Jobs and Writing: Can You Manage Them Both?

Writing is a wonderful job all by itself. But it's hard to pay the bills on a writing career, especially in the early stages. The common solution to this is getting a job in some sort of secular vocation.

I recently switched jobs from working from home, to working for Walmart. My days are filled with work, work, work, and my nights are filled with sleep, sleep, sleep in an attempt to recover. I haven't written a word since I got my job, and I'm forced to wonder: Will I be able to balance writing and secular work?

Reason says yes, I can and I will. Other people have done so, and if they could manage it, so can I. I'll just have to continue reminding myself of that in the hard days ahead.

Here's hoping I get back to my real work soon. And that my bills are paid a little better with my new job, than they were with the old. Have a great day, and happy writing!

Writing Quote of the Week: "I love deadlines. I like the whooshing sound they make as they fly by." - Douglas Adams

Emotional Baggage

I've been gone a while again. But with the added benefit that I now understand a lot more about myself. Whenever I'm too stressed, I can't write. You can tell me I need to. I know I need to. But I can't. Stress weighs me down better than a rock in a cloth bag, sinking in the stream. I can only swim when the rock is removed, or at least shrunk a bit.

Some of my former readers may remember my aunt who moved in with my mom and I last summer. For the rest of you, my aunt is a mentally disturbed individual with a lot of problems in her past. We were letting her stay with us because she was virtually homeless and in a really bad position. We cleaned her up and let her rest with us for six whole months. And do you know what she did to repay us?

She married the guy who lived with his parents across the street from us, stole a truck and hunting gun from someone who lives in our town, and robbed a bank right down the road from our house. Then, she took the money, gun, truck, and then fiance back to her parent's house where she was then discovered and arrested. Her new husband was the one who actually walked in the bank with a bandanna over his face and the gun in his hand and robbed the bank of its money. He even shot the gun two times in the bank, over the heads of the patrons there!

I have never been so horrified in my life! How could she do this? How could HE do this? I mean, she's an absolute nutcase, we knew that, but what's his excuse? Oh, and they were caught with drugs (enough to get intent to sell instead of just possession) and drug paraphernalia. They have like four felonies, and two or three misdemeanors.

It's all so unbelievable. We're embarrassed and sad and angry and a whole host of other emotions that I don't want to even get into. But because of the stress from this whole mess, I haven't been able to write for weeks! I couldn't even think about it. My creative juices were at nil, and my desire to work was even lower.

Finally, though, I'm getting over it. But it made me think about my lulls in writing in the past. They only occur when there is a major upheaval in my life and the stress becomes overwhelming. My emotions control my writing ability so much, it's a little frightening.

How do other people do it? How do you get over the major stress and write anyway? Is it a matter of discipline? Do I not have enough? Or do I just have more stressful events (by the way people talk about my life, lots of people seem to think so)?

I mourn the stressful events of my life, and the loss of writing that I've accrued because of it. BUT, when I think about it, I also have to be a bit glad for what I've experienced. My exciting, terrifying, horrifying, sad life has given me a lot of inspiration for stories and a lot of insight into how my heroes and heroines might feel. I have no doubt it has made me a better writer.

What do you think? Do you stop writing when something major in your life happens? How many major things have occurred in your life, and do you think those things made you a better writer?

Thanks so much for reading, and I'm sorry I've been gone so long. It seems to be a constant trouble with me. But at least I come back with some exciting stories to tell! ;) Have a great day everyone, and happy writing!

To Be Continued

Continuity. Dictionary.com defines that word to mean a continuous or connected whole.

Why is that my subject for today's post? Several reasons. One, many writers today are writing series. It's become quite a popular pastime. After all, why write one book when you can write three (or six)?

Two, as you may know, I'm writing a series. It makes this a personal issue.

Continuity is key while writing a book that's in a series. You want all the books to come together in one, seamless whole, like you've sat down and read one, very long book. But you also want people to read each book individually and walk away satisfied enough with the events in that one book that they call it a story in its own right. It's a complicated balancing act. It means each book must be connected together in a giant matrix of plot, yet each story must have a beginning, a middle, and an end unto itself.

I read a lot of writers' blogs and books and articles online. And, yet, I've never heard this subject addressed. So, I thought I'd take a stab at it myself.

How do you ensure continuity in a series? There are a lot of obstacles to prevent this. Many series change characters, locations, and timing (past, present, future) as often as they do titles. How do you still bring such stories together into one, integrated whole?

What's the secret to continuity (even when dealing with obstacles)? Plant seeds and clues in the very beginning of your series of what will happen in the future, and then tie them into the story in unexpected or interesting ways. That doesn't mean you should sledgehammer your audience with obvious statements of THIS IS IMPORTANT, but, rather, soft foreshadowing. Think of Star Wars. Luke Skywalker doesn't discover Darth Vader is his father until The Empire Strikes Back, and even then it's toward the end of the movie. Before we find out, there's foreshadowing: discussions about Luke's father's "death" at the hands of Darth, his uncle's dislike of his father, etc. 

Being surprising isn't all about jumping odd occurrences on a reader. It's not very believable, for one thing. You tend to believe something easier if your brain has followed clues that lead to the same conclusion as the story goes. Being surprising is about twisting what you've set up into something just a little off-beat, a little beyond what they thought would happen, but still fitting the clues you've planted for them to find.

For an example, try these two examples of the same short story (sorry if they suck, they're spur-of-the-moment work):

Lisa walked through the woods, her steps light. She sniffed the afternoon air into her lungs with an appreciative breath. The freshness brought a smile to her face. A nice walk in the open air had been just what she needed to calm her tension.

Suddenly, a pair of men in dark clothing jumped through the bushes. Before she could catch her breath to scream, one of them had grabbed Lisa and swung her over his shoulder. Lisa quickly recovered and she angrily beat onto her captor's back, and screamed for help. But no one heard. The men ran with her through the woods, not stopping until they reached a large cave.

Once inside the cave, Lisa blinked rapidly, trying to adjust her eyes to the darkness. When she could see better, she searched the insides for threat. She couldn't help but wonder why they had brought her here.

Lisa's eyes widened and she gasped when she saw her brother sitting nearby. He smiled at her, his eyes mocking, as he said, "Hello, Lisa. I hope your trip wasn't too harsh for you."

Compared to this:

She whipped around, frightened. Her heart thundered in her chest as she searched the wilderness wildly. Had she heard a footstep?

She waited tensely for another sound. When the woods remained silent, she slowly relaxed. Lisa brushed her blonde hair out of her eyes as she began to laugh at herself. Look at her! Jumping at the least noise. The paranoia was getting to her, that's for sure. She couldn't even take a nice walk in her own woods without worrying someone was hunting her now.

It was those stupid letters. Ever since her father had left his fortune to her, she'd been recieving these creepy notes. The first hadn't seemed that bad. Just a demand for her father's company to quit "stealing the hard-earned money of the poor" and "raping the environment". She hadn't taken them seriously. But then the second one came.

Lisa shivered. That letter had spoken of more rape and stealing, in fact. The anonymous writer had threatened to rob, rape, and murder Lisa if she didn't change the company immediately.

She'd taken the letter to the police that very day. But the letters hadn't quit coming. Instead, they only seemed to get worse. When her apartment in San Fransisco had been vandalized by the sick-o, Lisa had decided she'd had enough and moved up into her father's old estate. It was equipped with 24-hour security, even guards at the gate to keep out intruders.

Lisa shook her head at herself. She was perfectly safe in her new home. She needed to stop the paranoia before she became some kind of crazy shut-in, never leaving her house.

More noises from the woods around her jerked Lisa from her thoughts. She stared in the direction the noise was coming from, her expression glazed over like a startled deer's. Footsteps. This time, Lisa was sure. Without giving it more thought, she turned around toward the house and began to run. Her long legs surged across the ground, but the noises only seemed to get closer.

Suddenly, two men burst through the bushes ahead of Lisa. She backpedaled wildly, seeking to avoid the waiting men. But she couldn't stop, her own momentum driving her into their arms. The larger of the two grabbed her before she could react, swinging her over his beefy shoulder. She screamed beside his ear, and started fighting for her freedom. She couldn't believe this was actually happening.

The man carried her through the woods, seeming unconcerned by her efforts to fight herself free. Huge tears slipped down Lisa's face as the words from the letters surged back to haunt her. Could those things really be about to happen to her?

The men took her to a cave. Lisa scanned it with wary eyes, but she couldn't see past the first few feet. It was pitch black inside. But the men were unconcerned, running into the gloom without hesitation. 

As she was carried into the dark, Lisa blinked rapidly to adjust her eyes. Slowly, her vision returned, and Lisa used the slight light of the one lamp inside to scan the interior. She wondered what they meant to do with her now that they had her here.

Her eyes widened and she gasped when she saw her brother sitting on a rock near the lamp. He smiled, his eyes mocking, as he said, "Hello, Lisa. I hope your trip wasn't too harsh on you."

See the difference? There was foreshadowing in the second, an actual reason for the events that followed instead of a sudden explosion of unexplained scenes. That's continuity in its simplest form. Of course, stretching that over a series is a much more complicated procedure. You also might have noticed the second telling of the story took much longer. Foreshadowing is a lengthy procedure, something that takes time and effort. In fact, I'd call this a speedy version of foreshadowing. Normally, I would wait for several pages or even chapters before I let this particular plot point bear fruit from that seed I planted.

Foreshadowing and continuity are happy bedfellows. The good news: you can have an excellent story if you use them in your writing. The bad news? It takes time and effort to develop them, for one. For another, you have to actually plan what you're going to write in the future so that you can foreshadow the future plot points in the beginning of your book, series, or whatever else you're writing.

Anyway, I've been thinking about that a lot lately as I'm writing my series. I even figured out three places where I went wrong. I had already identified that something was wrong there, but I didn't know what the problem was. My instincts were telling me they didn't fit with the overall story, of course, but my mind didn't process that it was specifically a lack of foreshadowing and integrating formerly introduced story elements into the scenes that was the problem. Once I figured that out, it was no time at all before I figured out how to fix them. Now I'm happily moving on with my writing.

Hope this little suggestion helps someone else who's stuck out there. Happy writing and have a great day!

Writing quote: "There are two kinds of writer: those that make you think, and those that make you wonder." -- Brian Aldiss