A Writer’s Education

Have you ever thought you can’t be a writer because you lack the “right” education? If so, think again.

I studied dance, literature, filmmaking, and spiritual psychology—not exactly a direct or obvious path to a writing life. But perhaps more than any other calling, diverse experiences lend themselves to writing.

One of my favorite clients published her first book at eighty, so it’s never too late.

Often our life paths make more sense when looking in the rearview mirror. Many of the changes in direction we take, what may feel like swerves in the road, or even obstacles or mistakes, upon reflection look more like divine course corrections. Life rarely moves in a straight line. It zigzags and circles.

Sometimes you can’t see the connections between where you’ve been and where you’re headed, or how one set of skills you have might apply to other areas in your life.

In my case, choreography and dance taught me about creating something from nothing. Open space was the blank page upon which I explored storytelling. I learned about narrative structures, phrasing, pauses, keeping time, the creation of shapes, and deep listening. I also learned how to receive what wanted to be expressed through me—that I am a vessel, a receiver, and a conduit for something larger than myself. As such, I learned the importance of not taking myself too seriously. My job, regardless of my creative medium, has been to honor inner creative impulses and act on them even when I feel afraid or insecure. I also honed my discipline and developed a deep respect for practice.

My first creative writing teacher, Jack Grapes, an actor, playwright, and poet, warned me that as a young performer transitioning to writing I should resist the temptation to perform in my new craft. “You don’t have to ‘put on’ or impress anyone,” he told me. I didn’t have to show up bigger than life on the page, the way I did on the stage. Writers observe life. There’s no need to project outward; the key is to take a deep dive inward.

That said, today’s writers wear many hats. We engage in public speaking, read work in public, interview fellow authors, and emcee events. These activities are easier for people accustomed to being in front of audiences.

I learned a lot from my time as a dancer and from my film school experiences, about being onstage and hosting large events. I learned, too, from being a screenwriting TA. I studied and taught classic dramatic structure, discovered the difference between a story and a sketch, learned how to tell a story in a visual way, and more.

Making films reinforced these skills, and taught me how to work collaboratively on creative projects. I also learned that the story is discovered not in the writing, but in the editing. This has been valuable as a writer, since writing involves so much rewriting. Writers need to patiently explore and listen as the story reveals itself.

My training in spiritual psychology taught me how to be gentler with myself, and others, to become a better listener and observer, and how to say “yes” to my dreams.

Carter.png

Your path to a writing life may feel like a circuitous one, or it may seem to make no sense at all, but anything that helps you flex your creative muscles will serve you well as a writer. Consider your innate skills, too, your personality traits. Are you organized? Do you enjoy breaking things down so they’re more easily understood? Do you think of yourself as a storyteller? Do you have the gift of gab? All of us have skills we can lean into when we come to the page, ready to tell a story—whether it’s a true story or a fictionalized one.

If you want to write, it’s never too late. Assume you know everything you need to know, that you’ve been sufficiently educated, that you carry within everything you need. Of course, we never stop learning, and writing is one of the best tools I know to facilitate growth. It’s certainly not the case that you need to earn an MFA in creative writing or have had any other formal training in order to start your dream project.

One of the most important things my education has taught me is to plow through obstacles erected by judgment, doubt, and fear. Release your expectations and show up for yourself and your creative work. Play. Be lighthearted. Be okay with not knowing what you’re doing or where (exactly) you’re going. Have two metaphorical stamps at the ready—“Permission Granted” and “I Don’t Know”—and use them often. Be free. Be bold. And keep saying “yes” to your dreams.

Bella Mahaya Carter is the author of Where Do You Hang Your Hammock?: Finding Peace of Mind While You Write, Publish, and Promote Your Book. She is a creative writing teacher, empowerment coach, and speaker, and author of an award-winning memoir, Raw: My Journey from Anxiety to Joy, and a collection of narrative poems, Secrets of My Sex. She has worked with hundreds of writers since 2008 and has degrees in literature, film, and spiritual psychology. Her poetry, essays, fiction, and interviews have appeared in Mind, Body, Green; The Sun; Lilith; Fearless Soul; Writers Bone; Women Writers, Womens Books; Chic Vegan; Bad Yogi Magazine; Jane Friedman’s Blog; Pick the Brain; Spiritual Media blog; Literary Mama; several anthologies, and elsewhere. For more information, please visit https://www.bellamahayacarter.com

Successful Author Talk with Indie Author Garon Whited

I'm lucky (or cunning) enough to have lured yet another successful writer over to my blog for an SAT - Successful Author Talk. SAT authors have conquered the query, slain the synopsis and attained the pinnacle of published. How'd they do it? Let's ask 'em!

Today’s guest for the SAT is Garon Whited, who has written novels and various short stories and shows no signs of stopping. His first book, Nightlord: Sunset, features a human physics teacher who is turned into a vampire against his will and proceeds to go on fantastical adventures.

Are you a Planner or Pantster?

Yes!

I have a definite plan on what’s going to happen and where it’s going.  Unlike a Dad driving the kids somewhere specific on a road trip, I’ll detour on the way to Disneyland to visit roadside attractions and have no problem with stopping for ice cream.  Then I explore that narrow little lane that nobody seems to ever go down, find the dilapidated old house, meet the wizened old man who never seems to do any maintenance around the place except for the pristine fountain in the back yard, find the portal to a magical world through the water, and eventually save the kingdom from—

Hang on.  This was a different question.  Uh… I plan the story, yes, but I’ll also follow where the characters want to go on the way.

How long does it typically take you to write a novel, start to finish?

It depends on the novel. The Nightlord novels are big, heavy tomes, usually around a third of a million words or more.  Those take about a year. Dragonhunters is my shortest one, to date, and it took a couple of months.

Do you work on one project at a time, or are you a multi tasker?

I prefer to work on one project at a time.  I like to focus on the people and events in the story rather than be distracted and confused by other stories.  It does no one any good if I keep thinking Sir Edwin of Barrowdale is a knight on horseback in the high fantasy story when he’s really the elderly guy in a dressing-gown, puttering around his library.

Although, come to think of it, he might very well be hallucinating being the knight in the high fantasy story… hang on.  I need to make notes…

Did you have to overcome any fears that first time you sat down to write?

Yes. Fear of failure, fear of criticism, fear of success… and if you don’t think you can be afraid of success, you haven’t thought about it.

How many trunked books (if any) did you have before you were agented?

I’m still not agented!  I’m an indie author. I wouldn’t mind being traditionally published, but I’m not going to waste my time hunting for an agent and dealing with deadlines when I have stories to write. I did try that route, but I have enough faith in my own writing to turn it loose on the world without an agent.

I think I’m justified. I’m making a living at it.

Have you ever quit on an ms, and how did you know it was time?

No, I never have. Even if it never turns into its own story, it will still become part of another one. Maybe it means there’s a particular character in story #2 that has a LOT of unnecessary background… but is that a bad thing? 

I don’t have to put all of it into the second story. But I know the character, I know their situation, I know why they do what they do—because they were part of another story the reader will not see. Like an old castle, torn down and buried, acts as a foundation for the new castle, the old story give the new one something to build on.

Any advice to aspiring writers out there on conquering query hell?

Whited.png

While I did seek an agent for some time, what I learned was: They want to represent someone.  Maybe not you, but they do want to represent someone. They’re in it as a business. Rejections aren’t personal. They are judgments, yes, but the judgment is “Is this person producing stuff I feel is commercially viable?”

You can write the most beautiful story since Gilgamesh, but if they don’t think it’ll sell, they won’t represent you.

On the other hand, bear in mind there’s someone out there who will see your story for what it’s worth and work with you to put it in everyone’s library. Persistence—while you keep on writing—means you’ll eventually find each other.

How did it feel the first time you saw your book for sale?

“I did that.  Whatever else I’ve done or haven’t done, I did that.”

How much of your own marketing do you? 

I try not to do marketing. I don’t want to spend my time as a marketer; I want to spend my time as a writer! I do have a website, complete with book listings and free stories, but I don’t think I can call it a blog. I’m also on Twitter and Facebook.

When do you build your platform? After an agent? Or should you be working before?

I tend to think a platform is something you build from the first instant you decide to write. It starts with a few nails—your friends and family—and you gradually acquire lumber. (The things you write.) The more lumber you have, the more nails you get, the more platform you have, and, lo, you have a very nice deck out back. I think bringing this to the table when finding an agent is a strong positive. 

Do you think social media helps build your readership?

I do. I can’t really evaluate how much it helps; it’s not like I can go back in time and try again, this time without social media. But it does tell people I exist, and therefore tells them I write. If a thousand people see my picture and one of them decides to read a book, that’s someone I never had before—one more nail in the platform we’re all building, making it that much bigger, grander, and stronger, together.