NaNoWriMo 2015 – I Won!

Well, I sort of can’t believe it, but I actually pulled it off. Fifty thousand words (or technically, 51,286 words) towards the first draft of my novel in progress, bringing up the total wordcount to 103,895. I’m feeling fairly giddy. This is a bit surreal.

I opened up my file this morning, and all the madness and joy of the past month sort of evaporated for a scary moment of clarity, and I realized: holy shit, I have most of a novel.

So I want to thank from the bottom of my heart everyone who helped make it possible for me to wake up this morning with most of a novel, including the amazing team of organizers and volunteers and novel-ers at NaNoWriMo itself, my very patient and supportive friends and family, and, maybe most of all, my writing buddy @simongannon, who let me invade his living room and read him my crazy sentences about arrow wounds and incinerators and chase scenes while he told me about interstellar politics and brandy. I’m happy to say Simon also hit his 50K target today, so yaaay and congrats to us.

And congrats to everyone else who participated in NaNoWriMo this year! Whether or not you hit the target, those words you wrote didn’t exist a month ago, and now they do, and that’s something to be damn proud of.


Here’s my life. My husband and I get up each morning at 7 o’clock and he showers while I make coffee. By the time he’s dressed I’m already sitting at my desk writing. He kisses me goodbye then leaves for the job where he makes good money, draws excellent benefits and gets many perks, such as travel, catered lunches and full reimbursement for the gym where I attend yoga midday. His career has allowed me to work only sporadically, as a consultant, in a field I enjoy.

All that disclosure is crass, I know. I’m sorry. Because in this world where women will sit around discussing the various topiary shapes of their bikini waxes, the conversation about money (or privilege) is the one we never have. Why? I think it’s the Marie Antoinette syndrome: Those with privilege and luck don’t want the riffraff knowing the details. After all, if “those people” understood the differences in our lives, they might revolt. Or, God forbid, not see us as somehow more special, talented and/or deserving than them.

There’s a special version of this masquerade that we writers put on. Two examples:

I attended a packed reading (I’m talking 300+ people) about a year and a half ago. The author was very well-known, a magnificent nonfictionist who has, deservedly, won several big awards. He also happens to be the heir to a mammoth fortune. Mega-millions. In other words he’s a man who has never had to work one job, much less two. He has several children; I know, because they were at the reading with him, all lined up. I heard someone say they were all traveling with him, plus two nannies, on his worldwide tour.

None of this takes away from his brilliance. Yet, when an audience member — young, wide-eyed, clearly not clued in — rose to ask him how he’d managed to spend 10 years writing his current masterpiece — What had he done to sustain himself and his family during that time? — he told her in a serious tone that it had been tough but he’d written a number of magazine articles to get by. I heard a titter pass through the half of the audience that knew the truth. But the author, impassive, moved on and left this woman thinking he’d supported his Manhattan life for a decade with a handful of pieces in the Nation and Salon.

Example two. A reading in a different city, featuring a 30-ish woman whose debut novel had just appeared on the front page of the New York Times Book Review. I didn’t love the book (a coming-of-age story set among wealthy teenagers) but many people I respect thought it was great, so I defer. The author had herself attended one of the big, East Coast prep schools, while her parents were busy growing their careers on the New York literary scene. These were people — her parents — who traded Christmas cards with William Maxwell and had the Styrons over for dinner. She, the author, was their only beloved child.
After prep school, she’d earned two creative writing degrees (Iowa plus an Ivy). Her first book was being heralded by editors and reviewers all over the country, many of whom had watched her grow up. It was a phenomenon even before it hit bookshelves. She was an immediate star.

When (again) an audience member, clearly an undergrad, rose to ask this glamorous writer to what she attributed her success, the woman paused, then said that she had worked very, very hard and she’d had some good training, but she thought in looking back it was her decision never to have children that had allowed her to become a true artist. If you have kids, she explained to the group of desperate nubile writers, you have to choose between them and your writing. Keep it pure. Don’t let yourself be distracted by a baby’s cry.

I was dumbfounded. I wanted to leap to my feet and shout. “Hello? Alice Munro! Doris Lessing! Joan Didion!” Of course, there are thousands of other extraordinary writers who managed to produce art despite motherhood. But the essential point was that, the quality of her book notwithstanding, this author’s chief advantage had nothing to do with her reproductive decisions. It was about connections. Straight up. She’d had them since birth.

In my opinion, we do an enormous “let them eat cake” disservice to our community when we obfuscate the circumstances that help us write, publish and in some way succeed. I can’t claim the wealth of the first author (not even close); nor do I have the connections of the second. I don’t have their fame either. But I do have a huge advantage over the writer who is living paycheck to paycheck, or lonely and isolated, or dealing with a medical condition, or working a full-time job.

How can I be so sure? Because I used to be poor, overworked and overwhelmed. And I produced zero books during that time. Throughout my 20s, I was married to an addict who tried valiantly (but failed, over and over) to stay straight. We had three children, one with autism, and lived in poverty for a long, wretched time. In my 30s I divorced the man because it was the only way out of constant crisis. For the next 10 years, I worked two jobs and raised my three kids alone, without child support or the involvement of their dad.

I published my first novel at 39, but only after a teaching stint where I met some influential writers and three months living with my parents while I completed the first draft. After turning in that manuscript, I landed a pretty cushy magazine editor’s job. A year later, I met my second husband. For the first time I had a true partner, someone I could rely on who was there in every way for me and our kids. Life got easier. I produced a nonfiction book, a second novel and about 30 essays within a relatively short time.

Today, I am essentially “sponsored” by this very loving man who shows up at the end of the day, asks me how the writing went, pours me a glass of wine, then takes me out to eat. He accompanies me when I travel 500 miles to do a 75-minute reading, manages my finances, and never complains that my dark, heady little books have resulted in low advances and rather modest sales.

I completed my third novel in eight months flat. I started the book while on a lovely vacation. Then I wrote happily and relatively quickly because I had the time and the funding, as well as help from my husband, my agent and a very talented editor friend. Without all those advantages, I might be on page 52. OK, there’s mine. Now show me yours.

Ann Bauer, ““Sponsored” by my husband: Why it’s a problem that writers never talk about where their money comes from”, (via angrygirlcomics)

This is so important, especially for people like me, who are always hearing the radio station that plays “but you’re 26 and you are ~*~gifted~*~ and you can write, WHERE IS YOUR NOVEL” on constant loop.

It’s so important because I see younger people who can write going “oh yes, I can write, therefore I will be an English major, and write my book and live on that yes?? then I don’t have to do other jobs yes??” and you’re like “oh, no, honey, at least try to add another string to your bow, please believe that it will not happen quite like that” 

It’s so important not to be overly impressed by Walden because Thoreau’s mother continued to cook him food and wash his laundry while he was doing his self-sufficient wilderness-experiment “sit in a cabin and write” thing.

It’s so important because when you’re impressed by Lord of the Rings, remember that Tolkien had servants, a wife, university scouts and various underlings to do his admin, cook his meals, chase after him, and generally set up his life so that the only thing he had to do was wander around being vague and clever. In fact, the man could barely stand to show up at his own day job.

It’s important when you look at published fiction to remember that it is a non-random sample, and that it’s usually produced by the leisure class, so that most of what you study and consume is essentially wolves in captivity – not wolves in the wild – and does not reflect the experiences of all wolves.

Yeah. Important. Like that.

(via elodieunderglass)

This is fantastic, not only because of the reasons listed above – like that it’s important to acknowledge and understand the privilege of the (according to this) majority of authors who do get published, and how their experience doesn’t represent the experience of all authors – but also because it can help authors like me, who aren’t famous and successful and able to devote their daily lives to their writing (yet), feel less guilty about things like, you know, having a job. 

It’s hard to find the time and energy to write when you have other big things in your life. A full-time job, kids, a medical condition, aging parents or relatives who need support – it’s normal to be struggling to get your writing done when your time and energy and devotion have another focus. But what this post, aligning as it does with my own recent personal experiences with NerdCon and NaNoWriMo, has helped me realize is this:

1. Your story matters. Even if you’re having a hard time getting it onto the page, it’s part of you and the world deserves a chance to see it. If you want to put it out there, you need to persevere and keep chipping away at it, in whatever way works for you; don’t give up on it because you don’t think that your story could be worthwhile enough, or you don’t think it’ll ever get published. It certainly won’t ever happen by itself. It comes from you, and only you can make it happen. Make it happen. That said…

2. Your life matters more. It’s okay to focus on feeding yourself and your kids and helping the people around you. It’s okay to work on building life circumstances that will allow you the time and leisure to eventually work on your book. There’s this weird balance that all of us who aren’t multimillionaire heirs and heiresses have to strike between our creative passions and our ability to pay the rent. And that struggle is not great, but it’s not the death knell to your book either, not unless you let it be. Your day job can be the thing that allows you to finally write that magnum opus that’s been brewing inside you. Use what it gives you (like, you know, money) to your advantage. Although it might not be where you feel best right now, it can be the thing that gets you where you want to be. 

The Elephant Technique or How Not To Break Your Momentum During NaNoWriMo And Beyond

So I’m not doing NaNoWriMo, but I am writing a novel, and this technique sounds super odd but also like it might be an absolute lifesaver. In brief (although I encourage you to scroll down and read the whole post I got this from, if only for the wonderful gifs):

1. Whenever you hit a spot in your writing where you would need to research, check, or cross-reference something, just write a very unlikely word like “elephant” there instead.

2. When editing, do a document search for “elephant” (or whatever) and replace the offending pachyderms with the appropriate items, which you now have time to research without breaking your flow.



So there’s this thing, National Novel Writing Month, where a person writes a 50,000 word novel in 30 days. These people are referred to as crazy. I am one of them.


And there’s this guy, Chris Baty. Baty helped make NaNoWriMo a thing. He even wrote a book about it. A…

The Elephant Technique or How Not To Break Your Momentum During NaNoWriMo And Beyond