By Steven Pressfield
Published: September 28, 2016
If you’re a writer struggling to get published (or published again) or wrestling with the utility or non-utility of self-publishing, you may log onto this blog and think, Oh, Pressfield’s got it made; he’s had real-world success; he’s a brand.
Trust me, it ain’t necessarily so.
I don’t expect to be reviewed by the New York Times. Ever. The last time was 1998 for Gates of Fire. That’s eighteen years ago. The War of Art was never reviewed, The Lion’s Gate never. My other seven novels? Never.
I’ve got a new one, The Knowledge, coming in a month or two. It will be reviewed, I’m certain, by no one.
If I want to retain my sanity, I have to banish such expectations from my thinking. I cannot permit my professional or artistic self-conception to be dependent on external validation, at least not of the “mainstream recognition” variety. It’s not gonna happen. I’m never gonna get it.
If you’re not reviewed by the New York Times (or seen on Oprah) your book is gonna have tough, tough sledding to gain awareness in the marketplace. No book I publish under Black Irish is going to achieve wide awareness. BI’s reach is too tiny. Our penetration of the market is too miniscule. And even being published by one of the Big Five, as The Lion’s Gate was by Penguin in 2014, is only marginally more effective.
There are maybe a hundred writers of fiction whose new books will be reviewed with any broad reach in the mainstream press. Jonathan Franzen, Stephen King, J.K. Rowling, etc. I’m not on that list. My stuff will never receive that kind of attention.
Does that bother me? I’d be a liar if I said I didn’t want to be recognized or at least have my existence and my work acknowledged.
But reality is reality. As Garth on Wayne’s World once said of his own butt, “Accept it before it destroys you.”
On the other hand, it’s curiously empowering to grasp this and to accept it.
It forces you to ask, Why am I writing?
What is important to me?
What am I in this for?
Here is novelist Neal Stephenson from his short essay, Why I Am a Bad Correspondent:
Another factor in this choice [to focus entirely on writing to the exclusion of other “opportunities” and distractions] is that writing fiction every day seems to be an essential component in my sustaining good mental health. If I get blocked from writing fiction, I rapidly become depressed, and extremely unpleasant to be around. As long as I keep writing it, though, I am fit to be around other people. So all of the incentives point in the direction of devoting all available hours to fiction writing.
I asked hypothetically in last week’s post, What if a writer worked her entire life, produced a worthy and original body of work, yet had never been published by a mainstream press and had never achieved conventional recognition? Would her literary efforts have been in vain? Would she be considered a “failure?”
Part of my own answer arises from Neal Stephenson’s observation above.
I wrote for twenty-eight years before I got a novel published. I can’t tell you how many times friends and family members, lovers, spouses implored me for my own sake to wake up and face reality.
Because my reality was not the New York Times or the bestseller list or even simply getting an agent and having a meeting with somebody. My reality was, If I stop writing I will have to kill myself.
I have no choice.
I don’t know why I was born like this, I don’t know what it means; I can’t tell you if it’s crazy or deluded or even evil.
I have to keep trying.
That pile of unpublished manuscripts in my closet may seem to you (and to me too) to be a monument to folly and self-delusion. But I’m gonna keep adding to it, whether HarperCollins gives a shit, or The New Yorker, or even my cat who’s perched beside me right now on my desktop.
I am a writer.
I was born to do this.
I have no choice.
Posted in Writing Wednesdays
ADDITIONAL READING » ON WRITING
by Mamet, David
Technically this isn’t a book about writing. It’s about Tinseltown and David Mamet’s love-hate relationship with it. But, along with Mamet’s witty and cantankerous evisceration of show biz, Bambi vs. Godzilla delivers masterly and extremely useful insights on getting movies made, surviving criticism, paying the rent and in general surviving Hollywood while retaining some scrap of sanity and integrity. Mamet is not just any writer. When he takes on a subject, you get it in context succeeding context—commercial, aesthetic, moral, ethical, legal, Talmudic, Tantric and Vedic. It’s like reading Thucydides if he’d loaded his stuff into a ’65 Mustang and split for the Coast.
by Phillips, Larry W.
Papa never actually sat down and wrote a book about writing. Rather, editor Larry Phillips has compiled 140 pages of hard-core Hemingwayisms from the author’s books, stories, and letters. Great material, particularly the fragments of correspondence to Scott Fitzgerald.
by Lukeman, Noah
As an agent and editor, Noah Lukeman read thousands of manuscripts from aspiring writers. He got to where he could tell in the first five pages if a submission was worth his time. In this gem of a book, he tells you the most common mistakes writers make—and how to eradicate them from your manuscript.
by Williams, Nick
A no-nonsense how-to manual and psych-yourself-up kit, for those of us who sometimes need a swift kick in the butt to get us going.
by Steinbeck, John
When he was writing East of Eden, Steinbeck kept a journal—just a few pages each morning, which he’d scribble as a kind of warm-up before turning to the actual manuscript. Fascinating insights into the writer’s life, inside and outside the covers of a book.
by McKee, Robert
I always say that McKee is not only the best teacher of writing I’ve ever seen, but the best teacher of anything. I’ve taken this three-day intensive course twice—and I’ll take it again. Yes, McKee has been spoofed (in the movie Adaptation) and lionized (in a New Yorker profile.) But that’s because he’s the best. Full disclosure: McKee and I are friends. McKee wrote the foreword for The War of Art. McKee teaches this class in cities all over the U.S. and Europe, even as far away as Israel and Singapore.
by McKee, Robert
This is the book that goes with Robert McKee’s Story Seminar. Terrific for writers in all media, but take the “live” McKee first. You’ll get more out of the book if you’ve heard the man deliver his stuff in-person.