Why I write about serial killers

“How did you get interested in serial killers?” Let’s face it – that’s probably the most common question I get asked once people learn what I do. At least it’s one I actually have an answer to. And even a specific date for.

I was in London in July 2007. My mom was helping me plan the trip and I told her that I had to be there on July 20, because Harry Potter and the Deathly Hallows came out at 12:01am on the 21st. I stood in line, got my book, and made sure to read all of it before leaving my hotel room in the morning, just to make sure I wouldn’t run into any spoilers. Except then I didn’t have anything to read.

I took the underground to the zoo but for some reason on my way back the station I’d used was closed. There was a sign directing people to the next station, and that street took me past a bookshop. (Not there one where I got Harry Potter – that was at King’s Cross Station.) I went in and decided to look for a book about Jack the Ripper, since there were advertisements everywhere for Ripper walks and the like, but they all started after dark. I didn’t feel like trying to find my way back to the hotel that late, all by myself, so I figured hey, let’s see if they have a book.

I ended up asking if they had any books about Jack the Ripper – silly question – and I got directed to an entire bookshelf. I’d been hoping for, I don’t know, a couple books to choose from, instead of a couple dozen, and was honestly stumped. I’d already been given a bit of a long-suffering look when I’d asked if they had any books, so I decided not to ask again. I pulled out the two thickest books and arbitrarily chose Philip Sugden’s The Complete History of Jack the Ripper.

It’s not a small book, and not quick reading. I had it done in a matter of days. And I’d bought my second Ripper book before leaving London. By the time I’d signed the contract to write Ripper’s Victims, I owned around 40. That book cites about 80. At last count, thanks to an app on my phone that helps me keep from buying doubles, I own 120. And those numbers are just for single-subject book-length accounts of the Ripper crimes. (For comparison, in that same app, my general “true crime” bookshelf has 187 titles listed.)

Almost every bookstore has a true crime shelf. It’s the one genre I routinely seek out when I go into them, and the one genre where I still prefer to have paper copies instead of eBooks – it makes citations easier, and it’s easier to scribble notes in the margins or flip back to find that one special quote. When I start organizing an idea I’ll pull books out and reorganize them, grouping certain ones together as a visual representation of my ideas. Plus it’s just cool to have so many bookshelves full of my research.

So how did I get interested in serial killers? I was in London for the ending of Harry Potter, and it turned out that the next book I picked up marked a new beginning.

But what does it actually mean to “kill your darlings”?

It’s a common piece of writing advice that is frequently attributed to William Faulkner: “In writing you must kill all your darlings.” And it sounds cool – a little bit of murder, a little bit of love. But … what does it really mean? Is it just for novelists who need to off their favorite character somewhere within the story?

That’s the most common misinterpretation of the advice: that it calls for a literal – or at least literary – death. That aspiring authors need to read up on fight scenes or medical terminology and autopsy reports. That well-loved characters need to be offed and then mourned, perhaps in the spirit of reaching a word count goal. It’s actually a bit more brutal than that.

Your darlings are the things that make you not want to hand over your work to an editor. The parts you know you’ll resist changing, even if the comments come back and make it clear that no, this won’t be publishable until you do. The words, phrases, or ideas you’ll cling to because yes, this does indeed seem like a fine hill to die on, thank you very much.

Sometimes the comments you get back tell you about other people’s darlings. I had a manuscript returned that asked me to get rid of every single instance of “Therefore.” There were only two, but someone, somewhere, had killed this person’s darlings in the past and it was a lesson he remembered. Therefore (I know, I know) he had to make sure no one else allowed his darlings to live.

Other times it’s a lot harder than searching your document for a single word and finding substitutes. Your entire proposal can be a darling, and it can be rejected outright. Or, of course, there’s “revise and resubmit” in which you’re confronted with a list of changes, and you have to get out your ax. Or at least your red pen.

It’s a balancing act. Clearly whatever you wrote will not be published at this venue exactly as it is, but presumably you want to see it in print there, since you submitted it. Usually, upon first read-through of the comments, some of them even seem reasonable. They might feel like easy changes. Yes, of course I can do A, B, and C. A change here, a tweak there, and you’re working your way down the list exactly like you’re supposed to. Until …

Your darling.

Now, you don’t always have to accept and implement the comments and suggestions with 100% agreement. There is space for a conversation here: I understand where you’re coming from, but I made these choices for this reason. But, more often than not, there’s still some sort of issue that has to be changed. The sticking points where you’ll just be told to revise and resubmit again – or take it elsewhere because clearly you’re refusing to play the game according to the rules – unless you do something about it.

That. That’s your darling.

I, for one, am a fan of copying and pasting my darlings into a separate document where I can pretend they live out a happy life. On a farm in the country, perhaps. Where I could totally visit, if I really wanted to. And where they can live on, unchanged, while I negotiate the feedback and do my best to keep my ego in check (because just look at how darling my darlings are!).

Kill off your characters if you have to, but they’re not your only darlings.

What about you? Do you know your own darlings? Are any of them absolute sticking points?

The Craft of an Index

It’s one of the last steps needed before a nonfiction book can be published, but it’s also tedious … annoying … and incredibly necessary: the index.

I recently finished creating the one for my most recent book, Media and the Murderer: Jack the Ripper, Steven Avery and an Enduring Formula for Notoriety, and I got a lot of surprised responses: wait, a person has to do that? Why?

There are a number of reasons why it takes a human to sort through a book to make the index actually … useful.

For example, I reference the Duke of Clarence and Avondale; Prince Albert Victor; and Prince Eddy … and they’re all the same person. A computer could be asked to search for and categorize all proper nouns, but someone along the line has to recognize that they’re all the same person. (And add in the cross-references in the index to make sure that someone who knows him as Prince Eddy can find all the references.)

The proper nouns are probably the easier ones to find, too. When I’m scanning through a page to see what to underline for the index, the capital letters help.

This time around I settled on four colors to help me sort through what was going on and keep the ideas in mind as far as what I was looking for. Green was general; blue referred to the murdered women; yellow was names of secondary importance; and prink referred to Jack the Ripper and Steven Avery.

There’s another rule of thumb here: if it’s mentioned in your title – as the Ripper and Avery are – then they’re on a lot of pages and they don’t get their own entry. The Ripper mentions got divided into their own categories (although there’s always the chance that this might get changed once someone at the publisher has a look and maybe a chuckle – things have been consolidated before) but what happens with Steven Avery, the main subject of Making a Murderer?

He gets his name, yes, but not a list of pages where he’s mentioned. If you know anything about MaM, you know he’s got a wrongful conviction and an exoneration – and those two categories go under his name with page numbers to follow. Instead of just being one big blob of Steven Avery mentions, he gets categorized.

The same thing can happen with some of the people I label as secondary figures. Ken Kratz, for example, has a “press conference” category, and Brendan Dassey has his “confession.” So even when it’s an easy search for someone’s name, there’s still some parsing going on. What do I think people who pick up this book might be looking for? How can I make it easier for them to find it (and therefore cite me)?

But it’s a pain. I groan at my past self for making all sorts of connections to serial killers both factual and fictional, because each mention is another entry in the index. Zac Efron, Mark Harmon, Johnny Depp … they’re all in this one. Hannibal Lecter is on multiple pages. Ted Bundy, John Wayne Gacy, Jeffrey Dahmer … they all go in the index.

Aside from the proper nouns, there are certain themes that happen to appear in my work. Some of them were major players in my dissertation: Puritan execution sermons, trial reports, and the explanation of why the adversarial trial matters. Some are specific to this book.

And the reason you do it yourself, as opposed to hiring someone else to do it, is that you know from the start what your important parts are. So therefore I knew that execution sermons had to make it in, even from the very first mention. That got underlined.

I can use the search option to go back through and make sure I’ve gotten all the pages for a certain term, as long as I remember that profiling, profiler, and profiles are all possible terms to file under “psychological profiling” … but I still need to make all of those connections so that someone who wants to use my book can know exactly where to look.

5 tips to get yourself writing

Even if you’re good at writing – even you say you like writing – there will be some days when you don’t want to do it. Days when you have to use every trick up your sleeve to make yourself get words on the page. (Days when you write a blog post rather than work on your current project, even …)

Days when you’ll seize any conceivable distraction.

So what can you do to keep up the momentum?

  • Schedule your writing time. Block it out in your calendar. Tell other people that it’s your writing time. Granted, you’re not going to be writing at top speed for every minute of that time, but you’re making it a clear intention. When I’m distracted during that time, I’m distracted from writing. It’s like what they tell you about meditation: acknowledge the fact that your mind is wandering, and then bring it back to the task at hand.

  • Recognize what parts of the project are going to be most troublesome. This is absolutely a personal thing, but right now I’m about to “start” something. The start is my struggle. It’s not just the start of a project, but the start of a section – a chapter or something under a new heading. The way I usually get around it is to never end a writing session at the end of a section – at the very least I’ll give myself a few notes to go on.

    You can’t always plan it that way to be nice to yourself. Today, for example, is my first day back at the project since writing and sending in the proposal. I had other things going on and didn’t want to continue writing it without knowing if the proposal might be rejected, so I have to get over this hump. But, whenever possible, I do what I can to make Future Rebecca’s life easier.

  • Remove distractions. I have a specific writing desk. There are books in the room, yes, but I don’t bring my knitting in here – one distraction down. There’s no door to keep the cats out, so that’s a wash, but there’s also no tv. I rarely turn off the wifi when I write – I’d rather do a quick search and put the proper date in now instead of later – but I’ll turn on the Forest app on my phone and put it on the harshest setting: you can’t leave the main screen until the timer is up, or else your little digital tree dies. I’ve even got the comments customized so it tells me to keep on writing.

    Do I mean “Bore yourself into having to write the thing you’re putting off”? I might indeed.

  • Give yourself a carrot. Set a reasonable, achievable, goal and then tell yourself you can’t do something fun until you’ve reached it. Dickens used to tell his servants not to give him his clothes until he hit his daily word count, so he’d be naked and confined to his study until he got there, but it doesn’t have to be that extreme.

    It also doesn’t have to be mean – this isn’t “I can’t get up to use the bathroom until I hit 500 words” or “No refills on my coffee until I finish this section.” You don’t want to make writing harder because you’re ignoring bodily needs or running low on caffeine. It’s a reward: once I hit my word count, I can have some candy, or spend 20 minutes working on my fun knitting project, or get lost in an internet search of nothingness for a while.

  • Write something – anything – else to get words flowing. You can hop to another section of the project, or start making notes about what’s bugging you about the project, or write something else completely – it doesn’t have to be connected to the project you’re putting off. You can also switch it up and get out a pen and some paper instead of using your laptop. This is your chance to use different colors, or to write down the other things that are bothering you, or to get a quick shopping list out of the way. Once you start writing, it makes it easier to switch the flow of words back to your original topic.

The more you write – the more you follow your schedule – the better you’ll get at forcing yourself to focus simply by trial and error. If something works for you, hang on to it. If one of these tips doesn’t, then reject it and start searching for another.

What do you do to help yourself focus on writing?

How do you deal with rejection?

Okay, we don’t really like talking about this part: rejection. Putting your work and ideas out there means giving other people the chance to say “No thank you.” Or “I love this but it doesn’t belong here.” Or “This is a form email.” (I mean, I kind of assume most of them are, but I got one that proclaimed it loudly.)

A couple weeks ago I got three rejection emails. Within seven days. That’s not very fun. On the glass-half-full side it means I’ve been putting my stuff out there a lot, but when you do that … you open yourself up to the possibility of three rejections in a week.

If you want to get published, you run the risk of rejection. So: how do you deal with it?

rejection

I have someone that I text with every single rejection. This started because he teased me that I didn’t have enough rejections, so I decided he had to know every single one. It’s not just about annoying him with texts – it’s about how he reacts.

He “judges” the rejection on whether or not it “counts.” Form letter? Yes, okay, that’s a “real” rejection. But if it’s got any sort of encouragement in it, like a revise and resubmit, it doesn’t. He focuses on the good parts and shoves them in my face and makes me go “Yeah, okay, fine, I don’t suck as much as I first thought.”

He also gets any good news texts, too, and this might be the more important part: even if he’s envious of my good news, he cheers me on. Lots of people just … can’t do that. So if you’re going to annoy someone with your rejection texts, make sure it’s someone who’ll be excited for you if you get a response that isn’t a rejection.

I also have a group who gets updates on a more relaxed schedule – usually about once a week. I can whine and complain and sort of get the “failure” idea out there so it’s not such a big deal. (They, too, are more apt to be “Wait how many things have you sent out???” and not secretly keeping a tally of my shortcomings.)

So: have your crew. Have the people who respond to your rejections the way you need – snark and dismissal work best for me, honestly. Then it’s not such a big deal. It’s just all part of the process, and they’re all rooting for me to get the successes. (Seriously, this can be difficult to navigate. Lots of people respond to good writing news with something like “Oh cool. My cousin is published.” Which totally deflates you because then it’s not special anymore. You want the people who will cheer for you, however small the steps, because man, sometimes they feel really small.)

The other important thing here is the fact that these are not general announcements to the world (or my social media). Have you ever heard “Don’t make it public unless it’s permanent”? Good advice. You don’t want to annoy someone who comes across your twitter feed, for example, and get them in a bad mood when you might end up proposing something to them in the future. And even good news, especially good news with a long processing time, might not stay – you don’t want to announce something eagerly and overshare, only to have to retract it later. Even with an offer, not everything works out.

So basically I follow two rules when it comes to rejection: 1) I don’t keep it to myself, and 2) I don’t announce it to the world. I’ve got my people, my team who’ll soothe my ruffled feathers and tell me to bounce up and get back out there so that, eventually, I can do the big public “Look what I did!” announcement.

Rejection is part of the process, even we don’t like to talk about it much – my support staff is a small group, thanks – and it’s something we all have to deal with. The important part is figuring out what approach is going to work for you and help you keep moving forward.

 

How can you be sure your ideas are good enough to be published?

It’s the most common slash dreaded question for all writers: “where do you get your ideas?” And it might seem simple, but there are layers to it. It’s not just “where do you get your ideas?” but “where do you get ideas that are good enough to be published?” Really, how do you find an idea that someone else is going to look at … and then agree to put in the time needed to work with you on it?

I’m with Stephen King on this one, or at least on half of his advice for fiction writers: you have to read a lot. In grad school they tell you to look for the gap – the thing that nobody’s talking about – but it’s a bit trickier than that. You have to make sure it’s a real gap and not just that you haven’t personally read about it yet. So you can’t identify a gap, stop reading, and immediately start investigating it.

IMG-1924What I’ll do is write the idea down immediately. I’ve got plenty of notebooks – this one is actually a cover for four different notebooks (and my husband added the engraving on the front for me), which can help me keep my ideas separate – and when a lightbulb goes on, I’ll write it down. And then keep reading. Both of those are equally important, since I don’t want to forget my brilliant insight … but I also want to make sure it is indeed brilliant before telling the world. (Or at least before writing up a proposal.)

The next step is usually some serious time with Google. I remember going to propose an early Stephen King paper for the Pop Culture Conference and thinking “There’s no way nobody else noticed this!” This is the connection between Rose Madder and Mr. Mercedes that ended up as a chapter in The Modern Stephen King Canon, and even up until the Q&A session at the end of my presentation, I was sure someone was going to stand up and tell me of course they all knew it. They just weren’t talking about it because it was so darn obvious.

The thing is, even if I can’t find someone who’s made the same connection I have, I’m still never convinced that my idea is actually original. If little me could think of it, then someone else more brilliant has to have already come up with it … right? So I keep looking, and even when I send out a proposal, I’m waiting to hear back that actually, of the 20 people who responded, 15 of them had exactly the same point, sorry, thanks for your time.

IMG-1923This is my other notebook. It’s a Leuchtturm 1917, and a gift from my husband. He said he picked it because he’d seen Neil Gaiman call it his favorite. (The leather cover is completely custom – my husband printed it all over with a map of Whitechapel.) It’s my more recent notebook, and you can see from these pages that it’s set up to almost force you to do what I’m already doing: keeping a lot of notes on a lot of different things, but trying to stay organized.

All the pages are numbered so you can fill out your index as you go or as new ideas occur to you. This helps me take it a step further beyond “having an idea” and “being pretty sure the idea is original” to “brainstorming more about the idea.” By putting the main thought at the top of the page, this leaves a whole lot of open space to be filled. Then I can shift to having more thoughts about the idea, supporting it and making more connections as I continue to fill in the gap.

Again, we’re back to that difficult step: you won’t actually know for sure if your idea is interesting enough to other people until you actually show it to other people. But you can take your time in developing it to make sure that the gap you think you see actually exists, and isn’t simply a gap in your reading.

If you ever come across someone asking “Why isn’t anyone talking about this?” the answer is usually “Because you’re not reading the right people.” Once the idea strikes – as you write it down before it can get away – your job is to make sure you’re not missing out on that conversation. You Google, and you comb through bibliographies, and you talk to people, and you satisfy yourself as well as you can that you’re not just missing it. Then you develop that idea – use your lightbulb to look into all the corners of the room, maybe – and take a deep breath and put it out there.

But mostly … you read a lot. And then a lot more.

5 tips for tackling multiple writing projects at the same time

I know I’m not the only writer who works on more than one project at the same time, but I think I might also be an outlier. At a writing retreat it seemed like everyone else was amazed when one of the presenters said he’d have more than one in progress at any given time. I wouldn’t recommend it, exactly, but we don’t always have control over when special issues are announced or ideas strike. I do have a pretty solid idea of my personal limit, though, considering how many things I was juggling over the summer of 2019.

finalSo last week’s writing post showed you the top of this index card, held on my bulletin board by my helpful star carrier pin (the lantern glows in the dark!). I wanted something more fun and cheerful than just a thumb tack because the list itself is anxiety-inducing. At the top, marked with the red checkmark, is the chapter from last week on the heroic criminal: final edits due on July 12, and hey look, it’s done! Except … there’s more underneath that bird.

In 2019 I took on more than I should have. It didn’t turn out to actually be too much, but … let’s not do that again. I had three book chapters due – heroic criminal, a chapter on IT, and one about post-WWI male violence (which can all be found here) and the book proposal for Media and the Murderer. Those were all planned. The last one on the bottom – “Stephen King likes to kill kids” – was a request from another publisher … which led to another book proposal. (That one got rejected with a suggestion for a shift in topic, but since I wasn’t the right person to write the new suggestion, I tore things down and rebuilt them into my upcoming book for McFarland.)

But that’s five projects going on in the same year. Not everyone can – or should want to – work on that many at once, but if you get yourself into a similar situation, there are a few things you can do to keep from running around in circles.

board

  • Have a clear idea of what each project is about. This can be the abstract, the proposal, or just a sentence. What makes this one different from the others – especially if two of them might be similar enough to use the same sources? Make sure your main argument is clear in your own mind. My index cards are turned backward for the photo because hey, I’m protective of my little idea nuggets, but they’re summed up in a short phrase on my corkboard.
  • Keep track of due dates. Each of the cards also has a date on it, and you can see on the printed sheet – a call for proposals – that I’ve got the due date for the proposal and the actual piece written large in red. When you have the big end dates in mind, you can work backward on where your project should be at any given time.
  • Focus on one at a time. On any given day, I’ll make it my intention to work on one of those projects. Sure, ideas might pop up for another, but that’s what notebooks are for. Write it down and let it go. Focus on the project you really need to work on for today. (Don’t forget to jot down your other ideas, though. “I’ll remember it later” is often a lie.)
  • Try to keep your projects in different phases. This, like having your main ideas very clearly spelled out, helps you switch back and forth between them without getting too confused. Of the four cards currently on my board, one is at the proofreading stage, one has been proposed and is in the “waiting to hear back” stage, one actually has an intended home and due date (the CFP), and the other is currently “just” an idea. This way you’re not trying to write two intros at the same time or trying to keep two methodologies straight. (Although once the editors have it, your timeline is in their hands and you might end up doing edits on two pieces at once.) As much as you can, control the stage of your project.
  • Don’t forget to take a step back for the long view. It can be easy to get involved in a project, especially when you hit the really interesting sections, but don’t get lost in something and lose sight of your other commitments. That’s the main reason for my corkboard, which is near my desk: to remind me of the due dates. That way I can take a deep breath and, at a glance, see if i need to shift my focus for today to work on another project.

There are pluses to working on multiple projects at the same time – bored with one? Switch to a different one! – but it also takes a lot of discipline to make sure you don’t stretch yourself too thin. It can be hard to say no when an apparently perfect opportunity knocks, but it’s also important to know the best way you work and how much you, personally, can handle.

What do you do when you have the chance to work on multiple projects at once? How many have you worked on at the same time?

How do you know if your writing is “good enough”?

So you’ve done it: you’ve written something with a beginning, middle, and end. All the proper headings are in place. You’ve even combed over the citations to make sure you’re caught up on the current punctuation preferences. (Okay, you’ve resigned yourself to probably missing a comma or something.) You’ve done all the revising and editing that you can do on your own, but how do you know if it’s good enough to submit somewhere?

You have to – gulp – show it to someone else.final

It’s a necessary step in the process no matter what. It’s even very logical: if you want someone else to read your work, someone else has to … read your work. It just feels safer in some sort of distant dream where it’s strangers far off somewhere eagerly devouring every word. Not … someone carefully reading it and holding the power of rejection in their hands.

I suppose, if you go for self-publishing, you can skip this step. It’s just all you, all the time, and nobody else has to see it until they’re far enough away that they can’t touch you. But publishing – especially academic publishing – means a lot of eyes are going to be on your work before it gets printed.

51siVKLceWL._SX352_BO1,204,203,200_Take my most intense process so far. A call went out for people who wanted to write about heroic criminals in American popular culture. A friend of mine sent it to me and I debated, but … well, rejection on a proposal hurts far less than rejection on a full paper, so I submitted. Even before something was really written, the two editors had their eyes on it.

They got too many submissions for their special issue, so they asked a number of us if we’d be willing to do book chapters. I agreed. First hurdle passed: someone liked my idea! Two someones, even. But now, try to follow the bouncing ball …

I wrote and submitted the chapter. The editors read it, commented, and sent it back. I revised the chapter. The peer reviewers read it, commented, and sent it back. I revised the chapter. The editors read it, commented, and sent it back. I revised the chapter. The publisher got it, formatted it, and sent it back. I made final small edits and clicked the final big button.

And that’s the main thing, right? It’s not just that other people are reading it – they’re going to tell you what to change. Between the editors and peer reviewers, I was getting feedback from five people. (Who didn’t always agree, but that’s a story for another time.) The point is that first, writing is never “good enough” – it’s just due. Second, people will always want you to change things, so you can’t go into it thinking you’re perfect anyway. And third … you have to show it to people.

It doesn’t have to be a submission straight off – you can show it to your peers or colleagues or anyone who might be interested in reading it – but there will always, always be more feedback once you submit it officially. It’s basically never going to be “good enough” to be accepted exactly as-is, but you won’t know if it’s “good enough” to be accepted at all until you show it to someone else.

What do you do to help yourself get to the point where you’re willing to show your writing to someone else?

5 tools for dealing with the slow writing days

Some days – the good days – writing seems to fly. The next word is waiting right there for you and you have a laser sight guiding you down the path of your argument. You don’t have to wait around for a thought because they’re lined up in a row for you to knock down like dominoes. Those are what I call “the fast days” because I can churn out my word count with no sweat.

But the other days … the slow days …

Those are the days when Anne Lamott’s famous KFKD radio station plays in your head. You suck. This was never a good idea. There’s not enough here to make any sort of point. And come on – you think some editor somewhere will want to read this? Nope. You’re delusional. And definitely not a writer.

So, to borrow from another of my favorite writers – Stephen King this time – we need hedges. Hedges against the dark.

Today I’m going to share five tools I have in my writing toolbox especially for those slow writing days.

Here are two of mine in one convenient photograph. The rest is just desk clutter that’s migrated to the same spot (and makes it look like I might have set up some sort of shrine to the writing gods).

  1. My stuck duck. I got a whole bag of novelty rubber ducks last fall before National Novel Writing Month and my writing group each picked one out. Mine is named Abra Cadaver, and when I get stuck in my writing, I explain to Abra why I’m stuck, and why I’m stupid, and why it’s never going to work. She doesn’t judge. Her expression never changes. And, when I tell her why it’s not working, usually I figure out what I then have to do to fix it.
  2. My writing candle. I have a few different kinds, all from Frostbeard Studio because they’re book-themed and just fun. (One of the scents in “Gatsby’s Mansion” is “Daisy.”) By lighting a candle within my line of sight even on the good days, it helps set up the mental association: when the candle is lit, I’m supposed to be writing. It helps with the focus.


IMG-1490 3. A progress keeper. This one is for Book Four, which is due to my editor in October, and it’s super pretty because it’s so consistent. Most of mine aren’t, but it’s important to keep track of your progress no matter what. When you’re just putting words into a computer, the only evidence that you’re actually doing anything is that you have to scroll a bit further in the file next time. I make up these little charts where each square is 500 words and I color it in at the end of the day to give myself that visual proof that I’ve at least done something.

4. A break. Sometimes, as a wise woman once said, you need to simply sit there with butt in chair and fingers on keyboard. But, other days, I find that I actually need a break. I don’t have a strict writing schedule so I can always get up and go for a walk or do something else for a while, and then come back later, once my thoughts have had a chance to sort themselves out. The important part, of course, is that you do have to actually come back later. You can’t just get up and walk away forever. It takes some time to recognize when you need to force yourself to sit and when you can let yourself take a break, but writer, know thyself.

5. A new document. This one is probably the strangest because the blank page can be so intimidating when I start out, but I find that, on my slow days, I’m worried about “ruining” what I’ve written so far. I know it’s all in a computer and I can cut and paste to my heart’s content, but sometimes I still get a block. So I’ll open up a new file, name it something inconsequential, and start writing a section there instead. Once Abra and I have talked it through, it usually gets inserted into the working document, and then I can color in a square or two of my chart.

Whatever tools you use to keep yourself writing, don’t forget to back up your work. I email myself the file at the end of the day, no matter how much or how little I’ve written. This is especially important on the slow days when you’ve worked so hard to make any progress.

What do you do to help yourself through the slow writing days?

How can I proofread my own work?

It’s easy to proofread someone else’s work.  Each sentence is new and fresh, and it didn’t start inside your own head. You can read it far more objectively. But when it’s your own writing …

You already know what you’re talking about. You understand the concepts, for one, and all of the background information that you might not have actually included here. You can throw in phrases like “the Swanson Marginalia” or “the Macnaghten Memoranda” because hey, you know what they mean. And when your eyes rove over your own sentences, your brain is more than willing to argue that it’s actually read all of the missing words.

The best option is clearly to have someone who’ll carefully read over your writing and find all of those pesky mistakes. Editors and peer reviewers can help you catch the major things. But for a piece that isn’t either edited or peer reviewed, when you have to make sure it’s presentable all on your own … what can you do?

  • Let it sit. If you have time between when you finish writing it and when it’s due, let it sit. Print it off and make sure it’s saved in a couple different places so you can’t lose it, but put it aside for as long as you can. You can never come back to your writing with entirely fresh eyes, but at least you won’t be as caught up in the actual writing of the piece when you come back to it.
  • Make Word read it to you. You can force yourself to go slow, sentence by sentence, and even read it out loud to yourself, but you can still skim over missing or similar words. Word has “Read Aloud” (under “Review”) and while it’s not the most expressive reader, it will only read what you actually have on the page. This is a good way to catch similar words, missing words, or that pesky sentence that just doesn’t make sense.
  • Read it one sentence at a time … backward. This is time-consuming and I’ve only done it after editors have signed off on the overall flow of a piece so I know it makes sense, because this isn’t reading for sense. It’s dissecting your work so that you can’t fall into a flow and anticipate what comes next. Working backward means you have to concentrate on this sentence and just this sentence.

And of course, if all else fails … go back and read what you wrote after you hit “submit.” After all, we’re all bound by Gaiman’s Law:

“Picking up your first copy of a book you wrote, if there’s one typo, it will be on the page that your new book falls open to the first time you pick it up.”