The Jet Set Life of a Real Writer
February 5, 2018 § 16 Comments
Oh the glamorous literary life—last week Dubai, yesterday New York, today Shreveport! I’m writing this in the back of a Lyft on the way to the airport, after a week of parties and book-signings, retweeting Shonda Rhimes’ compliments and brainstorming article ideas for major national publications, la la la.
Except it’s not for me. Sure, I live in Dubai (husband already worked there when I met him), but the last five days in New York have been focused on a client. A lovely author whose book comes out this week and who yes, was listed in Shondaland. I’m the writing coach. My work is literary-adjacent: support my client at a bookstore event, spelling names correctly on post-its for the signing table. Introduce her at the release party. Talk through ideas for articles. Work next to her at the kitchen table, updating my website while she answers questions for a blog about writers and their dogs.
There’s a persistent myth that “real writers” just write. Over at Lithub, Rosalie Knecht tells us how that got started:
It’s easy to forget that Hemingway and the rest went to Paris because it was cheaper than staying at home, and that it was cheaper because a catastrophic war had just laid waste to the continent. These writers produced so much material about each other, in fiction and in letters, that they accidentally crystallized a specific time and place in the American imagination as the essence of what a creative life looks like. This was not only a setting: it was a particular economy. Not only was rent cheap, but print was still the king of mass media. It was possible, for a brief moment in time, to make a living selling pieces to magazines. As a result, the image of the writing life created in this period includes no non-writing day jobs whatsoever.
When people ask me what I do, I say “I’m a writer. And I edit other people’s work.” Yes, I get paid to write, already a huge step, but I wrote a lot for free before I started getting paid, and I still write for free for venues I’m invested in as a literary citizen (hello, Brevity readers!). Even my client with the brand-new book is still writing for free—those blog interviews don’t write themselves, and even authors whose publishers pay for the book tour must write for publicity. Signing books is not “writing” time. Midlist authors—that group a publisher needs for bread and butter, but who don’t get press releases sent to Shondaland—mostly have day jobs, or spouses with day jobs. Small-press authors are often teaching full-time.
Most of my “writing” days look like this:
- 6AM-7AM: Squint at Twitter in bed
- 7AM-9AM: Morning routine, commute
- 9AM-10:30AM: Coffee, breakfast, social media, that thing where I cross a bunch of easy stuff off my list instead of tackling the most important thing first
- 10:30AM-12PM: Write novel (OK, sometimes it’s only an hour)
- 12PM-4PM: Editing other people’s work, website updates, planning the India retreat for writers mid-book, the Brevity blog and podcast, punctuated by email and social media
- 4PM-6:30PM: Commute, cook dinner
- 6:30PM-10PM: Spend time with husband, email, social media, editing
Notice there’s 90 minutes of actual, writing-the-project-I-love time. Max. On a good day. And on a good day, that’s plenty. I’m writing hard, emotionally involving stuff right now, and there’s only so much time I can spend crying and snotting.
What works for me, what feels “real,” is making it to the chair five days out of seven. Writing on a me-project most of those days. That may not be what works for you—maybe you get 10 minutes a day, or chunks of weekend, or early mornings, or three days a month, or summer vacation. Your schedule reflects your life in an economy where rent is a much larger percentage of income than it was in 1948, and where most health insurance is tied to working full time. Many of us have kids, spouses, even friends we like to spend time with. On the up side, we’re much less likely to drink or cough ourselves to death, or be brutally satirized by Truman Capote.
When I taught theatre, I told a lot of worried parents, “Everyone thinks ‘Hollywood star!’ is every actor’s goal. But most actors I know make a living in regional theatre and summer Shakespeare festivals, teaching, recording audio books and guesting on Law&Order. Fame does not equal success. Success does not equal fame. Your kid can be happy and make a living doing something they love and are good at.”
Famous writers are doing more than writing what they love. Successful writers may never be household names. Art is not somehow purer if we do nothing else. Do what you love and are good at. Do it often enough to get better. Do it when and where you can. That’s real. That’s enough.
Rosalie Knecht’s article at Lithub is well worth a full read.