Finding Treasure in Writer’s Block by Fred Waitzkin

 

 

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Finding Treasure in Writer’s Block

By Fred Waitzkin

 

Young writers often ask if I am sometimes afflicted by writer’s block and if I’ve discovered a cure. Most writers wrestle with this malady from time to time.  Over the years my relationship to the illness has evolved, and as an older writer I see it as a frustrating companion who at times can offer profound advice.

All authors relish days feeling on fire with a story when sentences pour out, almost without effort or thought. They spill into paragraphs and pages. It feels like riding a magic carpet that will soar on forever. I call such periods, writing within the bubble. But then after days or weeks, inevitably, life gets in the way.

Consider this scenario:  I’m just home from a ten-day fishing trip, determined to get back to my manuscript when my grandson Jack begs me to take him to tomorrow’s Mets game. Instead of going to my office I take Jack to the game. We’re both excited as hell about our trip on the subway…. It’s okay. I’d been on a roll with my story. Another day won’t matter at all. As we rumble toward Mets stadium, I pleasantly recall the feeling of riding the carpet, the story pouring out of me…. I’ll be back there tomorrow.

The Mets lose. Jack cries, inconsolable in his new Mets cap as we’re leaving the stadium. “Why do the Mets always lose, Baba?”

I’m thinking about Jack’s sorrow and the Mets string of losing seasons. I’m disgusted with the Mets, a thickening edifice forming between me and my story.

Next morning I’m finally back in front of my computer after an eleven-day break. I take a look at my last chapter…. Pretty good. I sit at the computer waiting for the words to flow…. Nothing. I wait. Nothing. Four more days pass of nothing. I’m pulling what’s left of my hair. Now I’m living outside the bubble.

Okay, seven days of writer’s block. I’m back in my office at 9:30. I make a cup of tea. I pace around a little. I have a lunch date at 12:30. I’m looking forward to that. I stare at my Mac like it’s the enemy. I begin to pace around. I sip tea. I look at my computer. No way I’m sitting there to suffer any more. I snap on my old radio and listen to sports talk radio, a discussion about the Mets falling apart after a promising start to the season. Every year they do it. They cannot hit…. It’s now 11. I look at the computer, shake my head, no way. I pace in the hall. I come back into the office and read the paper. Now it’s 11:50. Almost time to leave for lunch. Not yet, Waitzkin, not yet. I stall another five minutes, pressure building. It’s twelve. Suddenly I throw myself into my chair in front of the keys. I need to leave my office for lunch in 18 minutes. It’s now or never…, and if I’m lucky, the dam breaks. Words pour out. I’m feverishly typing words that wouldn’t come for days. They are gushing out now when I hardly have time to write them, trying to catch them in the air like butterflies, get them into the machine… I’ve written some of my best paragraph this way, when it was do or die.

Another trick for writer’s block: I always carry around a tiny notebook in my shirt pocket. When I’m riding my bike home along the river, thinking about the Mets losing streak, an idea pops into my head. I stop the bike and jot it into the book. I’m talking to my wife Bonnie and an idea suddenly appears. I’m talking to my son. He shakes his head, annoyed, while I scrawl treasure into my notebook. “Dad never listens to me.”

Two days ago, I was stumped how to end an essay about my artist mother. I woke up after a two-hour nap and suddenly I could see the words hanging in the air in front of me. I wrote them in the notebook before they disappeared…. Carry a notebook. Just having it with you elicits ideas.

I wrote my new novel, Deep Water Blues, without once having writer’s block. It was pure bliss, beginning to end. I’d decided I was going to write a short book, 150 pages or less, something I could hold in my head without having to turn back to see what I’d written two or three years earlier. I was determined to write this one fast. And also, I’d gone into it after having written a screenplay, my first. I wanted this new book to move like a movie.

Deep Water Blues describes a gruesome disaster that takes place to a little island civilization—an island once gorgeous, and peaceful, almost Eden like, and in the aftermath, the island becomes decimated by greed, out-of-control ambition, violence and murder. At the heart of it, Deep Water Blues, which was inspired by true events, is an adventure story. I wanted to tell the story fast, fast and violent with no looking back, no flashbacks, mostly taut bold scenes as in riveting film…. Writing this book took me over like a runaway train.

There was no room for writer’s block in my new book. Pace and length and a harrowing story were the key elements. Maybe I’ll try that again.

 

 

Deep Water Blues image

 

Inspired by a true story, artfully told by the author of Searching for Bobby Fischer: A Bahamian island becomes a battleground for a savage private war.

Charismatic expat Bobby Little built his own funky version of paradise on the remote island of Rum Cay, a place where ambitious sport fishermen docked their yachts for fine French cuisine and crowded the bar to boast of big blue marlin catches while Bobby refilled their cognac on the house. Larger than life, Bobby was really the main attraction: a visionary entrepreneur, expert archer, reef surfer, bush pilot, master chef, seductive conversationalist.

But after tragedy shatters the tranquility of Bobby’s marina, tourists stop visiting and simmering jealousies flare among island residents. And when a cruel, different kind of self-made entrepreneur challenges Bobby for control of the docks, all hell breaks loose. As the cobalt blue Bahamian waters run red with blood, the man who made Rum Cay his home will be lucky if he gets off the island alive . . .

When the Ebb Tide cruises four hundred miles southeast from Fort Lauderdale to Rum Cay, its captain finds the Bahamian island paradise he so fondly remembers drastically altered. Shoal covers the marina entrance, the beaches are deserted, and on shore there is a small cemetery with headstones overturned and bones sticking up through the sand. What happened to Bobby’s paradise?

Amazon | Goodreads | Audible

 

 

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Fred Waitzkin was born in Cambridge, Massachusetts, in 1943. When he was a teenager he wavered between wanting to spend his life as a fisherman, Afro Cuban drummer or novelist. He went to Kenyon College and did graduate study at New York University. His work has appeared in Esquire, New York magazine, the New York Times Sunday Magazine, the New York Times Book Review, Outside, Sports Illustrated, Forbes, the Huffington Post, and the Daily Beast, among other publications. His memoir, Searching for Bobby Fischer, was made into a major motion picture released in 1993. His other books are Mortal Games, The Last Marlin, and The Dream Merchant. Recently, he has completed an original screenplay, The Rave. Waitzkin lives in Manhattan with his wife, Bonnie, and has two children, Josh and Katya, and two grandsons, Jack and Charlie. He spends as much time as possible on the bridge of his old boat, The Ebb Tide, trolling baits off distant islands with his family. His novel, Deep Water Blues, will be published in spring 2019. You can find more on Fred Waitzkin at his website or check out some exclusive content on Facebook.

 

fredwaitzkin.com | Twitter | Facebook

 

 

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How to be a Productive Author

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How to be a Productive Author (The Self Publishing Show, episode 172)

 

 

 

 

 

 

Resources mentioned in this episode:

PATREON: Self Publishing Formula Show’s Patreon page

SURVEY: Give us your opinions about a possible live SPF event in 2020

From selfpublishingformula.com

 

 

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Book Marketing: Voice Search For Authors With Miral Sattar

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Book Marketing: Voice Search For Authors With Miral Sattar

 

 

 

 

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Six Indie Mistakes to Avoid with Alessandre Torre

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Six Indie Mistakes to Avoid (The Self Publishing Show, episode 169)

 

 

 

 

 

 

Resources mentioned in this episode:

PATREON: Self Publishing Formula Show’s Patreon page: https://www.patreon.com/selfpublishin…

 

CONFERENCE DISCOUNT: Go to https://www.inkerscon.com/dawson to save on conference registration, including the digital conference, from Inkers Con

 

LIVE EVENT: Mark will be speaking in June at Slaughter in Southwold – https://www.suffolklibraries.co.uk/ev…

 

 

 

 

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How To Pitch Your Book For TV and Film With DJ Williams

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How To Pitch Your Book For TV and Film With DJ Williams & Joanna Penn

 

 

 

 

 

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www.thecreativepenn.com

 

 

 

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How to Sell More Books Through Reader Engagement

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How to Sell More Books Through Reader Engagement

 

 

 

 

 

 

 

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HANDOUT: Five Ways to Immediately Connect with Readers courtesy of Dan Blank

 

 

 

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Collaborative Writing: 10,000 Books to Glastonbury 

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TV Television Tuesday

 

 

 

 

Collaborative Writing: 10,000 Books to Glastonbury

 

 

 

 

 

 

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Autopsies For Authors with Geoff Symon & Joanna Penn

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Autopsies For Authors with Geoff Symon

 

 

 

 

 

 

About Geoff Symon

 

Geoff Symon is a 20-year Federal Forensic Investigator and Polygraph Examiner. His participation in high-profile cases includes the attacks on September 11, 2001, the War in Iraq, the Space Shuttle Columbia explosion, the 2002 bombings in Bali and the Chandra Levy investigation, among countless other cases.

He has direct, first-hand experience investigating cases including murder (of all types), suicide, arson, kidnapping, bombings, sexual assault, child exploitation, theft and financial crimes. He has specified and certified training in the collection and preservation of evidence, blood-spatter analysis, autopsies and laboratory techniques. You can reach him at GeoffSymon.com.

 

 

 

Autopsies for Authors

 

 

Want to add an autopsy that won’t kill your story? Death swings its scythe in every genre, from family funerals to crime scenes to creatures that won’t stay buried. This user-friendly, illustrated reference digs into all things posthumous and postmortem.

Presented as a research manual for the experienced writer, this “Forensics for Fiction” title offers practical approaches and realistic details by covering:

¤ Terms and techniques used during autopsy procedures
¤ Different postmortem professionals and their specialties
¤ The stages of decomposition in different environments
¤ Methods used to estimate the time of death
¤ Case studies in which autopsies cracked the crime
¤ Examples of how to use autopsies in any popular genre

Whether you’re writing about dissection or resurrection, this guidebook covers it all from cadaver to slab as an easy-to-understand resource for dead-on storytelling.

 

Amazon | Goodreads | Website

 

 

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Interview with Neel Mullick Author of Dark Blossom

Dark Blossom

 

 

Sam returns home from a business trip a day before his son’s thirteenth birthday and is looking forward to being with his family, when his world is cruelly shattered in one fell swoop. Initially he thinks he can cope with the loss, but finally seeks the help of Cynthia, an experienced therapist, to regain his equipoise. What he does not know is that Cynthia herself is trying to cope with a debilitating divorce and the sinister shadow of her ex-husband over her daughter…

What happens when doctor and patient find themselves in the same sinking boat? Moreover, when they are rowing in opposite directions–one clinging to the past, and the other unable to get rid of it! In the midst of it all is Lily, Cynthia’s daughter, who harbours a secret that has the power to explode the lives around her.

 

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Interview with Neel Mullick

 

Dark Blossom. I love the title of this book. Was this your first fiction book? What’s the story behind it? (No pun intended)

Thanks! To be honest, the title appeared to me in a dream. And since I’m being honest, I must also admit that I fell into writing rather serendipitously as well. Dark Blossom is indeed my first work of fiction and both the story and the characters were more or less cleaved by an imagination that had run amok at a time when I was struggling with empathy in my life.

While the characters are all very different from me and the ordeals faced by them are exaggerations of what I was going through, my innate spirit wanted to describe their experiences and interactions in a way that was entertaining for readers. This duality of finding entertainment and perhaps even levity in daily strife exists in everyone including my characters and the title from my dream captured that essence. Here’s a snippet from my book launch on that topic: https://www.youtube.com/watch?v=iodpyiw4Z7Y&t=3s

 

 

 

 

 

 

 

What do you enjoy most about storytelling?

Given how and when I fell into storytelling, I soon found writing to be an unbridled expression of empathy. First, I needed it for my characters to allow them a full and vibrant range of expression and then, for my readers to help them partake of such expression in a riveting way. So writing afforded me a double dose of empathy if you will – and it helped fill that personal void in my life too.

In retrospect though, there is one other thing about writing and storytelling that I enjoyed as much. Call me a masochist, but I fell in love with playing around with language – its syntax, semantics, and subtleties, all of it! How a word here instead of there, a moved punctuation, or a replaced synonym can affect the way people understand intellectually and perceive viscerally is all very fascinating. As a life-long learner too, I think I have fallen in love with this process of reflection followed by articulation.

 

 

Which came first idea, theme, or character?

If I were to think about just the idea and the characters, I would have to say it’s a judicious mix. In order for a story to take place, not only must the idea be important to the characters but also they must have something important to say about it. Once this scaffolding is in place, then the idea might change less and the theme is driven by its interplay with the characters, but it’s the characters that really have to evolve the most. They have to – to fight increasing stakes, win small battles, and eventually come out on top at the end of the war!

 

 

What’s your method for character creation?

Good stories take place at the intersection of personal authenticity and people’s perceptions. Ergo, good characters must be borne from a place of sincerity. If that’s not the case, then it will be difficult to convince readers. Once I am able to make this genuine empathic connection with my characters, I follow a five-step process to give them substance – Read, Research, Reflect, Rest, and Repeat. First, I read and research a lot and this includes conversations with people who might provide inspiration. Then I let it percolate by backing off completely after a period of reflection, of course. Lastly, I find myself having to go back to the start of the loop at times when I get stuck.

 

What can you tell us about Sam?

Phew! Now that’s a toughie. Let me explain. Part of the inspiration behind the novel is my belief that the solution to a rapidly fracturing world lies in peeling enough layers to discover the similarities, rather than judging on mere superficialities. And Sam’s character is supposed to catalyze readers to reflect on how we judge the motives of those around us. In fact, I have even incentivized such reflection with a contest at www.WinTrip2NY.com.

So while Sam’s loss and his tribulations are real, his characterization has been somewhat abstract. Let it suffice to say that he is an immigrant who has assimilated well and is unsure about how to cope with a very deep loss.

 

Who is Cynthia and what role does she play in the story?

Cynthia is a psychologist and she finds herself alone with her patient and her daughter in a sinking boat. Moreover, they all seem to be rowing away from one another. While trying to heal from a debilitating divorce, Cynthia is helping her patient, Sam, who is struggling with the worst kind of loss there is. She is also trying to mend her relationship with her daughter, Lily, who is not only fighting her own demons but also holding on to a secret that has the power to explode the lives around her.

 

 

What was your experience writing the point of view?

From the very beginning, I wanted to narrate the story from Cynthia’s perspective. This was daunting since I am neither a woman psychologist nor do I share a cultural background with her. So I knew I was trying to fill shoes much larger than my own and I had to both step out of my comfort zone and dig deep. And I’d like to believe that I have grown much as a person because of it. So not only was the process personally gratifying but also her perspective turned out to be most relevant for the plot.

 

 

Was it easy writing about flawed characters? 

Aren’t we all?! But yes, confronting these flaws, let alone embracing or articulating them, is never easy. Fortunately, I strongly believe that such duality exists in all of us and I’m quite comfortable with both my flaws and my struggles with them. Even though writing about these flaws in characters that are different from me wasn’t easy, the fact that I enjoyed this process helped me immensely. Now, as to whether or not I was able to do justice to such expression – I think I’ll let readers be the judge of that.

 

 

What’s next for you?

I have only recently started researching and outlining my next novel. It’s also going to be narrated from the perspective of a young woman, Abigail, who has just started her first job as a nanny at a prominent bureaucrat’s home. The story starts with her charge, six-year-old Stewart, fighting for his life in the pool. And Abigail soon discovers that June, the boy’s older sister, may have been the one who pushed him in.

 

 

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Neel Mullick is the author of Dark Blossom. The Head of Product and Information Security at a Belgian family-office technology company, Mullick is a graduate of Carnegie Mellon University and INSEAD. He mentors female entrepreneurs through the Cherie Blaire Foundation for Women, is involved in raising a generation of digital and socially aware leaders with Nigeria’s Steering for Greatness Foundation, supports improvement in the quality of life of domestic workers through Peru’s Emprendedoras del Hogar, and works with IIMPACT in India to help break the cycle of illiteracy plaguing young girls from socially and economically impoverished communities. Dark Blossom is his first novel.

 

 

 

 

 

 

 

 

Interview with Historical Fiction Author Leila McGrath

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Interview with Leila McGrath

 

How did you get interested in history?

My interest must have begun in college, when a professor made history more interesting by telling stories which made past heroes real. Since then, I’ve learned that “truth is stranger than fiction”, and am regularly surprised by the limitless things that can happen in life. I also feel that great people of the past deserve to be remembered, and that we can learn from their lessons and mistakes. History is our connection with our ancestors, a continuation of life from our beginnings to our present to our future.

 

 

What fascinates you about the history of Ireland?

Ireland is one of the lesser-known, yet most fascinating places in the world. My interest began when I discovered my Irish ancestry, and with my first trip to Ireland I was so hooked, I felt more at home than in New York. Irish history is culturally rich, and archeologists are discovering sites and artifacts older and more advanced than the pyramids.

3D Map of Ireland

 

 

What’s your creative approach to writing a novel?

I never know where inspiration will come from. I was planning my first book to be about German immigrants in NYC, but on a bus tour in Dublin, our plans were changed from seeing Dublin Castle to seeing Christchurch Cathedral. That day changed my life. Visiting a place as old as the Vikings, feeling medieval tiles beneath my feet, and exploring the underground crypt gave me my first connection with ancient times. From then on, I decided to write about Ireland. I have been inspired by the most unexpected things, like fishing villages, plants, abandoned islands, and even an insane asylum in Wales (which I frequented as a visitor, I might add).

 

How has your writing process changed over the years?

I used to write from the seat of my pants, but found that subsequent editing required too many drafts, and plot and character fixing. Now I take my time—months–developing an inspiring idea, drawing an outline and doing research until I feel I really know my story and characters. That way, there are no major snags in the plot. Planning definitely shows in the development of the story, and the reader can tell.

 

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How do you write the historical tone of Ireland into your writing?

Historical wording is something I’ve experimented with in various ways for the past few years. At first, I wanted the language to be as modern as possible, as I was addressing a modern reader, and wanted more than just historical readers to enjoy my books. Then I went more literary, striving for heightened language, but found the readers weren’t as fond of that. Now I’m returning to simpler language (with occasionally sprinkled historical words) with a more engaging plot. As far as historical Irish elements, I generally try to make the characters speak with the grammar and vernacular of the culture, as well as using cultural items and situations of the time.

 

What’s the historical context of Dingle Ireland, 1579?

Ireland of the sixteenth century was under the rule of Elizabeth I, who was fighting a war with Spain. Therefore, Dingle, a busy port, was subject to British rule, Spanish interference, and smuggling, as well as destruction by local Irish warriors fighting against Elizabeth and among themselves. My book talks about the struggle of Ireland’s “Black Earl”, who fought Elizabeth and his relatives to maintain the estate which had been in his family for centuries, a fight which resulted in Dingle being burned a few times.

 

 

Ireland landscape

 

 

What are some fun facts from your research that aren’t in the book.

Studying about Dingle revealed interesting facts about struggles from other time periods as well, such as the potato famine’s effect on the town, which brought the establishment of the notorious workhouses, as well as the battle at Smerwick Harbour, where Irish soldiers were decimated by the English. The most fun part of research is always the travel. Dingle is the most magical place in the world. A road winds along cliff-laden coasts where one can catch unexpected views of ancient ringforts, famine cottages, Celtic runes, and the abandoned Blasket Islands. There are few untouched places in the world, but because of an Irish tradition to respect what remains, old sites are not taken down.

 

 

Who is Englishwoman Norma Le Blanc and what is she dealing with?

Norma is a fictional character who believes her religiousness makes her superior to everyone, but a carefree, Spanish smuggler who arrives poses the greatest challenge to her ideas. Norma is lonely without her family, who live in England, and finds companionship in Vicente, despite their differences, until she realizes she’s in love. They both have something to learn from one another, as Vicente struggles with his mother’s wish to maintain faith in a God, when it seems as if God has failed him. Through their relationship, Norma learns humility, while Vicente regains his ability to believe.

 

What did you enjoy most in writing The Smuggler’s visit?

Finishing it? Ha! I always enjoy writing, and every book is different, but the first draft was most enjoyable with this one. Because my outline was established, I went off to a cabin in upstate NY and typed away to my heart’s content, finishing the first draft in two weeks. The editing process took much longer.

 

What were the most challenging aspects?

Finding detailed information about Dingle’s history was a challenge. Irish history isn’t as well-published as in other countries, and much of the Dingle info was in books or documents in their local library. Thanks to a local historian, I was able to get what I needed.

 

 

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Do you have a favorite quote?

I collect them and have so many! But I came across this the other day, by Einstein: “Failure is just success in progress.” I think that’s a good thing for us to remember, every time we challenge ourselves to do better.

 

 

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