A Daughter of No Nation by A. M. Dellamonica

My latest review is up over at Strange Horizons. This time I look at the Prix Aurora-nominated A Daughter of No Nation, the sophomore novel in a fascinating eco-fantasy series by A. M. Dellamonica. If you haven’t yet picked up the first book, Child of a Hidden Sea, it’s worth your attention.

Click over to the review here.

Thanks for reading.

Updraft by Fran Wilde

I have a new review published over at Strange Horizons covering Fran Wilde’s exciting and inventive  novel Updraft.  You should check it out, and pick up a copy of Wilde’s novel while you’re at it; the sequel arrives later this year.

This is a dual review, with Alix E. Harrow also covering the novel. Hers is a great read, too.

Check out the reviews by clicking here.

Thanks for reading.

Impostor Syndrome – We All Get It

Confidence can be a fleeting thing. Some days you are on top of the world, and others you’re just barely scraping by, wondering how you ever made it this far. Then there are those days where you begin to suspect that others have the same doubts about you as you have about yourself.  Where you think that any minute now, someone somewhere is going to figure out you have no idea what the hell you’re doing.

And then everyone will see you without the mask. Everyone will know: you’re a fake, a fraud, an impostor.

This is called impostor syndrome, and almost everyone experiences it at some point.* A lot of us will face it again and again, and when you’re in the grips of those doubts, it can be nearly impossible to keep pushing forward, to keep writing, to keep working.

But I think impostor syndrome isn’t such a bad thing in the end. Let me explain why.

We all know that one rare person who exudes confidence, who is absolutely certain of themselves and what they’re doing and where they’re going.  These people can trigger an experience of impostor syndrome, or make extant feelings of unworthiness and fraud even worse.  After all, for some people, everything seems to go their way, and everything they touch seems imbued with a bit of magic.  Their confidence can be debilitating to the rest of us. But don’t let them fool you. Their confidence is just another mask, and underneath that persona they’ve built they’re covering up the same fear as you or me:

That we’re not good enough.

I realized just how universal this phenomenon is while teaching a first-year composition course at my local university. We were discussing an article by Nancy Summers and Laura Saltz titled “The Novice As Expert,” where the authors tracked 400+ first year students at Harvard for four years, periodically surveying and interviewing them to track their writing progress.  This was Harvard, the preeminent institution of higher education in the country, and these were Harvard students–supposedly the best and the brightest, the most ambitious and motivated students in the country.  And what they reported was fascinating: the excerpted interviews show just how filled with self-doubt the students were.  These most gifted and privileged of students were terrified that they didn’t belong, that they didn’t deserve to be there, that someone would figure out they were phonies and they’d be booted from those hallowed halls.

They were experiencing impostor syndrome.

After the discussion, I had my students–63 of them across 3 courses–write an in-class essay describing their feelings about writing in general, about their abilities as writers, and what they wanted to get from my course.  All of them earned their seat in my course–my university turns away a large number of applicants every year.  These students made it. They might not all be Harvard material, but very few of us are, myself included.  And yet despite good reasons for confidence, and very different circumstances to that Harvard freshmen class, reading through my students’ responses I found eerily familiar results. The vast majority of students expressed uncertainty, trepidation, doubt. They were afraid they didn’t really belong.

The felt like impostors.

How does this apply to writing in the larger sense, the kind of writing that I want to do, the kind of writing that we want to read?

Later that same day, I was working on a paper for a literature course I’m taking (after seven+ years away, I’ve decided to go back to graduate school for another Masters program). And I realized as I checked my introduction, and checked the assignment sheet, and checked my introduction, and checked assignment sheet… that I was feeling the exact same thing. I was overly conscious of the possibility of over-stating or under-stating, of not knowing this professor well enough to know what she really meant by the questions she was asking. I was overly conscious of my writing process, and this threw me into a recursive loop that slammed the gates shut.

Writer’s block.

This was especially difficult and debilitating because I already have a Master’s in English, summa cum laude. I’ve earned an A in every literature course I’ve ever taken, undergraduate or graduate. On top of that, for the past 3 years I’ve been paid to write reviews–very little, to be sure, but nonetheless it is a professional entity recognizing again and again that I have interesting and valuable contributions to make to literature.  My awareness of my qualifications only served to magnify the doubt and feelings of unworthiness I was feeling.

And I could not write this simple paper.  I felt like I didn’t belong in graduate school, and that the professor would spot it right away as she read my work. I felt like I was masquerading as a graduate student. I felt like an impostor.

Normally, this is where I slide down into the darkness and spend the rest of the day moving in slow-motion, deliberately wasting time on Youtube and video games while various deadlines pile up. I’ve come to recognize this self-destructive, self-sabotaging behavior, and in my experience there’s only two ways out of it: go down the rabbit hole and wait till you pop out the other end, or go meta on that shit. The first is easiest, and it’s what I normally do.  But I wanted to do better, I wanted to be better.

I wanted to prove to myself that I did not have to be a slave to my fears.

So I started thinking. And I took a step back and looked around.

I follow a lot of my favorite authors on Twitter, and guess how many have confessed to dealing with writer’s block? Every. Single. One.  All of them felt this same self-doubt. These are NY Times bestselling authors, writers with 5, 8, 10, 20 books out there that have sold hundreds of thousands of copies. Bona fide successes.  And you know what?

They all have felt the same way my students reported, the same way those Harvard students reported, the same way I was feeling right then.  And I’m not talking about in the early days, working the night shift and scribbling in notebooks under the counter, feeling the thrill of pleasure that comes from a rejection notice that is actually personalized. I’m sure they felt it then, too. But I mean right now. As giant successes. They have days where they doubt themselves. They have days where they feel like impostors.

There’s a saying in this industry that you’re only as good as your next book. You might have a backlist a mile long, but if your next book under-performs, under-whelms readers, that backlist is just going to sit there. For readers, this is a good thing; it means writers can’t just check out and publish poorly written copycats of their previous works (with some exceptions… see your local supermarket for examples of big name authors who get away with this). It means even successful writers have to push themselves, stretch their abilities, flex their writerly muscles on every book, just as much as the new writer hoping to break in does.

I find that heartening. Why?  Because successful writers might have their backlist and their agent, their editor and their readership, but they’ve still got to put their ass in the chair and do good work.  They still have to spend the same solitary hours wracking their brains as the rest of us.  They still have to make good art.

It also means that even successful people, perhaps especially those people, feel like impostors from time to time, too.

I find this heartening as well.  Why? Because it means that, while we’re all engaged in a very solitary activity, we’re all in this together, too. We all face the same struggles, the same fears, the same doubts. We all want to do our best work, and we all at some point feel like we’re not living up to our potential or ambition.

What I’ve learned while thinking about this phenomenon is that impostor syndrome is unavoidable, and that’s OK. Impostor syndrome can be a major catalyst for writer’s block, a huge impediment looming between you and your characters. And that’s OK, too. It will pass. It will pass. It will pass.

Keep writing.

And when you absolutely can’t,

Keep planning.

And when you absolutely can’t,

Keep dreaming.

Remember:

You are not alone.

 

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*Note: this is not to suggest people suffering from the mental disorder are not experiencing a very real phenomenon, nor to water down their suffering by spreading it across the general population. Rather, I want to point out that, on a lesser and non-clinical level, almost everyone experiences this feeling, and it is perfectly normal.

Why I Wanted an Agent

Following up on my previous post announcing I had signed with an agent, I wanted to explain why I decided to go the agent route.  This is a question a lot of beginning writers struggle with, including myself, and I don’t think it gets addressed enough.

I know over the past 18 months I certainly read everything I could find, and there wasn’t a whole lot out there. A lot of people seem to assume an agent is a necessary part of the publication process, and some people reject the whole system and want to make it work on their own.Neither of these positions is wrong–it all depends on the individual temperament and talent of the writer in question. Context is key here. So is making a knowledgeable decision.

It seems to me that the basic problem with these two possibilities–and one of the reasons writers going through the submissions process can wind up feeling simultaneously defeated, confused, and disgruntled–is that a lot of the literature out there in books and online confidently positions these two paths as mutually exclusive.

But they’re not, at least not necessarily, and certainly not in the beginning.

My plan of attack was agents first, then direct to editors/publishers second, and self-publication third. Not because this last was the least or worst option, but because the first and second were the better options for me.

Why?

Because I want someone experienced in the industry who will go to bat for me and knows her way around contracts; I want an experienced editor who can tell me what’s not working in my book so I can fix it; I want a copy editor to go through my manuscript and check for continuity errors, make sure my worldbuilding is consistent, and ensure I haven’t made some glaring science error that will make me look idiotic in print; I want an art department who will commission a professional artist to create a cover image, and place that original artwork within the collage of other items that make up a great cover; I want a marketing budget, however small it may be for a first-time author, and marketers who understand their industry, who know where to send ARCs, where to place ad-buys, where and when and whom to target.

And, let’s be honest, I want the credibility conferred by a publisher’s stamp on the spine of my books. We all have our favorite publishers, and we all know when we see their mark on the spine of a book that we’re looking at quality work. I want readers to have that same confidence when they seem my book on the shelf.

Now let’s be honest: I can do all of these things myself, or hire someone freelance to do them for me–except for that last one.  This is the argument many people make in favor of self-publication, and they’re not wrong–I can do all those things.  And you can find examples of writers who have successfully done them, and no doubt every year a few more will make it work.  This is wonderful: it’s good for readers, it’s good for the writers in question, and it’s good for the industry as a whole.

But it’s also not for everyone.  For one thing, doing all those tasks is a lot of work. Hours and hours and hours. Plus it’s a significant financial investment. If you want quality and credibility, there’s always going to be an associated cost. Some clever people find ways to get around the financial cost, but it still takes time.  And time is what I don’t have.

I have a six month old son. I have a full time job. I have a part-time job. After 7 years teaching university courses, I am also returning to graduate school as a full time student. And I’m working on revising one manuscript and drafting a new project.

I don’t have time to be agent, editor, copy editor, artist, art director, marketer, and publisher on top of all those other hats I’m wearing. Even if I did have time to do all those things, there’s an additional reason why I wouldn’t want to: I’m not experienced at them. I’m sure I could learn the ropes as I went along, and several years from now might even know some valuable things.

Experience is a wonderful teacher.

But in the meantime, while I gain that experience, the books I want to share with readers now might very well be languishing due to my own incompetence or inexperience at any of the above roles I’m forcing myself to fill. And it only takes one misstep to doom a book; the chain of publication is only as strong as its weakest link.

So yes, I want that chain to be strong. I want to stand on the shoulders of giants.

And I want to preserve my sanity.

That’s why I wanted an agent.

The Big News

Yesterday, I promised that I would be able to share big news soon.It arrived sooner than I expected, and I am able to share it today.I have signed with an agent!And not just any agent: I’ve signed with Julie Crisp, former editorial director at Pan Macmillan’s Tor imprint.  She’s worked with some of the best in the business, including Ann Cleeves, Peter F. Hamilton, China Mieville, and Adrian Tchaikovsky.Here’s the official press release, via The Bookseller.The manuscript she’s representing at the moment is At Close of Day, a near-future crossover thriller that “explores the lengths that society will go to in order to find a cure for humanity’s greatest threat – death.”

That’s the short version. The slightly longer explanation is that ACoD involves neuroscience, hacking, artificial intelligence, cyber warfare, a scientist on the run for her life, and online gaming, and it was inspired by the poetry of Dylan Thomas.

I’m thrilled to be working with Julie on bringing this exciting project to the public. Her editorial background working with some of the biggest names in genre means a tremendous opportunity to bring the best possible book to readers everywhere.

I can’t wait to be able to share this with you.

 

Update – 17 August

Hi there,

I’m leaving a quick note to say that there’s big news on the writing front, but I can’t explain any more than that right now.  I really really want to, and it’s really really exciting–I’m just waiting on all the ink to dry, so look for that announcement soon.

Other news, which I can share, is that I’m working on a new YA manuscript. I don’t want to give too much away, but I’ll say that it’s set in a recognizable, not-too-distant future and explores the question of how society adapts as our megacities drown in rising sea waters. There’s drugs and black market organs and sex slavery and spearguns, among other things.

I can’t wait to be able to share more on this one, but it’s still working itself out on the page.

Stay tuned.