My biggest fear about writing has been not being able to complete a story because of writer's block.  Over the years, whether in casual conversation or in a workshop or seminar, I've heard countless experiences of authors going crazy over not being able to write the next thought, scene, or chapter. I've heard of writers losing their muse for days, weeks, and even months on end. And since most writers say that they have experienced this a time or two in their years of writing, I dreaded the day that it would happen to me.

And that time has come…well, sort of.  After completing my second novel in 2006, I confess, that two years later, I have not completed my third novel. Yes, I started it in 2006, but still have yet to finish it.  Writer's block?  Yeah, I had a block all right. But not the block from lack of thought. I think my block was worse.  I had writer's time block. With going through years of beginning and ending engineering contract assignments, uncontrolled hours and working as much as 70 hours a week, constantly updating resumes, going on interviews, then, finally–the big one–relocation (that package includes 2.5 months of hotel living, searching out new area, looking for a place to live, flying home to have your things packed and moved to storage, arranging to have your things moved from storage and moving into your new home, finding doctors, a dentist, an optomotrist, a hair stylist, a killer eyebrow archer and the likes), over the past two years, my quality writing time has been shot to pieces. Yes, I still wrote, but it was very little and to me, quite choppy and very disjointed.

I think every once in a while, every individual's life gets so congested that they cannot get done all of the things they want and need to do. Then we hear about prioritizing and how if it's important to you, you will find a way. That we have to make sacrifices for the things that are necessary. True. But every once in a while, there's that stormy period when what you must put first are the basic needs of food, clothes, and shelter, and that doing that takes up most of your waking time unless you want to sacrifice sleep and good health.  You can force yourself to write, as I did, but it may not be as good as your writing when you're relaxed and in the zone.

And even worse than what I think writer's block will be like, is having "brilliant" thought after thought buzzing in your head at the most inopportune time where all you can do it jot it down, but never have the time to work it in your story.  The killer is thinking of what you believe to be the best scene ever, but not having the time to sit down and develop it on the computer screen. That's got to be worse than any writer's block.  That's like straight torture.

So what does a writer do when their world is caught up in a whirlwind? When the waves of life are 20 feet high or the storms of life are raging and …well, you get the pic.  But the answer is to simply Keep In Touch. Yes, just like our novels, sometimes life itself can have so many twists and turns that we don't know whether we're coming or going. But the best thing to do in those situations is to not panic or stress it, but to make it a point to keep your literary feet wet. Keep your big french tipped toe in the water. How?  A writer with a hectic life can keep in touch by taking five minute to jot down those random thoughts precise enough so that it will be clear when order is restored. Keeping in touch can also be done by slipping in a little reading here and there at the doctor's office, while waiting for car service, etc. Whether it's a page of something a day or listening to audio to and from work in the car. Maybe go over a few points in your Elements of Style handbook or reading a Writer's Digest article at lunch.  Or even using 15 minutes of the lunch hour to write a paragraph or a page. Do carefree blogging early in the morning or late at night. Anything to keep those fingers periodically dancing on a keyboard and the mind tossing around words so they won't develop literary arthiritis.

Keeping in touch feeds that writing fire and gives you the drive to look for that window of opportunity to get your writing done.  Ever been thrown off a workout plan and find that after two or 3 weeks of non-activity, it's hard to get back to the routine?  And the longer you stay away from the gym, the harder it is to go back (you keep saying you'll start NEXT Monday)?  So it can be with writing.  The longer you remove your mind from the literary world, the harder it can be to get back into the flow of a writing routine even once you have the available time again.

It was hectic, but I did just that.  I blogged whenever I could, I read articles and pages from books on dialogue, wrote a few articles for Urbanburnout.com and The Black Biker Magazine, the two magazines I freelance for. And I wrote tid bits on my novel here and there when I had my bearings.  And kept in the know of the material for my book.  It all kept my mind active and now that things are back to normal, I rolled right into a consistent writing schedule to finally finish number three (and already got my sights on number four).  I can honestly say that even though it's taking a while, I feel like I've gained during my downtime and that I'm producing a better story than what I would have had if I finished it in 2006 or last year.

So the next time you're caught up in the tornado of life, or the volcano of lfe erupts, or the dust storm of life….ok, ok….just realize that that too, will pass. So don't beat yourself up about not meeting your daily writing goal.  But always strive to DO SOMETHING regularly to K.I.T. with your writing.

As a writer, it seems that wherever you go, when others discover that you are a writer, they tell you that they want to be a writer also. Some get caught up in the awe of accomplishment in coalescing 75,000 to 100,000 words together in flawless harmony to make up a compelling story and want to do the same. Others look at McMillan, Dickey, Roby and the likes and see fame and fortune and desire to follow in their same, exact footsteps. Still others' deep admiration of the poetic and masterful words Angelou, Morrison, Ellison, Baldwin and the likes set them on a path to conjure up that same type of admiration for themselves. And these reasons can cause many potential authors and gifted writers to fail in being a successful writer at best, or even an author at all at worst.

I believe that we all have stories within us. We all have stories to tell. And there might be a greater number of us with the ability to be great storytellers and great writers, if we would stop and listen. If only we could stop trying to duplicate someone else's success. If only we could share with the world our own individual stories told in our own unique way. If only we would take the time to find out what that is. And we could, if only we would stop and listen.

Writers and aspiring writers are flooded daily with what's hot and what's not. We have best sellers lists from The NY Times, Essence, individual newspapers, bookstores, and more. Not to mention prizes like the Nobel, Pulitzer, and others. Writers are bombarded with which genres are alive a poppin' and which ones are deader than Elvis. Bookstores shelves are filled with hot topic books and their top sellers, both which differ from chain to chain and independent to independent.

BACK AWAY FROM THE BOOKSTORES! Back away from the lists! Back away from all the stuff and all the people and all the external reasons for wanting to be a writer. But rather, focus inward. Focus inside your own mind and within your own source to determine what your story is and how you should tell it.

One of the things I do daily to ensure that I am living my purpose in all aspects, is meditate. This does wonders for me. It helps me to discover the stories that I have within me. To me, when you meditate, you quiet your mind, shut down your thoughts and move to a space of pure silence. Amongst other things, you push out driving thoughts of doing what it takes others to make it to the top of the charts and to win literary awards and prizes. And when those voices have been hushed, and all is quiet, if you listen, you can hear a certain sound. The sound of your own individual voice. You can hear the voice of the story or stories inside you, along with the characters who are dying to come out in a style that's all your own.

When you shut out all the outer stimuli and only concentrate on your own words and your own voice, only then you can bring about a unique and compelling story that readers will not only read, but will also pass on to others.

So, we have been blessed with a God-given talent. It comes totally natural and there's no need to study, right? I don't know. But I believe that no matter how gifted we are, we all can benefit from studying the craft of writing. Artists take art classes, musicians take music lessons, and writers can learn an additional technique or two from studying the art of writing. Even if you receive rave reviews, you may stand to benefit from learning how to pace a story, use motifs and symbols, plot a good mystery, reveal tension through dialogue, avoid common writer mistakes, best use of narrative, and so much more. Honing your craft is all about equipping yourself with writer tools to utilize at any moment you deem necessary. It's about learning different techniques to tell the same story, but make it seem brand new or to draw in the reader moreso than when they read the same story the first time from a different author.

When we think of studying writing, one of our first options are classes. Writing classes give you the opportunity to learn and practice different techniques with immediate feedback from an instructor and/or classmates. Check to see if the university near you has a writing program or writing classes that you can take. If your schedule is tight, many schools (or writing workshops) offer online writing classes that may be more convenient (for example, UCLA Writers Program or Writer's Digest Online Workshops. You can receive writing assignments and submit by web and any time of the day. The key for these options is to make sure the writer has the credentials to teach you what you need to know or has something to offer you. Determine your criteria and do your research to see if they have a degree in writing, teach writing, is a prize winning author, etc. If you're going to investing in your writing, you want to make sure that you're investing wisely. Just because an author has a published book doesn't mean they are automatically qualified to teach you how to write.

But writing classes and workshops can be costly. There are other ways to improve your writing skills. One option is to use the text or reference books that are used in writing classes. Most online classes list the references that are used for that class. If funds or time hinder you at the moment, purchase and use the writing guide that is used for a particular writing class. You can also research good writing books and study those as well. Query other authors about writing books they have read and recommend. As in looking at the credentials of a writing instructor, also look at the credentials of the author of any writing book.

And as always, another way of studying different techniques in writing is to just read. Read both inside and outside of your genre. While you're reading for enjoyment, take note of what grabs you, what draws you in, the different strategies used to reveal facts and truths, different uses of dialogue, etc.

No matter how blessed we are as writers, we can always benefit from studying and taking our God-given talent to a higher level.

As authors, we all want the same thing. We want readers that care. We want readers that care enough to look at our book covers, then care enough to flip it over and read the synopsis on the back. Then we hope they care enough to read the first chapter, to get invested in it, and to read to the very end.

But caring goes both ways. Actually, it goes an infinite numbers of ways. Caring goes in as many ways as you have characters in your book. If you want readers to care about your story, you have to give them something to care about characters. Characters who care about something. Characters who are real and have a purpose. Characters who have something to live and die for.

Protagonist or antagonist, when your characters care about something, it can lend flex to questionable decisions and even make undesirable actions more palatable. What would seem like a stupid decision on any given day, a reader may be willing to let fly if a character is driven to it from their core. We can empathize with choices made because we (or our children) are starving, freezing to death, are at the brink of death or have a loved one who is. We can understand risk decisions when chasing a once in a lifetime dream. We may not agree with it, but we might tolerate someone numbing themselves with drugs to ease the pain of cancer so loved ones will feel comfortable in their presence.

So how do you find out what each of your characters care about? As I've written before, I write a character sketch for each character, and I find that this is the best way for me to track their desires and motivations. With a character sketch, you can ask (and find out) what they want most? What's the most important thing to them? What are their motivations for these things? What's driving them? What would happen if they didn't get what they wanted, or didn't have was most important to them? If the answer is that they would just set their sights on another goal, another man/woman, another job, or just forget it altogether, then you're at a loss. If the character doesn't care, why should the reader? Now if the answer is something devastating or drastic like they would be drawn into depression, would lose (or take) their life, their life would be forever changed for the worse, etc., etc., then, as drastic as it sounds, you may have a winner. Your characters' ability to care makes them more human. It makes them jump off the page and it can make your readers empathize with them.

Wouldn't it be great if we could pick up a book, take a class, or talk to someone who could show us that one true and guaranteed path to successful writing and publising? Awesome! After all, so many writers have already traveled that road before us. Successful self-publishing, successful traditional publishing, bestsellers lists, plays, movies, and… Surely by now, someone somewhere can lay out a clear, straightforward path to successful writing and publising. Well, unfortunately, no. Writing is one art to which there is no clear cut path or step-by-step direction to guaranteed success.

To find success in today's publishing industry, a writer has to have a good story and the ability to tell it well. And that's the easy part. The challenges are in learning the industry, finding your audience and getting your great book in their hot little hands. Marketing and promoting. And balancing. Balancing your pocketbook with the birth of your book, your print run and your promotional opportunities. And these things may be different for each author, even within the same genre. A lot will depend on your story, your funds, your location, your family and personal commitments and obligations, your drive, your motivations and goals and so much more. Sure, you can pick up a book to learn the constants of writing, publishing, marketing, and promoting. You can talk to other authors for advice. But today's writers have to take the basic information, analyze it and apply to their own situation, and then be creative enough to add to it. Think outside of the book to sell it. You have to carve out your own individual little yellow brick road.

And believe it or not, today's writers have it easier. The writer's of the nineties didn't have the vast tool of the internet right at their fingertips for information and promotion. They didn't have as many book clubs to cater to and bookstores didn't consider them "real" writers. It's easier than yesterday, but still hard as heck. No way around it, you'll have to roll up your sleeves and get dirty!

The art of networking can be a key to success in the corporate world as well as the world of entrepreneurship. And so it can be in the literary world, if one takes the time to contemplate and learn the art. If executed properly, networking can put an aspiring author on a faster track to understanding and learning the craft of writing and to publishing.

In the business world, networking involves forming relationships and exchanging information in such a way that it is beneficial to all parties involved. It's "I can do this for you and you can do this for me," and "if you can provide me with this, I would love to do this for you," type of transactions. Networking may involve linking up with someone else with the expertise or resources you desire and providing needed expertise of something else in return. Perhaps a service, business, free promotion, new clients, knowledge in a different area, etc. Borrowing this practice, an aspiring writer can form more worthwhile literary relationships.

As in the business world, it might be beneficial for aspiring writers to seek out and evaluate potential literary relationships, from fellow aspiring writers, teachers, agents, authors, and the like. And, instead of only considering what they can get from that person, it may be better to consider how meeting someone and forging relationships can be mutually beneficial. Instead of attending an author's book signing to spend 20 minutes of their promotional time to ask questions about publishing, consider purchasing a book as appreciation of the information they have provided and/or their time. The same can be said for emailing an author for writing or publishing advice that they willing give. More than likely, authors are approached by many who are seeking literary information and advice. Oftentimes, more than they are able to respond to.

So is purchasing a book from an author the only way to network? Certainly not. Other ways of networking may be to promote the author's works to family, friends, and co-workers, bring a reader to the book signing, etc. Is offering something to the author required? Of course not. As a matter of fact, many authors that offer advice freely do not REQUIRE such actions in return, but they very well would appreciate it. And being a supporter and giver, instead of one who just constantly and only receives, may earn you an open door of assistance, mentorship, and maybe even a valuable, long-term literary friend. And that will be all the more important to you when it's your turn and you're the one on the other side of the table signing books!

Bottom line, find your own way to make the relationship mutually beneficial. That's the key to successful networking in any industry.

IN THE BEGINNING

I think it's safe to say that all published writers have, at one time or another, had the question posed by an aspiring writer, "How do I get started?" They want to write a book. They have tons of ideas. They know the entire story. They know it all, except, how to start it. I've heard it discussed and read about it before, that every author is different or it depends on you, and I agree. Either you go with a blank screen or paper and just let your imagination have at it. Or, like me, you may outline or take some methodological approach.

For me, the way I get started in writing anything is pretty much my approach to many tasks in life. I look at the big picture, then break it down and take a piece at a time. For a new story, I will start off by writing a paragraph of a general synopsis. Next, I might look at what my major plot turners could be. (I say might because even though I'm outlining, I still never have the exact same approach. It just depends on the story and what I'm feeling.) I consider themes, morals, conflicts, controlling ideas, etc. Then a chapter by chapter outline of the major plot points and some subplots. Next, I make a detailed character sketch of my major characters, and a less detailed sketch of my minor characters. Throughout the whole process, my breaks are comprised of research. Either settings, people, ideas, topics, etc. I go a-Googling this and that, creating files for reference, going out and about, taking pictures, trying and doing things that the characters are going to do and getting a taste of whatever they will be involved in. And I'm also refreshing and reading books on different aspects of writing (plot, dialogue, creating characters, structure, etc) and checking out articles in Writer's Digest and other writing magazines. And after this, I'm at the beginning of my story and ready to start.

I noticed when I described my particular process to some, to them it seems detailed or complicated, or much like work. They just want to dive in and write. Again, to each his/her own and you have to find the method that works for you to get started. This process is easy and flows for me and doesn't feel like work at all. As a matter of fact, I feel like I can't get along without it. This "pre-writing" allows me to transform myself to the fictional world being created. The research and character sketches allows me to learn about the characters and their world and become them, so that they are writing the story and not me. I'm a morning writer, so I get up, meditate and have coffee and breakfast with them and many times, lunch. By the time I finish my "pre-writing" I can easily move from scene to scene and character to character, because I'm familiar and comfortable with it all.

Some may be concerned with being boxed in, but even with all the "pre-writing" the story never exactly follows the plot that I have outlined. It's a general direction, much like directions to go north, south, east, or west. The characters have a way of going places or doing things that you didn't intend and you have to let them, rather than be a tyrant and force them to do something outside of their nature. So, for me, an outline doesn't put me into a box. And it's always fun to see what I started out with and what I ended up with. Even with an outline, it's always different.

So, if you got a story in your head and you're twiddling your thumbs because you don't know how to get started, try both approaches and see what's best for you. Do what come natural to you and whatever it is that makes writiing fun for you and not seem like a job. Whatever you do, just write.

HOW EARLY IS TOO EARLY TO MARKET?

So the one thing that I can fully think about now, now that I have time to think, is another bike. Okay, so I'm having a bit of trouble making a bike committment. I'm anxious to get back to riding, but my height has been presenting a problem.  After all the lowering drama and height issues with my first bike, a 2004 Kawasaki ZX6E, I'm trying to be 100% sure that I can lower and ride the next one and be able to put my feet on the ground with minimal high heel dependency. My worst nightmare is spending $3,000-$6000 on another used bike (my preference until I get more seat time in), having lowering links put on, shaving a couple of inches out of the seat, and STILL have my feet dangling when I sit on it.  Thereby presenting me with the same choice of riding unsafely in stacks or going through the hassle of selling yet another bike to search for something that fits me better.

So what would be my dream bike?  A 600cc sportsbike to fit a 25"-26" inseam.  So I've done a little bit of research on bikes with low seat heights. This is only a starting point because even with a low seat height, touching the ground can also depend on the width of the bike as well.  If it's low, but wide, well, I still may not be able to reach earth.  That's where sitting on the bike becomes extremely important to me.  But in the meantime, here's my list of possibles:

1.  Suzuki 600

This is what I want. But can I get it to fit me?  I don't know. With a seat height of 32.7", it sits higher than the KawZX6E that I sold for height issues, which sat at 30.7".  However, the Kaw didn't have lowering links and only the spring was adjusted down 2" and the seat cushion was shaved and I had to wear 5.5" boots to ride.  Unsafe.  I sat on a Zuk600 on the showroom floor and, of course, my feet are suspended in mid air.  Can I make it work?  Seems the only way to know for sure is to buy, shave seat, lower, then sit on it and hope for the best.  That can be an expensive roll of the dice.

2. Ducati 696

This bike looks hot to me!  And it sits at 30.3" seat height right off the bat! The 696 is new for 2008-2009, therefore, expensive for a starter bike.  Also, in asking around, I'm hearing that maintenance can be even more costly and take more time. Something that is not desire, especially in riding season.  The time factor is a concern, since I don't have a Ducati dealership in my area and would have to take it an hour up the road to Atlanta.  Also, I've heard from former Ducati owners that it's not as fun to ride as the big 4.  Okay, may be true, but my 1 concern at this point is for my feet to reach the ground when I come to a stop. So, hmmm.  I need to go sit on this one.

3. Buell Lightning XB12scg

This bike has a 28.6" seat height.  A shorty's dream! I haven't sat on this one yet.  But at 1200cc, I'm wondering if this is too much bike for me? Used ones don't seem to be that easy to come across and new is pricey for a new rider. Especially with having height issues.  If I get it and drop it from stopping as much as I did with the Kaw600, Shawty will be pissed!

4. Ninja 500

Seat height = 30.5".  Ideal. But dang, will I have to drop in power just to put my feet on the ground?  With riders already suggesting that I might want to look at a Zuk750 because I'll quickly outgrow a Zuk600, it seems like I would definitely be unhappy with a 500cc bike. What to do, what to do?

5. Buell Blast

This 500cc bike has the same concerns as the Ninja500, although it sits at a seat height of 27.5". The lowest of the sportsbikes.  I might be able to buy a ride with no lowering.  However, does it comes with pedals? I still want a bike with pick up and go. *Sigh*

6. Harley Davidson Sportster 1200 Low

A cruiser. Not a sportsbike.  But I definitely want this one, sooner or later. Question is, do I just nix the sportsbikes and go with the Sportster?  A bike with a 25"-26" seat height that I wouldn't have to lower at all?  Looks hot! Fits me. I sat on it on the showroom floor and fell in love!!!!

What's a shawty to do????

July 18th entry of my blog:

I just realized something. I'm an addict. A political addict. A political junkie. I recently posted to a fellow author's blog about dating at work and her writing referenced Rocsi and Terrance at BET and the drama behind her not being on the show anymore. Another author posted about a newly married "Hollywood" couple. I knew who the bride was, but not the groom. Still wondering if he's supposed to be famous or a behind the scenes type of person. Well, I was out of the loop. That's where I find myself quite often when reading blogs about entertainment people and industry.

And I had to sit back and think about it. The reason that I'm out of the loop is because when I get home, I immediately turn the TV on to MSNBC to watch all the political shows. I have to have the TV on while I sleep, and I leave it on MSNBC. If you're a fan of MSNBC, you know that overnight and through the wee hours of the morning, they just repeat the shows. Well...I watch/listen to the repeats. I mean, as if I'm seeing them for the first time. Now, from time to time, I feel that the repeats are too much, so I WILL change the channel...to CNN. Or even Headline News when CNN is running a non-political story.

And I thought about it. This is not new to me, at least in this election season. I did the same thing during the Bush-Gore election season. I watched all the political shows on them day and night. I can actually remember being up in my bedroom with Tom Brokaw, watching the all night count of the popular votes, the Florida votes, to determine the election of the next President. And that election extended my addiction for a few additional months, due to coverage of the Florida vote. But after this election is over, no matter who wins, I know to be prepared for withdrawals, like right after the Bush-Gore coverage was over. I just didn't know what to do with myself. There was a certain emptiness that existed. A void that watching just regular local or national news couldn't fill. So, I got to prepare myself for the big let down come February 2009, after the presidential inauguration.

What's most baffling is the reason for my addiction. Because you're usually addicted to things that make you feel good. But often times, while watching these political shows, I'm either angered or disgusted. Yes, more informed and more aware, but more irritated as well. I get irritated when either side blows up a blunder of the other side. Especially blunders in words. I get angered by mischaracterizations and harping on them. I get angered by the constant talk of issues that are not the top issues of most Americans. I get angered by catch phrases and labels that are developed, repeated constantly by the media, and weaved into the minds of average Americans.

It's funny to me when regular people are interviewed, asked a question about a candidate, and they can basically only regurgitate what they heard about them on TV. In the rare instance that the reporter and show is unbiased and ask the individual for examples of what they speak of, they rarely can provide one, unless an example has been reported over and over by the media. I listen to it all and like to think that I'm not falling for the ridiculous. I like to think that I recognize when things are blown out of proportion, when points are exaggerated, when I'm being bullshitted and being sold a dream just to get elected, and when there's an attempt to brainwash me. It baffles me how some of the other intelligent people who are interviewed on TV don't seem to see this.

I'm a nutcase. LOL