Improve your Work Space, Increase your Productivity

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This post by Marie Leslie originally appeared on her site on 6/10/13.

Do you start your work day with the best of intentions–and then find, hours later, you’ve gotten nothing done?

Your problem just might be your desk. If you improve your work space, you can also improve your productivity.

For most people, your desk makes up the biggest part of your work space. Organizing your desk to eliminate distractions can help you improve productivity. If you need to clean the desk start with the that. Need some help with a desk-cleaning project? I can get you started here.

If your desk isn’t piled too deep with stuff you might just need a little help to improve your work space. Here are four tips to put you back on the path to work space productivity.

 

Ditching desktop distractions can help you stay focused on your work.

 

Read the full post on Marie Leslie’s site.

 

Can Digital Community Support Writing, Really?

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This post by Porter Anderson originally appeared on Futurebook on 8/7/15.

Not unlike climate change, it’s something that digital-age writers worry about, but can’t nail down.

I’m not sure what effect the accepting warmth of digital communities has on our literature. I don’t think encouraging people can make bad writing suddenly appeal to the masses. Are the communities going to start getting the same blame that self-publishing used to get all the time? “Because anyone can publish a book, there’s no good writing anymore.”

That’s the author Lara Schiffbauer in a comment on my piece from earlier this week, Digital writing: If only community weren’t so communal. In her comment, Schiffbauer — one of my most faithful readers over the years — talks of her own tour-sans-Virgil through the writerly maze of communities now shuffling around on the ether.

 

Read the full post on Futurebook.

 

Homme de Plume: What I Learned Sending My Novel Out Under a Male Name

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This post by Catherine Nichols originally appeared on Jezebel on 8/4/15.

The plan made me feel dishonest and creepy, so it took me a long time to send my novel out under a man’s name. But each time I read a study about unconscious bias, I got a little closer to trying it.

I set up a new e-mail address under a name—let’s say it was George Leyer, though it wasn’t—and left it empty. Weeks went by without word from the agents who had my work. I read another study about how people rate job applicants they believe are female and how much better they like those they believe are male.

The thing I was thinking of doing was absolutely against the rules, the opposite of all the advice writers get, but I wasn’t feeling like a writer, and I hadn’t written in weeks. Until last winter, I had never faced a serious bout of writer’s block or any meaningful unwillingness to work. A blank page had always felt to me like the moment the lights go down in a theater—until the day it didn’t. I was spending more time crying on the phone than writing and I had no idea how to get back to work. Every paragraph was a negotiation—my instinct leading one way, and then a blast against it—don’t do that, you’ll confuse people. No one wants to read that kind of thing.

So, on a dim Saturday morning, I copy-pasted my cover letter and the opening pages of my novel from my regular e-mail into George’s account. I put in the address of one of the agents I’d intended to query under my own name. I didn’t expect to hear back for a few weeks, if at all. It would only be a few queries and then I’d close out my experiment. I began preparing another query, checking the submission requirements on the agency web site. When I clicked back, there was already a new message, the first one in the empty inbox. Mr. Leyer. Delighted. Excited. Please send the manuscript.

 

Read the full post on Jezebel.

 

S.A. Hunt: The Fine Art of Building People

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This post by S.A. Hunt originally appeared as a guest post on Chuck Wendig’s terribleminds on 8/6/15.

And now, a guest post by a fella named S.A. Hunt, who is a cracking author you probably aren’t reading. His newest is Malus Domestica — I just opened this book up the other day thinking I’d just take a peek, and next thing I knew, I was like, 30 pages in. Amazing prose. Reminds me of some of the most classic horror writers. Hunt has a storyteller’s ear, as you’ll see below.

Some people collect action figures.

I collect people.

I don’t know how you feel about that first point. Action figures. Some of you will probably think it’s childish, or a waste of money, or both of those.

Some of you might throw down a dollar for that janky old Optimus Prime or loose-hipped Skeletor that you used to have twenty-five years ago, lurking in a thrift shop’s toy aisle. Some of you will drop a paycheck on a superdeluxe polyresin Batman from Korea with a cloth cape and thirty-six articulation points and four interchangeable faces so realistic you’d swear the figure contained an actual miniaturized human soul.

I still live where I grew up, a stone’s throw from the real river featured in Deliverance, but I wasn’t that quintessential uphill-both-ways kid that had to play with sticks and bugs, although I did own an impressive armory of gnarled branches. One of them was a three-foot stick as straight as a pool cue with a top end that hooked like a dragon’s talon. I hung a soapstone pendant inside the crescent, burned sigils into the shaft with a magnifying glass, and called it my wizard staff.

No, I had a whole entourage of action figures. He-Man and M.A.S.K. and Dino-Riders; Thundercats, Silverhawks, Ghostbusters, and Teenage Mutant Ninja Turtles; X-Men, Ronin Warriors, and Batman, and finally, the ultimate bauble, LEGO. I loved them all, usually to the exclusion of the world around me. Whenever I had a tiny plastic Leonardo (the original Playmates line, of course, bow-legged and wielding brown swords) or Wolverine (yellow and blue spandex, with retractable claws) in my hands, that was the only thing that existed for me.

(Speaking of Leonardo’s swords, in middle school my Harley-riding father, who could pass for a Sons of Anarchy extra and whose only hobbies were turning rattlesnakes into belts and keeping Anheuser-Busch in business, would buy me an honest-to-God samurai sword at a swap meet. As schoolboys are wont to do, I accidentally stuck it in my thigh in eighth grade—the first of many self-inflicted war wounds—and ruined a pair of pants. But that’s another story for another day.)

Some of the best parts of getting a new action figure was reading the story on the back. You might say it was their BACKSTORY, hahaaaaa.

  • This blue guy is the team’s mechanic, trained in the art of Ninjitsu from the age of four
  • This girl was raised by howler monkeys and was taught how to melt steel with nothing but her voice
  • This one can fly and talk to birds because he is the son of the bird god
  • This dude with permanent goggles rides Tyrannosaurs in his spare time and his favorite food is eggplant casserole
  • This man is made of snakes because fuck you

And then I’d ogle the pictures of the other toys in that crowd of heroes and villains and wonder what their backstories were. Sometimes I would make them up. Moss Man spent too much time swimming in the moat and now he’s covered in moss. Slithe is six years divorced. The only thing that can beat this giant glow-eyed skeleton demon full of naked viscera is a quick wit. Lion-O prefers to bathe himself.

 

Read the full post on terribleminds.

 

Rejectomancy In Words And Numbers

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This post by Alan Baxter originally appeared on his Warrior Scribe site on 7/8/15.

There’s been a lot of talk online lately about rejectomancy. For those who don’t know, rejectomancy is the dark art of turning rejection into motivation and positive reinforcement. It’s a kind of bloody-minded alchemy of will. As Kate Heartfield wrote for the SFWA Facebook page on the subject:

Now I’m a non-fiction editor as well as a fiction writer, and I understand that rejection is the default, as it would be in any other transaction. When a customer walks past a rack of shirts in a store, that is not necessarily an assessment of the store-owner’s abilities. Maybe the customer is looking for pants. Maybe someone else will buy a shirt.

This is a great analogy and the line “rejection is the default” is absolute gold. It’s really worth bearing in mind two things when submitting for publication:

1. There are hundreds of people vying for a handful of spots, so you are much more likely to be rejected than accepted;

2. Rejection doesn’t mean your story is bad – it means your story is not right for that market at that time. You’re selling shirts while that editor is looking for pants.

 

Read the full post on Warrior Scribe.

 

How to Use the Passive Voice Correctly

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This post by Kimberly Joki originally appeared on the Grammarly Blog.

The passive voice is a misunderstood entity in the world of writing. It is unfairly judged by many authors. Some writers, without taking the time to get to know this grammatical structure, avoid it at all costs. Others use it ineffectively because they do not understand how it works. How can you get to know this mysterious literary device?

First, let’s start with an explanation of what passive voice is. Passive voice sentences mention the thing or person receiving an action before mentioning the action itself, and may omit the actor altogether. For example, consider this sentence:

The leaves were blown by the wind.

The leaves receive the action of being blown. In the example, the agent is specified with the preposition by. However, the agent could have been left out of the sentence: The leaves were blown.

When is it proper to use passive voice? Consider these instances.

 

Read the full post on the Grammarly Blog.

 

The Psychology of Writing and the Cognitive Science of the Perfect Daily Routine

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This post by Maria Popova originally appeared on Brain Pickings on 8/25/14.

How to sculpt an environment that optimizes creative flow and summons relevant knowledge from your long-term memory through the right retrieval cues.

Reflecting on the ritualization of creativity, Bukowski famously scoffed that “air and light and time and space have nothing to do with.” Samuel Johnson similarly contended that “a man may write at any time, if he will set himself doggedly to it.” And yet some of history’s most successful and prolific writers were women and men of religious daily routines and odd creative rituals. (Even Buk himself ended up sticking to a peculiar daily routine.)

Such strategies, it turns out, may be psychologically sound and cognitively fruitful. In the altogether illuminating 1994 volume The Psychology of Writing (public library), cognitive psychologist Ronald T. Kellogg explores how work schedules, behavioral rituals, and writing environments affect the amount of time invested in trying to write and the degree to which that time is spent in a state of boredom, anxiety, or creative flow. Kellogg writes:

 

Read the full post on Brain Pickings.

 

Millennials 'Least Likely to Buy E-books'

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This post by Charlotte Eyre originally appeared on The Bookseller on 6/24/15.

Millennials are less likely to purchase e-books than any other age group, with 63% of 16-24 year-olds saying they have never bought one, according to a report from Deloitte.

For its Media Consumer Report 2015, Deloitte surveyed 2,000 UK consumers about their media habits. It found that 25% of 16-24 year-olds had bought an e-book in the last 24 months, compared to 38% of 25-34 year olds.

Millenials also say they are spending more time using other media, as only 14% of that group read books for more than an hour each day but 67% will watch up to an hour of short form video and 58% will spend more than an hour watching TV.
 

Read the full post on The Bookseller.

 

Genius Time

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This post by Jennifer Crusie originally appeared on her Argh Ink site on 7/10/15.

I looked at Lavender Blue‘s first act and realized it was 46,244 words long.

That’s too many.

I’m not really that fixated on numbers, but I know that readers are going to need to be turned into a new story long before the halfway point. I’m not sure how long this book is going to be, but 46,000 words is definitely the halfway point or close to it. (It was contracted at 50,000 words, but that ain’t happening). I need the murder at the halfway point, end of Act Two, so really, just no on that length.

So I did what I always do. I made a list of the scenes with their word counts, which showed me that eight of them were really transitions, not scenes (too short, no conflict) and then studied the remaining, twenty-five actual scenes, looking for what I could cut (over 10,000 words had to go which was around four scenes).

 

Read the full post on Jennifer Crusie’s site.

 

What Personality Features Do Heroes And Psychopaths Have In Common?

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This post by Scott McGreal originally appeared on Eye on Psych on 6/28/15.

A recent research paper attempts to answer the question: “Are psychopaths and heroes twigs off the same branch?” Psychopathy is usually thought of as one of the most malevolent manifestations of a disturbed personality structure as it is associated with selfishness, callousness, and lack of concern for others. In spite of this, in recent times people have begun to look for a positive face to psychopathy, or at the very least, to some of its component traits. The evidence for this is rather mixed, but there does seem to be a connection of sorts between at least some traits and behavior loosely associated with psychopathy and heroic actions that help others. Bold, fearless traits are associated with heroic behavior, but callous traits such as meanness and coldness are not. More puzzling is that people with a history of antisocial behavior are more likely to engage in heroic acts to help others.

Psychopathy is composed of a cluster of several different component traits that interact with each other to produce a disturbing whole. According to the triarchic model, psychopathy comprises a combination of three main traits: boldness, meanness, and disinhibition (Patrick, Fowles, & Krueger, 2009).

 

Read the full post on Eye on Psych.

 

There Is No Map for Grief: On the Work of Art

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This post by Lidia Yuknavitch originally appeared on The Millions on 7/8/15.

Trauma brought me to the page, it is that simple.

When my daughter died in the belly world of me, I became a writer — so that all the words that cannot name grief, all the words threatening to erupt from my belly and uterus did not explode up and through my skull and face and shatter the very world and sky.

Oceans of other people’s compassions have washed over me, but those of us who have lost children, we are a living dead tribe. We smile and nod and thank people for their concerns and efforts. The labor of our lives is actually quite simple: stay alive. So that others might go on.

Wounds make artists. I wrote a book from the body of my dead girl.

There is no map for grief, but there are bridges to others.

When I was 30 and finishing a dissertation on war and narrative, a box arrived via UPS to the door of my home. The sender was my aunt — my father’s sister — a woman I had become estranged from over the years for her ill treatment and unkind words toward me, my sister, and my mother. The box was about the size of a small television. I removed the brown paper and tape carefully…then wondered why I had been careful? The cardboard box under the brown paper had a red lid. I wondered why. When I opened the red lid a hundred photos and yellowed papers and documents spread before me like hands. Nothing from my aunt — there was no explanation for what was inside the box.

 

Read the full post on The Millions.

 

How to Become the Artist You Were Born to Be

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This essay by Bernard Hiller originally appeared on The Huffington Post on 7/10/15.

By becoming authentic. WHAT’S STOPPING THAT?

Ask yourself, what did you have to do to be loved, as a child? Most kids are not encouraged to believe in their uniqueness. If you had to behave like someone other than yourself, then you stopped being your authentic self. And, what is authenticity? Sharing your passion with others and making your soul visible to the world.

Below is a list of common traits that prevent you from living your life and fulfilling your destiny.

 

1) Being a People Pleaser.
Behaving or doing something you don’t really want to do-in order to make someone else happy. People pleasers neglect their own needs and wants and inevitably become angry and frustrated. You’re hoping the other person will validate you, but you just end up being resentful.

Start loving your Needs and Wants. The better you feel about yourself, the more you are willing to invest in yourself. If you don’t invest in yourself, nobody else will.

 

2) Living in the Past or Future.

 

Read the full essay on The Huffington Post.

 

The Art of Asking – Why Amanda Palmer is So Divisive and So Important

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This post by Dan Holloway originally appeared on his site on 11/19/14.

In the comfortable bubble of liberal, left-leaning indie arts land it’s hard to state a genuine opinion that will cause much more than a chinny collective nod and hemp-gloved circle backslap. Nigel Farage? Call him dangerous, call him toxic but don’t call him an imbecile because we all agree that perpetuating ableist language is simply playing the UKIP game. Amazon versus Hachette? Come on, Amazon AND Hachette are monsters of equal maw!

But there is one thing guaranteed to split any collegial campfire circle into a bicameral mob. Declare your love of Amanda Palmer. Which is something I do. On a regular basis. Usually accompanied by a plea to my creative friends to watch her amazing TED talk The Art of Asking, and now the even more amazing book of the same name. Half the people who comment will share “Amanda Palmer saved my life” stories while the other half will steam in with their “Amanda Palmer makes me want to barf then block you” ire.

There were so many times while I was reading The Art of Asking when I had to put down the book and think through what I had read and when I concluded that the problem of Amanda Palmer is more than just that. It is the problem of the independent arts scene as a whole – or, at least, of the independent writing world that I know so well and those parts of the independent art, music, and theatre world I have come to be on reasonably tea drinking terms with.

 

Read the full post on Dan Holloway’s site.

 

How Important Is It to Be a “Famous” Writer?

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This post by Lauren Sapala originally appeared on her site on 5/12/15.

For many years it was my dream to be a famous writer. Like, a REALLY famous writer. My idol was Jack Kerouac, and while that was partly because I loved the beauty of his writing (and still do) it was also because of the recognition he achieved. Never mind the fact that fame only contributed to his tragic downward spiral, that’s a story for another day. The point is that I wanted what he had—status, notoriety, and success.

I knew that if I had those things I would be happy.

But a funny thing happened on the way there…I noticed that when I concentrated on using my writing to gain recognition from outside parties, my writing suffered. I suffered too. Writing that way wasn’t much fun. And I also realized that I had no idea what outside parties wanted from me. I would think I had a grand idea for a little while, and then it wouldn’t seem so great. Or I’d try to write something that was really “current” only to find the times had already changed and that thing wasn’t “in” anymore.

 

Read the full post on Lauren Sapala’s site.

 

On Established Authors Singing The Praises Of Self-publishing

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This post by Alan Baxter originally appeared on his Warrior Scribe site on 6/1/15.

Let me start this piece with the following: I have no problem with any method of publishing. Whatever works for you and gets you the results you want is great. I’m a hybrid author – I’ve self-published in the past, I still self-publish a small amount and nowadays I’m mostly traditionally published in both big and small press. This is not about criticising any particular path to publication.

Okay?

Good. Glad we’ve got that covered. What I do want to talk about is a thing I’ve seen a lot of lately, most recently in this article by Harry Bingham. There have been several of these things, (Konrath is the feral posterboy for the movement – search him up yourself if you’re interested) but in a nutshell, the case they’re stating is this:

The great machine of publishing is constantly morphing and moving on, but we’re now in the era of self-publishing and that’s the way forward for everyone. They cite their own recent successes as evidence.

Now, self-publishing is in a huge renaissance and it is a great way forward for many people. But these authors going on about how they’re leaving the behemoth of traditional publishing for the clear, honest waters of self-publishing success are being disingenuous at best and wilfully ignorant at worst.

 

Read the full post on Warrior Scribe.