Established writers have support teams: coaches, agents, editors, and later accountants and lawyers; all those people who get mentioned on the acknowledgement page of a book. Beginning writers, besides doing the creative work, also have to handle the practical side of the business. Yet
it's in the early struggle of becoming established that we could use some help. It just doesn't seem fair.
I sit in front of my computer trying to write as my eyes linger on a storage container of floppy disks. My writing life is in this box: dozens of unfinished articles, first drafts of short stories, poems, outlines for books, the beginning of a novel, essays, as well as just everyday journal entries and never sent query letters to editors. The floppies represent years of writing effort, hours spent at my desk
either elated with a new idea, typing madly trying to keep up with the flow, or finger tapping the desk instead of the keyboard, frustrated at something that just "won't go".
I should do something with them: edit the short story, finish the article, find a market for the essay. Send them away, out into the world, like grown children who need to be pushed out of the nest.
A writer, like any artist, creates using the right side of the brain. For many of us it is difficult to switch sides and become the editor, the agent and the business manager all in one, which is necessary if the creative work is to see the light of day. I literally get ill just thinking about it. At best, I procrastinate, postponing for weeks, months, even years what needs to be done, with the result I see in front of me right now.
If only I could hire a support team like the established writers. I could then focus on what I do best and what I love to do, run with it until I exhaust myself and then, when I lose the fire, pass the work I dread to someone who doesn't think of it as work, because they're left brained and to them it's an exciting challenge. And then an idea pops into my head. Why not hire a beginning agent who is
willing to work with a beginning writer? It doesn't have to be expensive if I pay them a commission on what they sell for me. This will benefit both of us. She will get the practice, since established writers won't hire her without experience and I will get some of the dreary work out of my hair. My
brain reels with the possibilities.
And then th . e doubting Thomas barges into my head: What a laugh, who would want to put in that much work for a commission that might never come? They would have to be crazy!
I argue back: Unless of course, they really believed that my writing was good enough and worth the time invested.
That's the search then. To find someone who believes in me and my work; who thinks I am so good that the time invested will certainly pay off in the long run.
I quickly type up an ad:
"WANTED: A coach, editor, agent and manager all in one for a beginning writer.
Someone who believes in me.
Someone who values my work.
Someone who thinks I'm talented.
Someone who will work on commission.
Telephone: 555-5555."
And so while I wait for this fabulous person to call, I open and label four folders on the computer.
1.coach
2.editor
3.agent
4.manager
I will write down all the problems I have with writing in the folder for the coach. I will then expect him or her to write down solutions for me. The editor will get all my first and second drafts to check and improve on so they're ready for sending away. The agent will prepare the cover letters and
do the marketing of the finished manuscripts. And the manager will keep track of my calendar and the finances.
Then, on a lark I make paper hats for each: a visor for the editor of course. I put the visor on and look in the mirror. Not bad. And well, why not hire myself until my staff arrives? I walk over to the desk, slide a disk in the slot and open the first file.
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