So today, I'm over at Writer Unboxed, chatting about the endless cycle of the published author. Right now, I'm three and a half months out from the publication of The One That I Want - eeek! - and the nerves, anxiety and existential debate (Do I write for myself? Do I write for my readers? Does it really matter?) has begun all over again. You'd think that after a few times on this ride, I'd be better prepared (psychologically, that is), and in some ways, I am, and in some ways, it's as fresh as the very first time. (Resisting urge to include That's What She Said joke.)

Anyhoo, check it out and if you've ever felt the same way, please weigh in!

I don't know if you guys are anything like me, but if you are, then you count pages in your manuscript the way a hallucinating man in the desert counts the last drops of water in his canteen: namely, when I'm writing, it's at least half of what I'm thinking about. I wish it weren't, but man, I want there to be something to show for my blood, sweat and tears, and omg, how horrible is it to feel like you've written an opus for the day, only to highlight that section and see, like, a pitiful, 692 words? (Please tell me I'm not the only one this happens to!)

SO.

I promised that I'd keep you in the loop on my progress of The Memory of Us, and I'm VERY happy to report that I hit 100 pages a few days ago, polished up the draft, and sent it off to my editor for feedback. Woot to the woot!

A few things: I'm trying something a little different with this manuscript - it's told from the viewpoint of several narrators - so now that I have a solid enough chunk down, I want to ensure that it's working. Even if you don't have an editor - if you have a trusted reader or critique group, I think this is a good time in the writing process to step back and see what's meshing and what's not. For me, as I've said before, the first 150 pages are an uphill battle, and then once the foundation of the plots are in place, the rest of it comes much easier. So, knowing this, I wanted to be sure that indeed this is a rock-solid foundation. I also think this is an excellent time to take a deep breath and reread what's down on the page to remind yourself of all the ingredients you threw into the pot. As a pantser, I honestly don't keep track of every little plot point (I should, I know), and as I reread this past week, I was like, "OMG, I'd totally forgotten about that! Let's reference that in the upcoming chapters." In doing so, I can build and build and build, leading up to the end, rather than writing the whole thing, THEN going back and realizing, "Oh crap, I totally spaced on XYZ, and I need to find a way to work that in now."

Another thing I'm thrilled to report is just how much I'm ENJOYING writing this book. I was thinking about this today, how I remember writing blog posts that have said something to the effect that while I love being a writer, I don't necessarily love writing. But the buck has stopped with this book. I truly LOVE writing it! I was chatting with an agent the other night (not mine), and we were agreeing that writers often have emotional cycles in their careers: the high of the first book, the pressure of the second, maybe more pressure with the third, and then eventually (or sometimes with the third book, though in my case, it's the fourth), that gleeful, screw it! feeling - the I'm-writing-because-this-is-so-damn-fun-and-who-care-about-the-rest feeling. It's joyful, it's a blessing. Not every day is wonderful, of course, but all in all, this book just...it just makes me happy. 

So that's where I am in the process. I hope that your writing is proving equally as fulfilling! Anyone ever gone through this cycle? The I hate-it, then I-love it madness? Think this is just part of being a writer?

Part two of yesterday's question: For first-time novelists, who may have spent years honing their first manuscript, would you offer the same advice on a writing cycle (i.e, start a new ms)? I've spent the best part of 7-8 years honing my magnum opus and now an agent is looking at it (first 50 pages only!), I feel bereft, as though I've got nothing to do. I'm finding it hard to concentrate on work too. 

Yes - ABSOLUTELY. (As a reminder, this is the second part of the yesterday's question of: how many books do you work on at once and do you always have one on the burner.) And my advice for a first-time novelist who has labored for years and years over ONE book is to get cooking on another one. Sooner rather than later.

Why? Because I've often said here that first-time authors deem their first books works of art. And maybe they are, but the odds - the actual real odds, not just metaphorical odds - of this being true are very, very slim. I think it's really important for you or any first-timer to step outside of what you've put on the page and see if and when you revisit the novel, if it's still as strong as you once thought it was. It might be. But you might also learn something in tackling something new, and if you're overly invested in one work, you'll never know or see this.

Look, it takes some writers seven or eight years to complete a book. No doubt. I'm not taking anything away from that, and I admire their determination. FOR SURE. But at the same time, writing is a learning process, so ideally, your next book will take you less time, and for a variety of reasons, might be even better than the first. (It might not be, but it might be.) But the only way to assess this is to dive in and see if I'm proven correct. And besides, since you have all of this nervous energy, not knowing what to do with yourself now, the best way to channel that is into something new.

Anyone out there ever LABOR over a manuscript and then have trouble rebooting when you finally finished it? Any words of advice for our reader?

Question of the day: I am a freelance writer whose byline frequently appears in magazines (SELF, Women’s Health, Fitness, etc). Lately I’ve had friends (writers and even people in other business, like PR, hoping to cross over into journalism) asking for editor’s contacts so they can pitch stories. While contacts are not difficult to come by I feel very protective of them. Have you ever had this issue come up? What do you do? Am I being selfish for not giving them the contacts?

Ooh, juicy question, and I'm sure that every writer has a different answer, but I'll give you mine. Others, please weigh in below! 

I definitely know of what you speak. When I was writing for mags frequently, this happened often, and now that I'm primarily doing fiction, I get asked for my agent's information quite often, and well, sure, it can be tricky. I think if you're being asked by folks who aren't writers, well, then that's doubly-tricky because you have no idea if these people have any clue what they're doing. As I'm sure you know, when someone uses your name, the quality of their work can reflect back on you, so of course you're hesitant to share!

That said, when I was in the thick of magazine work, I pretty readily shared my contact info because this information was so easily available for public consumption. I also always found that when I was generous with my fellow writers, there would eventually be a time when they'd help me out when I needed a favor in return. (Not that this is why I'd share, but you know, karma and all of that.) That said, again, these weren't hard-won contacts...they were google-able, and yeah, people should google first before asking because really, aren't freelance writers researchers at heart?...and if you can't even attempt to unearth the most basic of information, I'm not quite sure that you're adept at your job...but...sometimes it's easier to send a friend an email instead of plugging something into google.

HOWEVER. IF I weren't familiar with a person's track record OR if I didn't have a close relationship with the editor such that he/she might get annoyed that I'm sharing contact info, I'd actually say something like, "Here is the info but I'd rather you didn't use my name." This isn't a slight at all on the writer: in fact, I'd say that when and if YOU/I offer someone the ability to use YOUR/MY name, well, THAT'S going above and beyond. THAT is the favor, and that's more than enough, more than you owe someone. The fact that you're taking the first step is still generous. (In fact, there is nothing more disrespectful than dropping someone's name without their permission: it's is a big NO NO in our industry - so remember that just because someone was generous enough to pass you an email does not give you the right to say that she referred you. Ugh. This will INFURIATE the person should she ever find out - I've seen countless rants on writers' boards about this, FYI.)

However you choose to deal with this, I think it's fair game. Again, my instinct was to pass on a name/contact if I respected the writer's work because, well, I've long believed that there's enough work to go around, and if this writer had a great idea, well, I DIDN'T have that idea, so why shouldn't she be able to sell it? It wasn't really infringing on my ability to drum up other work. I also believe, as I noted above, that sometimes it's nice to have collaborators and know that there's someone you can turn to when it's your turn to ask for a favor. But if this doesn't work for you, I understand. I'm much more guarded with referrals to my agent because I'm not going to waste her time, and I'm not going to ask her to go out on a limb for me when I have no idea if the work will speak for itself. Again, this isn't an issue of whether or not I like or respect the writer - I have countless writer friends/contacts, but I can't refer all of them to her...I just...can't. It's not fair to anyone involved. 

So I say do what feels right for you in that specific situation. You already know that who and what you refer reflects back on you, so be judicious while also remembering that someone might cop you a much-needed favor someday too.

But I'd love to hear what others have to say. Will you weigh in below?