Outwitting Writer's Block and Other Problems of the Pen
by Jenna Glatzer
Format: trade paperback, 250 pp., 10.47usd (Amazon)
Publisher: The Lyons Press, ISBN 1592281249

Writer's block is no laughing matter. If you are blocked, you might find that your ability to continue working ceases almost immediately. Writer's block can take all kinds of forms, including the most insidious: you start telling yourself that you aren't actually a writer anyway. As Jenna Glatzer points out, writer's block can affect all writers, from the most experienced to those just beginning. Writer's block can leave you crying, but read Jenna's wonderfully witty and lighthearted book, and you'll soon be chuckling, and writing. Jenna's style is uniquely intimate, full of sympathetic confessions, examples, and an action-oriented, easy-to-read narrative designed to get you working again, quickly.

The book contains chapters which define the nature of block, look at the different types of blocks—including those that affect beginners and those that affect advanced writers—and identify some of the writing myths that can stifle writers. There are chapters on planning, chapters on how to stimulate writing, managing the inner critic, developing an "ugly notebook," addressing self-doubt, positive thinking, stress relief, deadlines, overly high expectations, stories which aren't working, a poor attitude, creating an appropriate space, trying out different styles and genres, dealing with bigger issues that may affect your writing, joining writing groups, and seeking inspiration outside.

"The $6 Solution" is a chapter full of simple, whimsical ways to stimulate writing such as obtaining a really neat pen, a calendar, a mascot, bubbles--"Oh, fine, laugh if you must"--silly candies/lollies, and word searches. For those who require a more specific incentive, "Let the Market Be Your Guide" will guide you through the process of writing to a range of specific market needs, such as anthologies, regular magazine features, and holiday themed pieces. Other suggestions include obtaining inspiration by copying a few lines from other writers, and following one of Glatzer's many prompts which are given throughout the book.

Although the book is full of enough useful and practical suggestions to cure even the most blocked writer, it is Glatzer's warmth and accessibility which makes this book work so well. The book is not only fun, it helps you to realise that your problems are not insurmountable, or even unique in any sense. Glatzer is always open about her own problems and experiences, and draws on them as part of her suggested solutions. There are also quotes from some fairly well known online writers about their experiences with block and how they dealt with it. Each chapter has practical suggestions for moving forward, all with Glatzer's easy tongue-in-cheek humor that keeps the prose flowing and light:

Although Outwitting Writer's Block is a terrific block buster, you don't need to be blocked to gain from the book. There are prompts which will help you make your characters richer and more interesting, prompts that will help you delve deeper into your own experiences and motivations, prompts to create a full scale non-fiction piece or interview, and even a prompt to have you writing a country ballad. Even if you are writing freely, this book will inspire you to write more, to try new things, and to laugh just a little bit at yourself, even as you are picking up your pen to get back to work:

You owe it to yourself and the rest of the world to move past the safety net of keeping yourself blocked up (remember: plenty of fiber). It's time to take some real risks and experience the breakthrough that's been patiently waiting for you. (243)

Glatzer's writing style has clearly been designed to be humorous, and may come across as flippant, especially if you are a writer struggling with serious problems. Some of the suggestions--particularly the ones in "The $6 Solution"--may appear trite, such as obtaining a cute pen, bubbles, or tootsie rolls. But this is not a book designed to teach writers how to write better, or find more markets, earn more money, or manage serious psychological problems like depression or anxiety--although Glatzer does address these issues in another of her books, Conquering Panic and Anxiety Disorders. Outwitting Writer's Block is, rather, a nice sweet glass of prune juice, or orange flavoured Metamucal. If you are blocked, this is the book to get. It is the perfect antidote to break even the most deep-seated blockages, but you don't need to wait for block. This is a terrific and inspirational book which will get your writerly juices flowing, whatever your situation.

Interview with Jenna Glatzer

Magdalena: Tell me about the genesis of Outwitting Writer's Block.

Jenna: My agent wrote to tell me that Lyons Press, the publishers of the Outwitting series, was looking for someone to write a humorous book about writer's block. I loved the idea and it took me only a few days to write up a proposal and sample chapter. Obviously, they bought it.

I was lucky because I have so many writer-friends and contacts through Absolute Write. As I was writing a (very short, basic) outline for the book, I realized that I didn't have direct experience with all the different kinds of writer's block, so I asked people to tell me about their own blocks. I should mention--some people call it "writer's block," others prefer not to use those words. Stumbling blocks, feeling "stalled," "stuck," whatever. If you're staring at a blank page and you want to write, but you can't seem to convince words to come out, I'm calling it "writer's block."

Anyway.

I asked people to tell me what causes their own writer's block, and what tricks they use to get past it. (I used several of these stories throughout the book.) Then I sat my butt down and started writing.

Magdalena: You say in the book that all writers get blocked sometimes. What was your own worst case of block?

Jenna: My worst was in college; a professor had asked us to write memoirs about turning points in our lives, and I was just stumped. I had a dozen wadded-up false starts in the garbage can one day before deadline. That wasn't like me-- normally, I was so happy to write that I would start my assignments the day they were given and always finished with plenty of time to go.

But this time, I just couldn't get anything out--until I listened to the little voice in the back of my head that was begging me to write a particular story. Somewhere deep within, I knew exactly what I had to write--my story of being raped at age 10--but I was terrified to write it. Terrified of what the professor would think of it, terrified of re-experiencing the emotions enough to write about it, terrified that it would all come out melodramatic and wrong. Luckily, my fears were unfounded, and that memoir was the first thing I ever had published.

I learned that until I got the hardest stories written, they would continue to clog up my brain and demand attention, making everything else seem too trivial. I recognize that now, so if I've learned to purge myself of the scary, guts-on-the-line stories before attempting to write anything else.

Magdalena: Are there some types of blocks which are more difficult to outwit than others?

Jenna: I think there are two basic categories of blocks: psychological (inward) and story-based (outward). The outward blocks are easier to fix--for example, if you're stuck because you haven't done enough research, or because your lead character isn't interesting enough, or you haven't taken the time to understand a character's motivation, or you just haven't figured out the piece's natural structure yet, those are problems you can identify and fix fairly easily.

The inward blocks are rooted in fear: I'm not a real writer, I'll never be as good as so-and-so (fill in favorite writer), I'm scared to have an editor rip apart my masterpiece, I'm scared my writing won't live up to my own high expectations, I'm scared of what my family will think, I'm scared this next book won't be as good as my last book...

Those can be harder to fix because you have to learn to talk to yourself differently and adopt a whole new mindset. You have to free yourself up and quit demanding perfection from yourself--especially on the first draft. There's always time to worry later. Put off the worrying until tomorrow and get to the writing today. Repeat as necessary.

Then there's procrastination, which may be the result of a block, but isn't necessarily. If you're finding all sorts of excuses not to write (the dishes are dirty, American Idol is on, I'm sure there's some underwear I could iron), you might be avoiding writing because of fear, or you might just need to make writing a real priority in your life and develop a writing routine and discipline.

Magdalena: What is your favourite/most often used unblocking tip?

Jenna: Switch-hitting. If I'm really stuck on a particular piece, I put it down, try not to think about it, and work on something entirely different. I continue writing--just not that same piece. I often do greeting card and slogan writing or write poetry when I'm stuck on an article or book. I let myself do this for maybe an hour, then I reread my last few paragraphs and get back to work.

Magdalena: Tell me about the Amazon top ten attempt. What made you decide to go for it? Has there been any lasting effect to your success?

Jenna: Outwitting Writer's Block had fantastic reviews, but bookstores weren't stocking it. I asked my agent and editor what I had to do to get bookstores to order it. My editor told me I had to prove there was demand for it. I asked her, "If I make it to Amazon.com's top 10 bestseller list, will the sales reps try again with bookstores?" She said "yes" and I went for it, full steam ahead.

The book made it to #4 on Amazon's overall list, and #1 in reference. It was one of the greatest days of my life, not because of the sales, but because of how many people were supporting me--editors (like you!) and readers helped to announce my best-seller day and wrote me encouraging notes all day long. My parents came for a celebratory lunch, my friends bought copies... I just felt such an outpouring of love and support that it blew me away.

To tell the truth, I was disappointed with Lyons, because I don't think the sales reps ever did go back out to stores with the book. It's still not carried in many stores, at least near me. But it did light the fuse--sales have been up consistently ever since then, and I was invited on many radio shows and to writers' conferences, got more review and interview requests from magazines, and an invitation to teach a 3-day seminar based on the book at the Omega Institute in NY (see www.eomega.com). And I got a higher advance on my next book, along with several other book offers.

Magdalena: Tell me about your latest, Make a Real Living as a Freelance Writer. There are quite a few books on this topic on the market - what makes yours different?

Jenna: There are quite a few; that's true. But there are just a small handful that I would consider truly helpful. I hope mine is one of them.

Mine gives more of an insider's perspective than many others. Several authors of books about freelancing just don't have the credits and experience to back up their advice. They have "hundreds of credits," sure, but from what publications? Magazines and newspapers you've never heard of?

If you plan to earn a comfortable living by writing for magazines, you're not likely to do it by writing for magazines no one's ever heard of. Not only do you need to know how to break into the big magazines, but you need to know the little rules no one tells you outright (for example, most women's magazines won't run a photo of an overweight woman--no matter how heroic she is; and most magazines won't let you use interviewees who don't fit their target demographic). You need to know how to sniff out e-mail addresses of editors, even when they're not publicized. You need to know what belongs on a source sheet, how to land regular assignments, get your name on the masthead, get a source to agree to exclusivity, negotiate for bigger bucks...

This book sums up my experience as I went from newbie to professional writer, and it includes perspectives from editors from magazines such as Ladies' Home Journal and Woman's Day, and writers who are at the top of their field. It's relevant to today's world of freelancing--a world where e-mail queries replace SASEs, and the stories that were on the cover 10 years ago wouldn't even earn a paragraph of space now. It's important to read current books on the subject if you plan to make a living at this--not just to settle on whatever books from 1979 your library happens to have in stock.

By the way, Make a Real Living as a Freelance Writer is available at http://www.amazon.com/exec/obidos/ASIN/097220265X.

Magdalena: Absolute Write has almost developed a life of its own hasn't it? It has been going almost as long as the Internet has been popular. What inspires you to keep on with it? Where do you see it heading in the future?

Jenna: Goodness, yes, it's a monster! I never planned for it to be as big or as popular as it is, but I'm thrilled that it happened. The reader letters are what keep me going; I can't get enough of the nice letters that tell me I've helped someone get published.

As for the future, I just want to keep adding services and information that will help writers build and sustain a career. I'm hoping to add more how-to info for playwrights, poets, and short fiction writers, in particular; I don't feel like we have much in those areas.

Magdalena: Is it a struggle to keep working on the long term projects (like books, screenplays etc) in the face of the immediate demands of the web site?

Jenna: Yes, it is. That's why, a few months ago, I hired Amy Brozio-Andrews (who's been with us as a book reviewer for years) as our managing editor. She took over a lot of my editorial duties; she's the one who selects and edits the content every week now, and answers a lot of writer questions. Then I put everything up on the site and write up the newsletters.

It does continue to be a challenge for me, though, in terms of my priorities. Of course I don't make much money from Absolute Write, so the writing work (books and articles, especially) has to come first, but so far, I've managed to handle both. There may be a day when I'll have to step back and take a smaller role at Absolute Write, but that's not happening anytime soon.

Magdalena: Talk to me about your agoraphobia...has your success as a writer helped? Do you ever see yourself returning to the theatre?

Jenna: Ooh, you said the magic word: theatre. God, I miss the theatre. I was housebound for years, and thankfully, I am no longer. But I do still have an anxiety disorder... it's hard to explain, because I very rarely have full-blown panic attacks anymore, but I am still "recovering."

My success as a writer gave me confidence and a sense of worth while the rest of my life seemed really barren. I would love nothing more than to get back to the stage in some capacity (probably as a director--which I loved just as much as I loved acting). I'm not quite ready for it yet. I still have some trouble with appointments--when I know I have to be somewhere at a certain time (the dentist, the hairdresser), my anxiety flares up. I'd have to know I was past that before committing to a play again.

Magdalena: Your writing has a very intimate personal style. Do you think that readers respond to that?

Jenna: Yes, they do, and I'm so glad! I don't know any other way to be; my life has always been an "open book" (pardon the pun) and I much prefer to be candid and open, rather than private. Sometimes my partner or Anthony have to censor me when they think I'm being *too* open (we do have 73,000 subscribers, and I sometimes forget that they're not all my close buddies).

I write like I talk, and I tend to approach books and articles as if I'm writing e-mails to my friends. That's always been the writing style I prefer to read, so it came naturally to write that way.

I find that I always get more response to my "letters from the editor" than anything else in the newsletter, and so many of my reviewers comment on the "feels-like-chatting-with-a-friend" style in my books. That makes me feel great!

Magdalena: Tell me about the Net Wits. Why are writing groups important?

Jenna: I'm not all that involved with the Net Wits anymore, but I am part of a few writing groups. They've been so helpful to me, both in professional terms and in terms of my life in general. There are people I consider close friends who I've never yet met in person--I just know them through e-mail groups.

I've traded leads with several writing group members (I've even helped several of them land big book deals), and we give each other feedback on our queries and articles. Through some of these groups, I've gotten to know editors' individual preferences, which publications tend to pay late, which contract clauses are negotiable, etc., as well as getting a sense of camaraderie that's often missing from a writer's life due to the lack of an office water cooler!

Magdalena: Are you still writing scripts? Have you had much luck getting them optioned/interest? Is it a very different world to the nonfiction book market?

Jenna: Nope, I haven't written a new script in several years, though just about all of them have been optioned, and two won screenwriting contests. I'm not ruling out screenwriting entirely, but it is definitely the hardest to break in of all the writing fields I've found. I had so many close calls, where a producer optioned my work and went after funding--even one where the shoot was scheduled and I was supposed to fly into California to be on set for two months--and things consistently fell through.

It is such a different world from the book industry! For one, it's much, much harder to get a screenplay produced than it is to get a book published. And it's harder to establish a long-term career as a screenwriter than as a book author. Then there's the "respect" issue--screenwriters are often treated as the low men on the totem pole in the film world. A producer buys a script, lets the original writer have the first crack at a rewrite, then typically fires the writer and brings in other writers to do further rewriting. Often, a script will go through several writers until the producer's happy, then a director wants changes, then the actors want lines rewritten... so many people get to rip apart a script that what appears on screen is often an entirely different animal from what the screenwriter had envisioned.

Books are different that way. Sure, editors have input, and none of my books have been published word-for-word as I originally submitted them, but the changes have been collaborative and not fundamental. The editor and I work together until we have a final product we're both happy with. If I disagree with an editor's change, in general, I'll get my way (as long as I have a good reason)--but most of the time, I've agreed with my editors' suggestions and felt they strengthened the books. No one's going to kick me off my book and bring in other writers to rewrite it. In the book world, the writer is still king.

Magdalena: What's next for you?

Jenna: Right now, I'm co-writing a book with Jamie Blyth (from "The Bachelorette") about his battle with anxiety disorder, and it'll be out this fall. It's going wonderfully and is going to be such an inspirational book! This summer I'm getting married. Then comes the Omega Institute seminar and a few mini-seminars in between (with authors like Jennifer Lawler, Linda Formichelli, and Diana Burrell--tremendously cool people). This is my first real "teaching" experience aside from the e-class I taught. After that, it's anyone's guess. I plan to do more writing for health magazines, and I have several more book ideas, but I'm not tied to anything in particular. I'd like to ride out this wave and see where it leads; one of the great parts about being a freelancer is that it's a new adventure every day!

Magdalena Ball is Editor of The Compulsive Reader at http://www.compulsivereader.com/html and Preschool Entertainment at http://www.preschoolentertainment.com/html, and is the author of The Art of Assessment: How to Review Anything. Her fiction, poetry, reviews, interviews, and essays have appeared in a wide range of on-line and print publications.