/appropriate to have an agent? Is it ever beneficial to contact publishers on your own?
How would someone go about getting work as a columnist? Is publishing many different pieces of freelance work a ‘stepping stone’ into getting a regular column assignment?
What are key differences (if any) in your experiences as a magazine editor vs. a book editor?
I'm interested in a plethora of different things. That's probably why I'm a writer and not an accountant. I often forget that I have the ability to get paid to not only write, but to experience the things I enjoy. One easy way to up your chances of being published would be to write a journalistic piece on someone/thing that needs or wants the exposure. I like music as much as the next guy. And, I just realized that most of my favorite bands and artists are NOT very famous yet.
If you submit a piece on "Band X" to a publication that is looking for fresh music content, local music content, or just MORE content in general, you will have a better chance at things working out. If that doesn't work, why not try soliciting the band's website or Facebook? Bands often seek photographers and website developers to give them a professional edge. Why not writers? If you generate content that benefit's both sides of the equation, you're more likely to get published, get your name out there, and maybe, just maybe, get paid.
When I chose to major in Writing Arts in college, I knew I wouldn't be making a steady income off of my future publications and fantasy book deals. I figured I would have to do a lot of writing that was less creative in order to make money. But, the article "10 Things College Writing classes don't teach you about the writing life- but should," definitely opened my eyes to a few things. I always figured I would be editing for extra money, or doing something tedious for a local newspaper. Salerno's article showed me that there are lots of careers in writing, but you have to forget about the way most college writing professors have portrayed professional writers and what they define as good writing. I also found it ironic that most college grads have no idea how to understand editor's jargon. It seems that most writing programs give students a very wide range of intellectual insights, but little to no practical skills. . . like how to submit to publications, self-publish, write a CV, or speak the same language as editors.
I've looked a lot into graduate programs. And, although I loved the grad. class I was able to take last semester, I'm not sure that it would be worth my investment. I'm still open to it, though. And, in class when we learned that going to a larger school can guarantee they have the funding for you, that made me reconsider.
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