Mandi Bean's Blog, page 6

How to Live With Grief

It’s been two years since my niece’s tragic accident. I haven’t really wrote about it because I’m not sure I know how, and I’m not entirely sure it’s my story to tell. But I know I think about it every single day and that it never stops being sad. I’ve surprised myself with how angry I am, even two years later. Am I really “living with grief”? I don’t know. Most days, I’m not sure what I’m doing. I’m just sad. And really angry.

But anger’s an awful emotion to hold onto. So instead, I try to remember what my sister said: February 28, 2021 was the worst day of our lives, but every February 28th after will never be as bad. I don’t have to be despondent on that day every year. I can consider myself blessed that I can still touch Maddie and hold her and sing to her and take pictures. She’s still alive. Against all odds, she’s still here. And she’s getting better; slowly but surely, Maddie is moving forward in her recovery.

My family has stepped up and come together in ways previously unimaginable.

I left my house in such a hurry that awful day that I left meat out on the counter. I called and asked my friend to throw that away and asked if she could just check on the cat once or twice. When I came back after that initial two weeks in Florida, my house was clean. My friends and loved ones were invaluable. I honestly don’t believe I would have survived everything without their unwavering support and patience.

It’s been two years and everything has changed. I’m still not sure I’ve accepted this as my new normal. There are still big questions to answer, important decisions for me to make, and that can be overwhelming.

But then I take a few deep, steadying breaths and remember that Maddie’s still here.

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When is your novel really done?

Over the long weekend, my parents were kind and generous enough to purchase a plane ticket for me to come down to Florida. And for the first time in over a year, me and my siblings were all together. It was a wonderful visit and I’m already looking forward to going back.

One of my favorite parts of my trip was leaving my nearly completed manuscript on my mom’s bedside table for her to read. She’s my most trusted beta reader and something of a good luck charm; once she gives her approval, I seem to get a yes from a publisher. Naturally, I’m anxious to hear what she has to say about Lightning Strikes.

Without Ma’s magic touch, I already know there are areas of the manuscript that need to be tightened and shined. That being said, editing and revising can still be quite overwhelming. So where does one begin?

I found a treasure trove of articles through Writer’s Digest, all written by Kris Spisak and linked below. The first article was all about knowing when your novel was ready to be read, and broke down seven editing processes a writer can use to determine the “readiness” of their manuscript.

Phase One (Big-Picture) Editing Exercises:Creating a post-first-draft outline
– Write your book’s Mission Statement
– Examine what you’ve captured on the page
– Double-check every scene against your Mission Statement

My book doesn’t have a Mission Statement, or at least I haven’t written it, but I’m impressed with myself for creating a post-first-draft outline before I read this article and before I even knew such a thing existed. I’m working right now to make sure I hit all my plot points and that the chapters are evenly developed.
Shaping an editorial road map
– Put down the red pen (virtual or otherwise)
– Look don’t touch
– Revise according to your meticulous plan
– Leave no trace

Spisak writes about creating a map legend and marking your manuscript throughout in areas that need attention. I didn’t use a legend, but I did use a pink pen, a blue pen, post-its, and highlighters. I annotated it thoroughly and put it in a binder. My post-first-draft outline My post-first-draft outline My post-first-draft outline

We all want to dive into the heavy lifting so we can be finished with our books already, but a powerful edit isn’t a rushed one.

Kris Spisak

Phase Two (Empowering the Subtleties) Editing Exercises:Fleshing out your character differentiation
– Emotional tells
– Body Language
– Dialogue

This will be the focus of an upcoming edit.
Deleting your cheating words
– Realize
– Felt
– Suddenly

One of my absolutely favorite writers, Chuck Palahniuk, takes this one step further. He advocates for removing all “thought” verbs: thinks, knows, understands, realizes, believes, wants, remembers, imagines, desires, loves, and hates. When writing advice is echoed, I pay attention because there’s so much of it out there that when I find a consensus, I believe such advice is tested and true. Editing in multiple drafts for specific reasons was championed by all my brilliant professors at the University of Limerick.[image error]Chuck Palahniuk, a geniusPhase Three (The Final Polish!) Editing Exercises:Tackling a reverse edit

I am so excited to try this! This will be the last edit I do before querying agents.
Challenging yourself to a timed editAn Anytime Revison Strategy:Revising in waves

Editing in drafts to specifically focus on one issue/aspect of the manuscript.Kris Spisak, editor extraordinaire

I’ll announce when my manuscript is done and ready for agents Wish me luck! And if you’d like to help me on that journey and be a beta reader, please comment and let me know! I’d also love to hear about other publishing journeys!

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How Watching Movies Can Improve Your Life

Recently, I went to see “Titanic,” which is back in theaters for its 25th anniversary. I went with one of my oldest and closest friends, and I was excited. I remember the first time I saw “Titanic” in theaters–and I mean the very first time because I know I went back and saw it like three more times. But that first time was magical.

I was in fourth grade and had broken my leg in three places a couple months before, so my dad had to wheel me into a packed theater. I remember everyone laughing loudly when Jack was teaching Rose how to spit. I remember people cheering when they told the annoying porter to shut up. I remember crying so hard I couldn’t see or breathe. I remember the profound silence at the end of the movie.

I have to admit I was more than a little disappointed in the crowd that came out to see the 25th re-release of “Titanic” on a Monday night. No one was reciting lines or cheering or booing or getting involved with the story on the big screen.

And that made me ask the question: why do we go to the movies?

I found this article that lists the benefits of seeing movies in theaters, most of which positively impact mental health.

Nine Advantages of Going to the Theater The big screen
The larger display that comes from the big screen helps create the totally immersive experience that is going to the movies. According to The Acronym, the official student paper of the Illinois Mathematics and Science Academy, “Watching a movie allows one to disconnect from their surroundings for a duration of time.” Disconnection is crucial to mental health. Cell phones give the impression that everyone is accessible at any time, and that is a lot of pressure. Being able to go into a dark theater and experience catharsis and entertainment is really a precious gift. Movie options
The famous complaint is that there’s never anything good on TV when you want to watch something good on TV. Streaming services have changed that somewhat, but theaters will offer new movies, including some unavailable for streaming. And depending on the theater, some might offer more obscure, independent releases. And variety is key because watching different genres have different benefits. “Musicals or romantic comedies are great examples of relaxing films,” but “Watching stressful movies, such as horror, may actually make us feel better in the long run. Temporary stress releases cortisol, which is automatically met with dopamine, once that stress is erased. This emotional rollercoaster may be very beneficial to viewers.” Viewing it first
If you want to treat yourself, go see the new movie you’ve been excited to see. Sometimes, it’s the only one way to see the movie. I also think it’s really important to see a movie for yourself before the reviews come out and the critics get a hold of it. Theodore Roosevelt once said, “It behooves every man to remember that the work of the critic is of altogether secondary importance, and that in the end, progress is accomplished by the man who does things.” Some of my favorite movies have been panned by critics, and some critical darlings have failed to impress me. It’s always best to be your own judge since our tastes are so unique and art is so subjective. Focus
I actually just taught a lesson partially about ADT, or attention deficit trait. Between all the screens and the ever present pressure to multi-task, we’re actually robbing our brains of the ability to pay attention to any one thing for a prolonged amount of time. Because use of the nature of a movie theater, we’re better equipped to practice giving our full and undivided attention.

“In your private apartment, there are additionally several objects of distraction that could disrupt your focus. Such objects are computers, are computers, phones, pets, including the temptation to recheck your fridge every 20 minutes. Even if you try your hardest to provide a movie your entire attention on a living-room screen, you are most likely to fall into temptations like thinking of paying the phone or electric bill, annoying your pet, or simply going to the loo. In the cinema, all you own is your chair for the moment, any snacks you bought or brought, and the movie you are there to view. So, focusing can be likewise easy for you when you are in the movie cinema. Moreover, you have paid a hefty amount that you do not want to waste.” Correction of illusions
I never gave this valid point much thought. “In a cinema, you can view things that are larger and clearer enough for you to understand what exactly they represent. This is one of the biggest advantages when it comes to a thriller or a sci-fi movie. You would not like to miss out on the tinier details that could ruin your cinema experience.” A massive speaker system
Most of the technology mentioned is crucial for creating the all-important immersive experience. “Cinemas are insulated from the insides so that the sound cannot escape the external environment.” Appreciation of others’ reactions
For the length of the film, movie-goers share a habitual space likely much different from home. That shared experience can lead to observing the audience around you and their different reactions, which could in turn influence your own reactions. This is another cool aspect of movie-going I’d never even realized, let alone considered. React to tantalizing moments more speedily
The reactions of other audience members affect us more than we realize. For example, some moviegoers respond quicker and laugh instantly upon discovering entertaining dialogue. When you hear the initial fraction of a giggling noise, in one nanosecond, you infiltrate into a further joyous spirit and giggle too. Easier to accept escapism from reality
It’s difficult to achieve escapism at home. Watching a movie in a theater prompts us to fully engage in the created world. Watching those stories play out can help us better understand our own emotions and motivations and relationships. They can also help us better understand the world around us.

I also wrote a blog about how watching movies can significantly contribute to the writing life.

So how ’bout it? You heading to the movies this weekend? Let me know in the comments!

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How to Get Creative: 6 Exercises

I’m close to finishing the first very rough draft of Lightning Strikes, which is so exciting! I have a *phenomenal* beta reader and am really and truly happy with the progress I’ve made. Once it’s edited and polished, I’m going to start querying agents, and I hope to begin that process in March.

In the meantime, I thought I’d share this article from Writer’s Digest that offers six easy writing exercises to fuel your creativity. It was written by Gabriela Pereira, “…the founder and instigator of DIYMFA.com, Gabriela’s mission is to empower writers to take an entrepreneurial approach to their education and professional growth. She earned her MFA in creative writing from The New School and teaches at national conferences, local workshops, and online. She also hosts the podcast ‘DIY MFA Radio,’ where she interviews best-selling authors and book industry insiders about the art and business of writing.”

Pereira believes that “…Creativity is more like a muscle: If you practice regularly, flexing and training your mind to absorb inspiration from various sources, that muscle will get stronger. Eventually, you’ll be able to come up with ideas on demand, almost like turning on a faucet.” She offers the following six exercises as means to strengthen your muscle of creativity, so that no matter what kind of writer you are, they can all be beneficial.

Image file
This is basically a picture prompt. You can Google Search images or collect favorites from postcards, magazines, etc. The picture can be a source of inspiration; what’s going on in the picture? Who’s in the picture? “A single image can spark an entirely new story, or help you go deeper into a story you are currently developing. Landscapes or cityscapes can serve as settings where you can place your existing characters to see how they react.“
Character compass
I think this will come in handy when editing.

3. Color theory
What a cool, refreshing, abstract way to think about characters!

4. Negative space
I can personally attest to how great this exercise is. My laptop is filled with snippets of scenes I may never use but definitely inform the story as a whole. “If you find yourself getting stuck, write a short scene where you follow a supporting character ‘offstage’ or into the negative space. Even if you never use that scene in the story itself, you will get a better understanding of that supporting character and her motivations.”

5. Word Box
Pereira pulls five to seven random words from a box and uses them as her inspiration. If you don’t have a “word box,” on your desk, she provides the link for an online generator: https://www.randomlists.com/random-words

6. Acrostics & Word Puzzles
“Start by writing a name or word vertically, one letter per line. Now craft a poem or paragraph of prose around that vertical word. You can make each letter the first in a sentence, or you can simply embed those letters into the text at random. Keep in mind, however, that if you want someone else to be able to “decode” your puzzle, you will need to follow some sort of logic in how you hide the letters. Another fun way to use this tool is to create an acrostic bio for a character in your story. In this case, each letter of the name corresponds to some trait or quality of that character.”

Give some of these exercises a try over the next week and let me know in the comments how you do!

Also, if you’re interested in reading the rough draft of Lightning Strikes, reach out!

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Stephen King’s 20 Rules for Writing

If I’m being honest, I’ve been slacking on my writerly goals this month, which ends today. I’ve hit a wall with Lightning Strikes and other responsibilities have kept my writing on the backburner. But if I’ve learned anything as a lifelong reader and writer, it’s that Stephen King has all the answers.

I read The Shining when I was in fifth grade and have never looked back. Uncle Stevie has rarely — if ever — steered me wrong, so now that I find myself looking for answers, I look to the Master of Horror, the Storyteller Extraordinaire. In 2013, on Barnes & Noble’s blog, Lauren Passell compiled twenty of King’s best pieces of advice for writers. And now I am going to regurgitate them here.

“When you write a story, you’re telling yourself the story. When you rewrite, your main job is taking out all the things that are not the story. Your stuff starts out being just for you, but then it goes out.” The real work comes in the editing. Make sure it’s polished.
“Timid writers like passive verbs for the same reason that timid lovers like passive partners. The passive voice is safe. The timid fellow writes ‘The meeting will be held at seven o’clock’ because that somehow says to him, ‘Put it this way and people will believe you really know.’ Purge this quisling thought! Don’t be a muggle! Throw back your shoulders, stick out your chin, and put that meeting in charge! Write ‘The meeting’s at seven.’ There, by God! Don’t you feel better?” The active voice not only creates a sense of urgency that’ll keep readers turning pages, but it’s also clearer and thereby easier for readers to understand.
“The adverb is not your friend. Consider the sentence ‘He closed the door firmly.’ It’s by no means a terrible sentence, but ask yourself if ‘firmly’ really has to be there. What about context? What about all the enlightening (not to say emotionally moving) prose which came before ‘He closed the door firmly’? Shouldn’t this tell us how he closed the door? And if the foregoing prose does tell us, then isn’t ‘firmly’ an extra word? Isn’t it redundant?” I still struggle with this. I think adverbs, like the passive voice, are crutches. It’s fine for getting the story out on paper, but they should be taken out when editing.
“While to write adverbs is human, to write ‘he said’ or ‘she said’ is divine.” I struggle with this too. There’s nothing wrong with a “she whispered” every now and then, I think, as long as they’re used sparingly. And like adverbs, they might no be necessary as long as the writer has done the work beforehand and provided context.
“Language does not always have to wear a tie and lace-up shoes. The object of fiction isn’t grammatical correctness but to make the reader welcome and then tell a story… to make him/her forget, whenever possible, that he/she is reading a story at all.” An authentic, clear voice will solve most problems.
“I’m convinced that fear is at the root of most bad writing. Dumbo got airborne with the help of a magic feather; you may feel the urge to grasp a passive verb or one of those nasty adverbs for the same reason. Just remember before you do that Dumbo didn’t need the feather; the magic was in him.” CONFIDENCE! Professor Sarah Moore Fitzgerald really exhorted us to be confident throughout the whole course but especially in the second semester.
“You have to read widely, constantly refining (and redefining) your own work as you do so. If you don’t have time to read, you don’t have the time (or the tools) to write.” I’m proud of myself for reading more. I just finished The Queen of Dirt Island by Donal Ryan, I’m in the middle of a collection of short stories by Anton Chekhov, and I just started Kit de Waal’s memoir, Without Warning & Only Sometimes: Scenes from an Unpredictable Childhood.
“Reading at meals is considered rude in polite society, but if you expect to succeed as a writer, rudeness should be the second to least of your concerns. The least of all should be polite society and what it expects. If you intend to write as truthfully as you can, your days as a member of polite society are numbered, anyway.” Read whenever, wherever — and be honest about your writing aspirations and work.
“Most exercise facilities are now equipped with TVs, but TV—while working out or anywhere else—really is about the last thing an aspiring writer needs. If you feel you must have the news analyst blowhard on CNN while you exercise, or the stock market blowhards on MSNBC, or the sports blowhards on ESPN, it’s time for you to question how serious you really are about becoming a writer. You must be prepared to do some serious turning inward toward the life of the imagination, and that means, I’m afraid, that Geraldo, Keith Obermann, and Jay Leno must go. Reading takes time, and the glass teat takes too much of it.” TV rots your brain and robs you of your time. I’m guilty of bingeing and wasting so much time in front of the TV, but I’m going to make more of an effort to turn off the TV and turn some pages.
“The first draft of a book—even a long one—should take no more than three months, the length of a season.” Uh … I do not work that fast. And maybe if I could write full time like Uncle Stevie, that’d be a more realistic goal.
“When I’m asked for ‘the secret of my success’ (an absurd idea, that, but impossible to get away from), I sometimes say there are two: I stayed physically healthy, and I stayed married. It’s a good answer because it makes the question go away, and because there is an element of truth in it. The combination of a healthy body and a stable relationship with a self reliant woman who takes zero shit from me or anyone else has made the continuity of my working life possible. And I believe the converse is also true: that my writing and the pleasure I take in it has contributed to the stability of my health and my home life.” I’m working on a healthy body and stable relationship. I’ll keep you updated on both fronts. But I think all life, not just writing life, is about finding that balance.
“A radio talk-show host asked me how I wrote. My reply—’One word at a time’—seemingly left him without a reply. I think he was trying to decide whether or not I was joking. I wasn’t. In the end, it’s always that simple. Whether it’s a vignette of a single page or an epic trilogy like ‘The Lord Of The Rings,’ the work is always accomplished one word at a time.” Amen, brother.
There should be no telephone in your writing room, certainly no TV or videogames for you to fool around with. If there’s a window, draw the curtains or pull down the shades unless it looks out at a blank wall.” Eliminating distractions is important.
“One cannot imitate a writer’s approach to a particular genre, no matter how simple what the writer is doing may seem. You can’t aim a book like a cruise missile, in other words. People who decide to make a fortune writing like John Grisham or Tom Clancy produce nothing but pale imitations, by and large, because vocabulary is not the same thing as feeling and plot is light years from the truth as it is understood by the mind and the heart.” Donal Ryan said it takes about five years to outwrite your heroes. I know I’m still shadowing Stephen King in some respects, but I also feel like my voice is becoming more my own, especially with my second novel, Moody Blue.
“When, during the course of an interview for The New Yorker, I told the interviewer (Mark Singer) that I believed stories are found things, like fossils in the ground, he said that he didn’t believe me. I replied that that was fine, as long as he believed that I believe it. And I do. Stories aren’t souvenir tee-shirts or Game Boys. Stories are relics, part of an undiscovered pre-existing world. The writer’s job is to use the tools in his or her toolbox to get as much of each one out of the ground intact as possible. Sometimes the fossil you uncover is small; a seashell. Sometimes it’s enormous, a Tyrannosaurus Rex with all the gigantic ribs and grinning teeth. Either way, short story or thousand page whopper of a novel, the techniques of excavation remain basically the same.” This is gorgeous. Not sure if I agree, but I love the idea.
“If you’ve never done it before, you’ll find reading your book over after a six-week layoff to be a strange, often exhilarating experience. It’s yours, you’ll recognize it as yours, even be able to remember what tune was on the stereo when you wrote certain lines, and yet it will also be like reading the work of someone else, a soul-twin, perhaps. This is the way it should be, the reason you waited. It’s always easier to kill someone else’s darlings that it is to kill your own.” This was part of the feedback from my dissertation; to walk away from my manuscript and come back to edit with a rejuvenated mind. And I will … but I have to finish it first.
“Mostly when I think of pacing, I go back to Elmore Leonard, who explained it so perfectly by saying he just left out the boring parts. This suggests cutting to speed the pace, and that’s what most of us end up having to do (kill your darlings, kill your darlings, even when it breaks your egocentric little scribbler’s heart, kill your darlings.)” This was also part of my feedback from my dissertation. Damn; Uncle Stevie really does know all.
“If you do need to do research because parts of your story deal with things about which you know little or nothing, remember that word back. That’s where research belongs: as far in the background and the back story as you can get it. You may be entranced with what you’re learning about the flesh-eating bacteria, the sewer system of New York, or the I.Q. potential of collie pups, but your readers are probably going to care a lot more about your characters and your story.” Kit de Waal echoed these same sentiments in class.
“You don’t need writing classes or seminars any more than you need this or any other book on writing. Faulkner learned his trade while working in the Oxford, Mississippi post office. Other writers have learned the basics while serving in the Navy, working in steel mills or doing time in America’s finer crossbar hotels. I learned the most valuable (and commercial) part of my life’s work while washing motel sheets and restaurant tablecloths at the New Franklin Laundry in Bangor. You learn best by reading a lot and writing a lot, and the most valuable lessons of all are the ones you teach yourself.” Maybe … but the MA program helped me immensely.
“Writing isn’t about making money, getting famous, getting dates, getting laid, or making friends. In the end, it’s about enriching the lives of those who will read your work, and enriching your own life, as well. It’s about getting up, getting well, and getting over. Getting happy, okay? Writing is magic, as much the water of life as any other creative art. The water is free. So drink.” Preach, Uncle Stevie.

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What Do You Do After a MA Program?

Fair warning: The title of this blog post is misleading. I do offer a bit of pithy advice for what to do after completing a MA program, but this post is honestly just a love letter to Ireland and the friends I made while abroad.

Even though I flew back home in May, I always knew I’d be back for graduation. Even when I handed in my dissertation in September, I still had graduation to look forward to. But now graduation has come and gone, and a new feeling has settled over me. I’m not sure I can define it to my own satisfaction, except to say that everything feels officially over. It was much more difficult saying goodbye to the Emerald Isle and my friends and classmates after a week than it was after a year.

I think it’s because there’s no academic obligation looming, insisting I return to Ireland. There’s a freedom in that, but that freedom works both ways: I can go whenever I want, but because it would really just be a vacation, it’ll be easier for the trip to be delayed or postponed. When I landed back in the States this time around, I was both terrified and excited by the realization that one day, I could fly to Ireland and just stay there.

I got into Limerick on January 15th, a Sunday afternoon. I nearly cried riding in the taxi to Isabel and Caoimhe’s place because it honestly felt like coming home. And then to see two of my dearest friends standing in their driveway, excited to see me, was overwhelming. I was so infinitely happy that I did cry. We hugged in the driveway and everything just felt better, just felt right. We walked onto campus and it was so bittersweet. I love the University of Limerick.

Caoimhe and Isabel were exemplary hostesses. They made sure I was fed and watered (plenty of pints). They gave me an entire room to myself with fresh sheets and towels.

On Monday, I was so jetlagged that I slept through most of the day. But Tuesday was graduation and what a perfect day it was. Conor got there in the morning and kicked my air mattress until I woke up. He’s one of the first friends I made in Ireland and he was my lead reader for both workshops, so we became close friends fast and I can honestly say he’s one of my favorite people that I’ve ever met. I can write this here because he’ll never read my blog. Caoimhe’s parents were kind enough to drive us to campus to pick up our robes, and then I was finally reunited with California Joe.

Especially during second semester, Joe made Ireland even greater than it had already been for me. He became my traveling partner and best friend. He’s so talented and kind, and he’s also hilarious. Joe is an accomplished playwright and a teacher. We talk a lot about going back and conquering at least one of the pilgrim paths in Ireland and maybe going for our doctorates (maybe).

All of us bustling about Caoimhe and Isabel’s house, running up and down stairs and in and out of bedrooms and bathrooms; even that was fun. Even that mundane experience was made absolutely magical by these people. We were all together again and it felt like no time had passed, like there had never been any distance between us.

Joe, Maeve, and Barbara: three of the coolest people ever. Caoimhe and Jane; so much wisdom in one picture. Write Club does Graduation: Isabel, Conor, Caoimhe, Joseph, and me.Graduation!

After graduation, there was much celebrating. I went to dinner at the Castletroy Park Hotel with — seriously — some of the greatest minds of my generation (or of any generation, really).

Anna, me, Aileen, Barbara, Laura, Jane, and Maeve. Mairin, Geraldine, Liz, Neil, Sarah Lou, and Bob.

Anna works at the university and wrote one of the most perfect and devastating short stories that I have ever read. How lucky am I to have been her lead reader first semester? Aileen is writing a searing memoir about the loss of her young son and watching her work take shape has been such an honor. Barbara writes with such an acerbic wit and intelligent humor. I was her lead reader for the second semester and I was so envious of her strong, unique, and engaging voice. She brought so much joy to the workshop, often making me laugh so hard that I cried. Laura is Barbara’s daughter and every bit as lovely. Jane; I want to be Jane when I grow up. She’s stylish in absolutely everything she does. And she’s so wise; she is writing a philosophical novel about one of the great paradoxes of human existence, and she’s doing so with so much grace and care. I feel I should also mention Jane wears a pink, fuzzy coat that’s the definition of class. And Maeve really and truly is just so fucking cool. She’s writing a YA novel that she actually might age up. Her work was engaging and it seemed effortless. And she’s already lived such a full life and she’s so willing to share that vitality and I remember we had lunch at Stables on campus one time and that conversation was one of the top ten conversations of my life.

The second table at dinner was filled with classmates from the other workshop module, so I didn’t get to see them as regularly, but every time I did see them, it was always a good time. Mairin is so quick-witted and brings such a light into the room, as does Geraldine. I got to know Geraldine a bit when we were both in the Creative Writers in the Community module. I admire her and Mairin so much because they’re so genuinely happy and pleasant to be around. Liz is Bob’s wife and I’ve only had the pleasure of meeting her once or twice. Then there’s Neil, the dentist from Cork who beautifully writes some of the most original prose ever. He’s hilarious, as well. Is there anything the man can’t do? I love that Neil came up to me at graduation without having seen me in months and said, “Class rep? A word?” and put me straight to work. Neil is so genuine and humble even though he’s enormously talented. He was nominated for an Irish Book Award. He’s a big deal, so he does in fact get to boss me around. And then there’s Sarah Lou, who just makes everything better. She’s wonderfully talented, effortlessly stylish, perpetually joyful; one of my favorite memories from Ireland is drinking with Sarah Lou for seven hours. And then Bob, who was the patriarch of the course. He was our respected leader with a wealth of experience and knowledge, and Bob is always a damn good time. Always.

After dinner, we went traipsing through Limerick in the thick, falling snow to Nancy’s for more pints and conversation and quality time spent together. It was an absolutely perfect evening and I wouldn’t change it at all. Unless I could make it last forever.

I think it’s safe to say that all of us felt a different kind of sadness this time around because the course is officially over. We’ve all graduated. So what next?

Jane, in all her wisdom and pink coat as she was leaving Nancy’s, says: “To keep the mastery.” So we’ll keep on writing and honing our craft. We’ll keep on reading. And we’ll keep on reaching out and talking with each other.

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How to Make Sure Your Query is Read by an Agent

I’ve had two novels published and feel confident in my querying abilities. I’ve had success with small publishers, but not agents; I’ve had a handful of agents request full manuscripts, which is always a wonderful feeling. When they neglected to offer a contract, I knew my manuscript needed polishing, but that my query was solid. To make doubly certain, I did some internet research (glorified Googling, really) and stumbled across this article on Writer’s Digest from 2017. Though it’s not exactly current, the guidelines provided by Meg LaTorre are on the money.

Ten Tips to a Terrific Query

As a literary intern at the Corvisiero Literary Agency (and one of the slush pile readers), I have found that many writers often make the same mistakes in their submissions—ones that cost them requests for additional pages or earn them an automatic rejection.

Author Meg LaTorre

According to Meg LaTorre, these are ten ways to make sure your query makes it out of the slush pile with a fighting chance:

Write a formal email subject line.
I have to be honest: I’m guilty of breaking this guideline. LaTorre explains, “Each agency typically has a format for the subject line that they prefer (make sure to check out each individual agency’s submission guidelines on their website to see what those are). However, if there are no specified guidelines, here is one option for a standard subject line:
Query: [MANUSCRIPT TITLE], [genre] (Attn: [name of agent]).” I appreciate that LaTorre is emphasizing how queries need to be professional even if they’re sitting in an inbox. It’s important that every single part of the query letter is as polished as possible. Agents have so much to read (hence the need for interns) and they’re always working to make the pile smaller. The MA program in Limerick also highlighted that truth, and that’s helped inform my decisions regarding query letters.
Address the query to a specific agent. (And spell the agent’s name correctly.)
The reason for this guideline is explained by the next guideline; specific writing is always stronger than vague writing, and I believe the same is true for intentions. If you’re looking to be published, or accomplish another kind of goal altogether, then a narrow and focused path is always best. LaTorre writes, “As in any other part of life, showing you took the time to personalize your inquiry makes you stand out…” She also adds, “Last, but certainly not least, don’t address your query to an intern at an agency. Only submit queries to agents and agent apprentices (and only one person per agency).“
Check if that agent represents manuscripts in your age group and genre.
Follow the submission guidelines.
Honestly, I believe this should be the first guideline as it really encompasses the first three. You can basically find out everything you know from the submission guidelines. Specifically, LaTorre recommends:
– Check out the general submissions page on the website and see what is being asked for (query, number of sample pages, synopsis, attachments, no attachments, and so on)
– Next, find the bio of the specific agent you want to submit to. If the agent has specific submission guidelines, follow those. If they don’t, go with the general submissions guidelines.
Eliminate all spelling and grammatical errors in your query.
List your genre, age group, and word count in your query.
Craft a story snippet that reveals the stakes for both your character and the world.
This guideline really depends on the specific submission guidelines of the agency. I’ve only every given a brief synopsis (no more than two paragraphs). However, I do include the same elements LaTorre advises writers to include: Who the protagonist is and what his/her desires are; the protagonist’s personal stakes; who the antagonist is; what’s at stake for the world at large (what’s the larger picture)
Include a (brief) bio at the end of your query that includes your writing credentials and why you’re the best person to tell this story.
This is typically the last paragraph of the query letter. According to LaTorre, you also want to mention: “…that you’re a credible writer—which is where you’d mention if/where you’ve been published, if you’ve received special recognition for your writing, if you’re a part of any writing societies, and things of that nature.“
Include your full name (and pen name, if you have one), email, website, and Twitter handle in your signature. (No mailing address or phone number necessary.)
Be a nice person on social media (and in the query too, of course).
I feel like this bit is only becoming more and more important with time. With “cancel culture,” it’s always beneficial to have a clean record on social media.

I hope these guidelines proved useful. Also, Meg LaTorre runs iWriterly. “​iWriterly ​is a writing and book publishing resource for genre fiction with videos about writing and editing novels, traditional publishing and self-publishing, author interviews, and literary agent first-page critique videos focused on romance, fantasy, and science fiction novels. The iWriterly YouTube channel is hosted by Meg LaTorre.” It’s an excellent resource for any writer hoping to get published, as I hope this blog is too.

Keep me updated on your publishing journey! Comment and let me know where you’re currently at in the process

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Considering a MFA program? Read this first!

Recently, I came across an article from Writer’s Digest titled “What They Don’t Teach You in MFA Programs: 5 Rules for Writing Stories That Work” by Chris Mooney, a “Bestselling author and creative writing instructor.” I was obviously intrigued because I’m all set to graduate from what I believe to be a stellar MFA program on January 17th. Could there really be something I didn’t learn? Would prestigious, world-renown faculty really leave something out?

Turns out, the answer is NO.

I’m not sure what beneficial purpose Mooney’s myopic view of MFA programs serves. Maybe he’s trying to validate his own profession? He’s “…been teaching creative writing at Harvard’s Extension School and their Summer Writing Program, on and off, for the past two decades….” As a writing teacher, his assertions about MFA programs should be credible, but they’re mostly formed by bias and opinion. Mooney writes, “the classes were run by professors, some of whom were published writers, who loved to talk about what made great writing but couldn’t (or wouldn’t) explain what made a great story. Story, more often than not, was secondary.”

One could argue that knowing the structure of a story is all well and good, but not being able to put the story into words renders all the knowledge about story and structure useless. I think most MFA instructors and professors do their best to teach story and good writing in tandem because you can’t really have one without the other (although I would argue good writing by itself can take a writer a lot farther than a good story).

That being said, at the University of Limerick, my first classes were all about story and structure. Story NEVER came second. In fact, I took a whole class devoted to story, to breaking down the structure to isolate what works when and what doesn’t usually work. In that course, Donal Ryan said that “…stories impose order as they are an attempt to make sense of our lives. Therefore, narrative is the basis of everything.” It was the basis of the course.

With a strong sense of skepticism, I read on, and Mooney gives 5 Rules for writing that he claims don’t come from MFA programs.

Rule #1: What Story Do You Want to Tell?

I did learn this in my MFA program. Professors Joseph O’Connor and Kit de Waal taught me the difference between plot-driven stories and character-driven stories. Professor Sarah Moore Fitzgerald and Donal Ryan went through outlining extensively to make sure our stories had structure and shape. They emphasized making sure our stories fit their containers and that it might be helpful to rethink the structure if we were struggling with our projects.

Rule #2: You Must Have Conflict.

No duh. I teach Creative Writing at the high school level, and this is a lesson I teach in the first week. There’s no way MFA programs aren’t teaching writers that they need conflict. To that point, in my second week of classes at UL, international best-selling author Professor Joseph O’Connor said, “Stories that work have a conflict; conflict provides the drama that keeps us reading.”

Rule #3: Always Start With Action.

To be fair to Mr. Mooney, not all MFA programs might teach this “rule” … but mine did. It was a revelation for me when Kit de Waal advised us in UL’s MFA program to “Start whenever! You don’t need ‘Once Upon a Time.’ Find the beginning in the work! Write the easy stuff!”

Rule #4: Always Increase the Stakes … and Don’t Let Up.

This is a tried and true element of creative writing I’ve heard a million and one times, both in and out of any creative writing class I’ve ever taken, so yes, I did learn this in my MFA program.

Rule #5: Prepare Yourself in Advance.

One of the elements I appreciated most in UL’s MFA program in Creative Writing was its focus on self care, in addition to its confrontation of blunt truths. It was individualized, whereas Mr. Mooney’s rules are generic. Writing is an extremely personal act and it looks different for everyone. Some people work great with a detailed outline. Some people work great with a loose list of ideas. Some people work great with an idea and make notes along the way. And if it works, it’s not wrong.

Chris Mooney’s article was more like clickbait than anything else. His “5 Rules” are taught in at least some MFA program, and I can say that because I know they were taught in mine. Thinkers can debate the value of MFA programs (after all, plenty of writers are published without completing one) and that’s fine. What I can attest to from personal experience is that the University of Limerick’s Creative Writing MA program was invaluable to me as a writer, plain and simple.

And I think everyone should enroll in the course. Here’s a video about the program:

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2022 Writing Review

Earlier this month, a beloved colleague and fellow writer offered me Nicole Gulotta’s 2022 Workbook Writing Annual Review. It was so validating and inspiring to work through the document, to see how far I’ve come and how my dreams have grown and started to solidify. As 2022 winds down, I offer the questions and my responses to hopefully inspire your own introspective reflection on your writing life. Share your responses in the comments and let’s share our writing victories and dreams!

2022 ReflectionsSorting Out the Main Projects or Focus Areas from the Last Year PROJECT or FOCUS AREA: Earning my MA

THOUGHTS/FEELINGS/REFLECTIONS: Excited, grateful, guilty, creative, inspired, graduating in January 2023

PROJECT or FOCUS AREA: Lightning Strikes (work-in-progress)
THOUGHTS/FEELINGS/REFLECTIONS: Productive, proud, creative, inspired; goal is to finish first full draft by the end of December
PROJECT or FOCUS AREA: Weekly blog
THOUGHTS/FEELINGS/REFLECTIONS: I know that regularly updating my blog is important for developing my “brand” and possibly gaining new readers
PROJECT or FOCUS AREA: Reading like a writer
THOUGHTS/FEELINGS/REFLECTIONS: Stephen King’s number one rule for writers is that they MUST read and write a lot, and I honestly think I’m doing better with that
PROJECT or FOCUS AREA: Living a literary life
THOUGHTS/FEELINGS/REFLECTIONS: I’ve become more open about my writing in the sense that I’m more willing to talk about it and take myself seriously

What hopes and dreams did you have for your writing life?
Thinking back to the time last year, I dreamed of finishing a first full draft of my manuscript for Lightning Strikes. I worked consistently but was unable to finish the manuscript according to my original timeline.

What lit you up?
Being in Ireland and earning my MA definitely lit me up. I was leading a full literary life, reading and writing every day, and being surrounded by like-minded, talented individuals.

What was draining?
I regret saying “yes” to more work at the high school. Time that should be spent maintaining and enhancing the literary habits I built is now being spent elsewhere. I’m breaking a promise I made to myself.

How did you spend your time?
My writing sessions were consistent when I was in school in Ireland, but now that I’m back in the States, they’re more sporadic, like I’m just taking time wherever I can get it. The pandemic was a non-issue for me.

What worked?
Listening to music and following an outline really worked. I’d skip around on the outline, writing scenes that I really wanted to first, and I’d let them wax or wane as I was writing. That’s remaining my approach.

Favorite creative moments from the past year:
– earning praise from Donal Ryan
– publishing Moody Blue
– continuing Write Club
– writing Lightning Strikes with passion and fluidity

Challenges from the past year:
– not making my writing clean and smooth for my first workshop leaders
– erasing scenes (I should know by now to save EVERYTHING)

How did you support your creativity?
I finished studying for my MA in Ireland and I maintain the writing group I joined there. I get solid feedback and get to read other writing that further shapes my voice (I imitate what I like).

Describe your reading life this year.
I read for comfort, pleasure AND research I didn’t read as much as I hoped as being back at work really slowed and impeded my progress. I want to read whatever I want, and I want to start working through the list I cultivated during the MA. And I want to annotate more with the specific intention of analyzing craft.

What did you gravitate towards?
I want to read more Palahniuk and King. I find a lot of recommendations on Instagram, which has helped me explore more genres (Sort of). I ended up reading more books that inspired movies after having seen the movie.

In a media-driven world, it’s easy to feel behind and start comparing our progress to others.
I know I need to write every single day and make it a top priority. Reading Colleen Hoover helped me in my confidence because I’m definitely just as good as, if not better than, that wildly popular author all over social media. I’ve started following more literary accounts for inspiration.

Looking Ahead: 2023Brainstorming PROJECT or FOCUS AREA: Land an agent
WHY NOW?/INTENTIONS: To get out of the small presses, to be entered in competitions, to have a better budget for marketing, to build credibility
PROJECT or FOCUS AREA: Publish magnetic poetry chapbook
WHY NOW?/INTENTIONS: I can’t let ten years go by before another book comes out. I need to stay relevant and I can publish that on my own
PROJECT or FOCUS AREA: Continue blogging
WHY NOW?/INTENTIONS: To expand my readership and keep me accountable in my writing life
PROJECT or FOCUS AREA: Build social media presence
WHY NOW?/INTENTIONS: Because I need more readers and I’m paying for programs that help with scheduling, so it makes sense for me to improve content
PROJECT or FOCUS AREA: Start new novel
WHY NOW?/INTENTIONS: I’ll just be revising Lightning Strikes and writing makes me happy

List some words to describe how you’d like your writing practice to feel in 2023:
– creative
– inspired
– productive
– effortless
– authentic
– consistent

Is there anything in particular you’d like to learn more about?
I want to read more by Palahniuk, King, and Jenkins-Reid. I want to read more by Sally Rooney. I want to read more books about the craft of writing. I want to watch more films about writers, including documentaries.

What are you craving?
I want to find an agent and I want to truly prioritize my writing life: visit more bookstores, write in cafes, visit literary points of interest, attend festivals/conferences, and plan my own writing retreat.

How can you support yourself to receive it?
– Don’t procrastinate
– Make plans and follow through
– Budget!

Do you use social media?
I do and I have a strategic plan to improve engagement so I can attract more readers but I need to make sure I don’t waste time on it. I can’t keep scrolling mindlessly.

Where are your margins?
– On prep
– Before bed

On December 31, 2023, what do you want your future self to know?
Dear Mandi,
I want you to know I’m proud of you. I know how hard the last two years have been with dealing with Maddie’s accident and living in Ireland, and I know it’s been tough transitioning back to you “old” life. But you’re still showing up and you’re still putting in the time. People have been complimenting you on your new style and your growth, and both of those have come from a serious commitment to your writing life. Don’t be afraid to fully embrace your writing life; go to independent bookstores and fall in love with a favorite; set yourself up in a café to do some writing and observe the people around you for inspiration; read and annotate A LOT, and read like a writer; visit literary places of interest and go to festivals and conferences to find your tribe; start or join a writing group. Be the beautiful bohemian writer you can be. Stick with that passion and talent, and everything will fall into place.

2023 Seasonal Intentions

WINTER
– query agents
– visit bookstores + cafes
– plan content for social media

SPRING
– query agents
– release poetry book
– writing retreat
– attend festivals/conferences

SUMMER
– query agents
– start new novel
– start writing group
– attend festivals/conferences

FALL
– query agents
– visit bookstores + cafes

2023 Monthly Intentions

JANUARY
– query an agent
– bookstores / cafes
– read 2 books

FEBRUARY
– query an agent
– bookstores / cafes
– read 2 books

MARCH
– plan and attend DIY writing retreat
– bookstores / cafes
– read 2 books

APRIL
– release poetry book
– bookstores / cafes
– read 2 books

MAY
– start new project
– read 2 books

JUNE
– writing group?
– social media planning
– read 3 books

JULY
– visit a literary landmark
– conference/festival?
– writing group?
– social media planning
– read 4 books

AUGUST
– conferences/festival?
– writing group?
– social media planning
– read 4 books

SEPTEMBER
– contests
– read 3 books

OCTOBER
– contests
– read 2 books

NOVEMBER
– contests
– NaNoWriMo
– read 2 books

DECEMBER
– reflect
– read 2 books

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Things a Writer Should NEVER Do

The holidays are here, the year is ending, and resolutions are going to be made. Resolutions seem to most often involve pledges to add to or even create routines for a healthier or more desirable lifestyle. For example, my most common resolution is to lose weight and get in better shape, which involves eating better and exercising more. This year, I also want to be more creative, so I want to learn how to draw. I also want to learn how to surf. But there are also some things I never want to do … as a writer.

I love Writer’s Digest (and I really need to renew my subscription). They continuously post helpful and inspiring articles like this one by Zachary Petit. He writes about what writers SHOULD NOT do and the list offers another, more refreshing perspective of the writing life.

“Don’t assume there is any single path or playbook writers need to follow.“

Petit goes on to write, “Listen to the voices in your head, and learn to train and trust them.” That’s one aspect of my writing life I still struggle with, is learning to trust myself and my gut. Just when I think I’m feeling confident and making excellent choices pertaining to structure and voice, I’ll get constructive criticism and suggestions that seem to undermine all that. My good friend California Joe, who also traveled to Ireland for his MA and became one of my best friends in the Emerald Isle, recently told me: “But what I wanted to say is I hope you take out of this whatever is good, and whatever’s maybe not so good, I hope you take it and let it drive you instead of letting it hold you back.” I may be somewhat biased, but I think California Joe echoed Petit’s sentiments with elegance and sophistication. He’s a very, very talented writer in his own right, by the way
“Don’t try to write like your idols.“

To some extent, I don’t think this can always be helped. You are what you read, and I’m pretty sure I’ve written before about how my style mostly emulates from Stephen King. From my sophomore year of high school until I graduated from college, I read King exclusively. The only other additions to my reading catalogue came from class syllabi. I’ve expanded my reading interests since then, but in my most formative years as a writer, I read only King and was heavily and obviously influenced by him. I could have done much worse as far as influences go, and I am forever indebted to him for igniting my love of reading and writing. It’s only been very recently, likely during my time completing the MA course, that I’ve felt like I’ve started to write less like King and more like me, and my writing is better because it’s more mine.
“Don’t get too swept up in debates about outlining/not outlining, whether or not you should write what you know, whether or not you should edit as you go along or at the end.“

Really, the most important thing is that the writing gets done: plain and simple. However, I do want to say one thing about editing: it is so important! I didn’t realize how important it was until the MA. I think, for me personally, the real slog of the writing life is the editing, meaning that it is where I’ll have to do the most work. The ideas and writing come pretty easily, but I have to grind when it comes to cleaning it up and polishing it.
“Don’t put all your eggs in one basket when it comes to pitching something.“

I’m not the kind of writer who can be working on more than one thing at a time, but once I feel like a manuscript is ready, I do move right into the next project.
“Don’t be unnecessarily dishonest, rude, hostile.“

This is more about just being a decent human being than it is about being a writer. It’s always good to be kind, especially when networking, obviously. But this planet could use a lot less dishonesty, hostility, and rude behavior.
“Don’t ever hate someone for the feedback they give you.“

I’m still working on this. I’m going to assume I’ll always be working on this. Writing, like any art, is so subjective. What someone dislikes about my writing could be what someone loves. So unless someone is purposefully hurtful with their comments, I’ve got to let it go if the comments upset or disappoint me.
“Don’t be susceptible to the barbs of online trolls.“

Surprisingly, I’m actually pretty good at this. I can delete a comment and put it out of mind SO FAST. Never read the comments, kids.
“Don’t ever lower your guard when it comes to the basics: Good spelling, healthy mechanics, sound grammar.”

Amen. This was reiterated throughout the MA. A misplaced comma or sloppy mechanics can move your manuscript to the trash in a second. I also try to explain this to my students: that if someone doesn’t take time to really work on their writing, then why should anyone read it?
“ Don’t ever write something in an attempt to satisfy a market trend and make a quick buck.“

F. Scott Fitzgerald intimately understood this. He drank himself to death because he had to write stories for magazines to get out of debt when that genre was not his passion. You should always write what you’re obsessing over. Writing to fulfill a market trend can be as unsuccessful as it is uninspiring.
“Don’t be spiteful about another writer’s success.“

This is also something that I’m working on. This may also be something that I’ll always be working on.
“Don’t ever assume it’s easy.“

That was my biggest misconception about being an author; that it would always be as “easy” as it was when writing my first novel. But I only thought it was easy because I didn’t know anything. When you know better, you have to do better and that’s been the most challenging part of completing the MA–and progressing in my writing life–for me. It’s work. It’s work that I love, but it’s still work nonetheless.
“Don’t forget to get out once in a while.“
Petit explains this best: “Writing is a reflection of real life. It’s all too easy to sit too long at that desk and forget to live it.” This is a tightrope all writers have to walk, I think.
 “Don’t ever discount the sheer teaching power (and therapeutic goodness) of a great read.“
I’m currently stocking my TBR pile with titles recommended through the MA program. King says writers have to read and write A LOT, so author recommendations are also titles I take seriously.
“Don’t be afraid to give up … on a particular piece.“
I start projects, but I don’t always finish them, and that’s okay. But I do save absolutely everything because you never know when different projects can inform each other and finish each other.
“But, don’t ever really give up.“
One of my colleagues and dear friends from work is also a writer and she just received a full manuscript request for a project she’d just about given up on. She was seriously considering throwing it away in a drawer and moving on. And look at her now. If Maddie has taught me anything, it’s this: Don’t you dare quit before your miracle.

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