A Day as an Emerging Writer
March 6, 2018 § 39 Comments
I didn’t realize how difficult it would be. To simply sit down. Every day. And write. To learn the novice mistakes. To correct them. To learn more novice mistakes. To correct them. It’s an endless cycle.
I don’t like calling myself an “emerging” writer. Think about what emerging means…to rise up, to come into existence, to develop. Would I call myself a “developing writer?” Apply that to another career choice—a developing plumber. A developing doctor. Who wants to take a chance on a developing anything? I’d say, “Call me back when you’re developed.”
I visually see “emerging” as a butterfly bursting from a chrysalis. When is the transformation complete? When the writer is published? When I stop making rookie mistakes? Never?
A rookie writer submits her pieces too soon. My father, a self-published author who would never call himself “emerging,” but simply a writer, reminds me that work needs to sit and season like a stew. This comment brings out the teenager in me: “I know that, dad! Everyone knows that!” But I still finish a piece at 10:01 and shoot it out across Submittable at 10:02.
The emerging writer entertains many rejections. What’s more painful—The pubs that don’t reply or the ones who reply within an hour? We knew THAT quickly you weren’t good enough.
Lynda Barry’s quote is posted at my desk: “Is it good? Does this suck?” I never know the answer for sure.
I attend literary events. I meet authors. I start to better understand the writing community. But then someone says “are you going to hear Colson Whitehead’s reading next week?” and I say, “who’s Colson Whitehead?”
I tweet about a local author’s book hoping they’ll retweet it, because I feel pressure to build a platform. The author re-tweets everyone else on Twitter except me. I read a roundtable interview with agents on how to successfully publish a memoir. “A robust platform is given equal footing with voice and story.” I need ten thousand followers. I spend a week being more active on Twitter. At the end of the week I am nine thousand, nine hundred and eighty-two followers short.
Then there’s the question of whether I’ve suffered enough. I sit in class, writing on a Lenovo Yoga while drinking Tazo ginger tea and wearing burgundy fingerless gloves woven in Peru. Do I even have a right to be here? I’m just another progressive white woman nearing fifty, writing a sad memoir. Love stories with a spouse killed by cancer are as ubiquitous as Starbucks. My teacher, a talented poet, shares her beginnings—how she wrote into the wee hours each night while raising children alone and working two jobs. Is it my imagination, or is she looking at me?
But I’m here. I’m here because the ghost of my dead husband follows me around. I’m here because outside of raising his children and a demanding corporate job, I’ve made time for writing classes at night in the damp rooms of Seattle’s Hugo House, and the subject I always write about—for fifteen years now—has been my grief. I’m here because two years ago the pounding of a voice telling me “it’s time, it’s time, if not now, when, it’s time to write his story, it’s time to write your story” sat on my shoulder, madly distracting me from staying the corporate path. I’m here because I saved and saved and saved to keep our household running for a few years so I could focus on this project. I’m here because my current husband and extended family withheld their worries, instead saying, “go, we believe in you.” I’m here because I loved a man deeply, and his life was cut short, and we didn’t say the things we should have said because we were young and naïve, and there have been days when I’ve been stuck on the cold tile floor in fetal position heaving wet grief at the regret and guilt I carry for his death. I’m here. I’m here. I’m here.
And maybe you can’t hear me. Maybe I toss in an adverb too many. Or my story doesn’t have a universal point. Or the tension isn’t building. Or a sentence that should end with a clang ends with a whoosh. Or I don’t have a platform. Or my memoir is too non-traditional. Or not traditional enough.
But here’s the thing, dear reader, dear agent, dear publisher, dear author, the story is eating me alive. The. Story. Is. Eating. Me. Alive. So, lacking skill, lacking platform, lacking a through path, I keep going. I show up. I sit down. I keep writing. And by the grace of my pen, I will get out on paper the suffocating grief within me to remember a man, a good man, a simple man, a handsome man, a dead man.
Perhaps the transformation from emerging writer to writer has already happened. More likely it never ends. It’s enough that the story rises from me, and I catch it be penned. That is my metamorphosis.
Rachel Greenley is a Seattle-based writer who would like you to follow her on Twitter.