Dear Writer, You Need to Quit by Becca Syme

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In addition to being a bestselling author, Syme has been a writing coach and productivity teacher for over a decade. She’s seen the same patterns over and over, and seen writers stumble in some very predictable ways. Now Syme has written her coaching philosophy on paper, so anyone not lucky enough to take one of her classes can still benefit from her advice. DEAR WRITER, YOU NEED TO QUIT is not a book about quitting writing. It’s about quitting the bad habits that steal your writing time or make you unhappy.

There is a lot of tough love in this book. Syme has been coaching long enough to have seen every bad habit that writers fall into and she’s here to cut the bullshit—especially the bullshit we tell ourselves.

With chapters titles like “Quit Thinking Facebook is Your Friend” and “Quit Expecting This to Be Easy” and “Quit Fixing the Wrong Problem” you know Syme is not going to sugarcoat anything. She tells writers exactly what they’re doing wrong, exactly why they’re doing it, and how to get out of their own way to get words on the page. She especially wants to destroy the myth that there is a single switch you can flip to magically change your life. There isn’t. You have to do the work.

But even as she’s telling it like it is, Syme’s kindness shines through. Her advice comes from the deep understanding of a writer’s psyche and a sincere desire to help. The advice she gives most often is to “question the premise.” Instead of simply copying other people’s workflow systems, first look within and ask if this is something that will truly fit with the way you’re wired. So many productivity books remove your agency by forcing you into someone else’s box. Syme empowers writers—not by teaching a system, but by teaching writers how to make their own system.

There were a few times that Syme glossed over things, telling writers that if they wanted more information, they should sign up for one of her online classes. I guess that’s to be expected. Her classes are several weeks long and she can’t put it all in one book. However, I do wish DEAR WRITER, YOU NEED TO QUIT stood alone a bit more rather than serving as an introduction to her class.

But about that class? I took Syme’s Write Better Faster class in 2017 and it was the best thing I ever did for my career. I mean it. Before that class, I’d been devouring time-management and productivity books, wondering why all of them worked some of the time but none of them worked all of the time. The answer is that we’re all wired differently, and everyone has a different relationship to time. It’s obvious in retrospect, but it was something I had to be shown, rather than told. Syme’s class helped me find a system that worked for me and I’ve been a happier, more productive writer ever since.

If you can take Syme’s class, do it. If you can’t, DEAR WRITER, YOU NEED TO QUIT will take you a long way on your career path.

You’ll have to go the rest of the way on your own.

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DEAR WRITER, YOU NEED TO QUIT can be found here.

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Rating: 4 stars

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This book is best for: beginning to intermediate writers

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I recommend this book.

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If you find my reviews helpful, and you’d like to help me buy more books to review, you can do that here.

Make Your Writing Bloom by Shonell Bacon

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I never fall out of love with writing. It will always be one of my favorite things. But I do get shiny manuscript syndrome, where starting a new project seems more appealing than finishing the current one. MAKE YOUR WRITING BLOOM can help with that, as well as the more serious problem of general writer’s block.

MAKE YOUR WRITING BLOOM is a slim book that takes you through seven days of exercises. I often skip exercises in how-to books, but I took these seriously and finished all of them. Each day tackles your attitude about writing from a different angle. Why do you love to write? What fears do you have around it? What’s getting in your way? How can you incorporate writing into your daily life?

There are no wrong answers, and any epiphanies you have are up to you to interpret. There isn’t much advice in here at all, except to trust in the exercises, trust in the process, and keep writing. Bacon also includes snippets of her own struggles, which I found extremely relatable, since she’s a teacher and an editor, like me. We both are sometimes so overwhelmed with other people’s words that we have trouble finding our own.

Bacon is always realistic. She talks honestly about her setbacks and times she’s sabotaged herself, but not in a woe-is-me way. She overcame her own blocks, and is confident that we can do the same. I  appreciated that positive vibe. At this point in my career, I am completely over books that try to instill fear in writers or treat writing as something horrible and difficult. Bacon doesn’t do that, because she doesn’t have to. She starts by reminding writers why they love the craft so much, and it’s something she returns to again and again throughout the book.

While spending a week making my writing bloom, I fell a little bit more in love with my own writing too.

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MAKE YOUR WRITING BLOOM can be found here.

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Rating: 4 stars

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This book is best for: beginning to intermediate writers

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I recommend this book.

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How to Write Pulp Fiction by James Scott Bell

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Pulp is often considered lowbrow. Just because it’s written in quantity and features plain language, it is often seen as undeserving. Literary writers are especially fond of looking down their noses at genre writers. But good pulp is simply another version of the art form known as the novel. And yes, it’s an art. Just ask Elmore Leonard, Raymond Chandler, and Lawrence Block.

Bell defines pulp fiction as plot centric, easy to read, and fast-paced, with colorful characters, witty dialogue, and intriguing settings. In other words, popular fiction. Romance and thrillers are the bestselling genres today, but Bell only gives a passing nod to romance. His advice is clearly for those who want to write thrillers or hardboiled mysteries, especially in a series. (He calls a series character “the writer’s insurance policy.”)

A pulp writer gives the reader what they want and plenty of it. In order to do that, the writer has to study the market and write fast. HOW TO WRITE PULP FICTION is loaded with lists and plot generators, along with good general writing advice that will keep pulp novels from becoming hack work. Bell’s two strategies for writing faster are also tried-and-true: banish distractions and write to a quota. Pulp writers can’t afford to be too precious about the work.

HOW TO WRITE PULP FICTION is rounded out with some publishing advice. The first pulp golden age was when paperbacks were a new medium. Now, ebooks are the new paperbacks, and low-priced reads are once again taking over the market. Bell assumes that pulp writers will be self-publishing and gives advice about hiring editors and proofreaders. He also urges writers to give books away periodically in order to raise awareness of your name. Since a pulp writer will be writing a lot, doing a few giveaways won’t hurt sales.

This is a very specific book for a very specific kind of writer. It’s not a general how-to book. But like pulp fiction itself, HOW TO WRITE PULP FICTION is fast-paced and easy to read. It’s a great introduction to writing faster, writing to market, and generally getting out of your own way to let those stories rip.

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HOW TO WRITE PULP FICTION is available here.

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Rating: 4 stars

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This book is best for: beginning writers

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I recommend this book.

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The Dip by Seth Godin

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I didn’t expect to like this book. Godin tends to rub me the wrong way, and THE DIP is tiny, only 80 pages, so I thought it would be light on usefulness as well. But I took a chance, figuring I’d stop after a page or two.

I’m happy to report that I was wrong. THE DIP was way better than I thought it would be. I read the whole thing in one sitting and took two pages of notes.

The main idea is that everybody quits things. We quit gyms, jobs, marriages, hobbies, and even our passions. Writers quit submitting manuscripts, or quit revising, or even quit writing. When do we quit? At precisely the wrong time. We quit when it gets hard. Almost everyone quits when it gets hard. The few that stay in, succeed.

Here’s the thing. Everyone has to pay their dues. No matter what. Writers need to spend hours and hours writing and learning the market and submitting manuscripts. Paying dues is just built in. But quitters pay all those dues and receive no benefits, while others pay all those dues, pay just a little more, and succeed.

But there’s a flipside to this. Sometimes quitting is good. If you’re in a dead-end job or sport or hobby or passion, where working harder and longer will simply lead to more of the same, getting out early is the best choice.

So how do you know which is which? Godin never explains. But you know what? He doesn’t have to. In our guts, we know when we need to double down, because we’re simply in a rough patch on the way to our dreams. We also know when we’re just fooling ourselves, coasting, spending a lot of energy being mediocre. In that case, it’s better to quit, to free up time and energy for attacking a worthy goal.

Godin says it this way: Quit the wrong stuff. Stick with the right stuff. Have the guts to do one or the other.

Basic advice? Maybe. But it’s also advice that I—and probably many other people—needed to hear.

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THE DIP can be found here.

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Rating: 4 stars

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I recommend this book

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How to Be an Artist by JoAnneh Nagler

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This is, hand’s down, the most practical book for writers I’ve ever read. I’ve read other books that teach you how to make art while also making a life, but HOW TO BE AN ARTIST went so far beyond those books as to be in a different category.

Artists of all kinds are assumed to be airy flakes, but Nagler knows that what the rest of the world sees as scatterbrained is often simply a matter of the artist being overwhelmed or frustrated. She offers solutions that are wise, kind, and completely doable. Nagler offers clear-eyed advice on budgets, lifestyle, work ethics, motivation, and sticking with it for the long haul.

Nagler doesn’t want to see artists starve—financially or artistically. There are ways to have it all, but it involves setting a budget for money and time. That includes getting a day job. Yes, Nagler assumes that her readers—like most artists—have day jobs too. I don’t think I’ve ever read another how-to book that puts that front-and-center the way HOW TO BE AN ARTIST does.

Nagler busts the myth that the only successful writer is a writer who writes full time. She insists a day job is not something to tolerate. It’s something to celebrate. The benefits are numerous, starting with the security of having a firm foundation. After all, it’s hard to be creative when you’re broke, hungry, and scared you won’t make rent this month. Having a job also boosts confidence and focus. All jobs are not created equal, however, and Nagler has down-to-earth advice about choosing one that will fit around a creative life.

HOW TO BE AN ARTIST gets real about money management and time management too. She offers solutions for funding our art as well as our lives, and helps artists balance their schedules in a realistic way. So many how-to books simply advise writers to wake up an hour earlier, as if that’s the one-size-fits-all solution to scheduling woes. Nagler realizes that we’re all already waking up as early as we can. She proposes other ways to find time that don’t involve messing with our sleep or our health.

HOW TO BE AN ARTIST is easily the most practical book on my shelf. Strangely enough, it’s also the most inspirational. Nagler’s wise counsel, sensible methods, and kind tone made me eager to embrace my writing life in new and better ways.

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HOW TO BE AN ARTIST can be found here.

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Rating: 5 stars

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This book is best for: all writers

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I recommend this book

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If you find my reviews helpful, and sending me a tip would make you happy, you can do that here

Better Than Before by Gretchen Rubin

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I’ve read a couple of Rubin’s earlier books, but thought they were only so-so, mainly because I wasn’t the target audience for them. However, BETTER THAN BEFORE is much more my style. I’m interested in anything that can help me be more productive, and cultivating better habits is the number one way to do it.

I have often said that it’s not inspiration that makes a writer. Nor do you have to have a lot of free time, a set schedule, or a deadline. Those things help, but are nothing without the consistent output of words, day after day. In other words, what a writer needs is a habit.

I’ve read other good books on habit formation. However, they were either heavy on theory and light on practice or they treated humans as if they were one-size-fits-all. Rubin looks at habits from a fresh angle. She answers the question: why do some habits stick, and others don’t? There are a lot of factors that go into the making of a good habit (or the breaking of a bad one). But the key to success is knowing yourself.

That’s the genius of BETTER THAN BEFORE. Other books start with the outside world, telling you how to set up a schedule or reward yourself for accomplishments. However, Rubin starts from the inside. What motivates people? It turns out that people are motivated either by external expectations (what do I have to do?) or internal expectations (what do I want to do?). The external expectations are things like rules, work deadlines, and anything that’s on our calendars. Internal expectations are things like eating better, saving money, or writing a novel.

If someone responds to both internal and external expectations, they are an upholder. If someone resists all expectations, both inner and outer, they are a rebel. Both these types are rare. Most of us are either obligers, who respond well to external motivation but struggle with internal; or we’re questioners, who are motivated by internal expectations but only obey outer expectations if they make sense.

I suspect that most writers are questioners. We’re driven by an inner need to create, and will fit writing around the expectations of the world however we can. But there’s still hope if you’re one of the other types. An obliger should put writing dates on the calendar and maybe get an accountability buddy. A rebel will only do something if it’s part of her core identity, so in order to write, she needs to think of herself as a writer.

Rubin goes on to discuss other, more subtle factors that can make or break a habit. She explains the importance of monitoring and scheduling, and shows how to start a habit and the danger of ending one. She warns about things like distraction, loopholes, and the convenience factor. However, the four kinds of motivation infuse every chapter of BETTER THAN BEFORE, because once you know what motivates you, you can accomplish anything.

Over many years, I have developed a solid writing habit. For me, no day is complete without some new words on the page. But it took me a long time to get here, and I have learned many of these lessons through trial and error. If you’re just starting out or you want to solidify your writing habit more strongly, BETTER THAN BEFORE is the book that will set you firmly on the path of daily writing.
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BETTER THAN BEFORE can be found here.

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Rating: 5 stars

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I recommend this book

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If you find my reviews helpful, and sending me a tip would make you happy, you can do that here

Beyond Heaving Bosoms by Sarah Wendell and Candy Tan

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People who write about romance novels usually fall into one of three categories. Either they are sneering at the entire genre and its readers, trying to distance themselves from the novels by analyzing them academically, or praising everything about romances without a single critical remark.

Wendell and Tan avoid these traps. The authors run the “Smart Bitches, Trashy Books” review blog, and they obviously love romance novels. But their love makes them want to understand the genre in a deep way, embracing all the good and bad. What are the tropes? Why do they work? What parts of romance are awesome and what parts kind of…well…stink?

Wendell and Tan answer these questions and more in rolicking prose that had me laughing out loud. I love a well-placed F-bomb, and I’m a sucker for made-up words like “buttsecks” and “the hero’s untamable Wang of Mighty Lovin.’” Don’t read BEYOND HEAVING BOSOMS if you’re easily offended because this kind of awesomeness is on every page.

Wendell and Tan start by looking at the history of romance novels, explaining the big change that happened in the 1980s. You can almost draw a clear dividing line between the “old skool” romances of the 70s and early 80s, and the more modern ones that came after. Anyone who grew up with the rapey Harlequin historicals would hardly recognize the genre anymore. Modern romances are fun, sexy books that are all about the heroine’s happiness: in and out of bed.

From there, Wendell and Tan discuss what makes a good romance heroine, why we love romance heroes, and what’s up with common tropes like secret babies, pirates, the heroine’s life-changing makeover, spy rings, and amnesia. They also explain why romance covers are so weird, and speculate on the future of the genre. Along the way, they give dozens of examples for each point they make, and my own TBR pile has grown with their recommendations.

BEYOND HEAVING BOSOMS is part appreciation, part analysis, and part snark. But its love for romance novels comes through loud and clear, and it made me love the genre a bit more, too.

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BEYOND HEAVING BOSOMS can be found here.

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Rating: 5 stars

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I recommend this book

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If you find my reviews helpful, and you’d like to help me buy more books to review, you can do that here.