Earlier this week, David Ebenbach wrote about what makes a creative process and a short story Jewish. He has been blogging here all week for Jewish Book Council and MyJewishLearning.
The period immediately after your book comes out is a wonderful and strange time. On the one hand, the work you’ve done — which for most of its existence just hung out on the hard drive of your computer, feeling not quite real — is now in front of you, in a very concrete form, between two covers. Your work is a book, a thing with mass and substance, an object that other folks can find and get and read — maybe even folks you don’t know! In that way it’s the joyous culmination of perhaps years of work and efforts to get the work published.
On the other hand, it’s definitely a weird time. The main weirdness is that, when your book comes out, suddenly you’re probably doing all kinds of unusual things to help the book succeed: you may be giving readings, driving from one bookstore to another, sitting on panels, Googling yourself way too much and checking your Amazon Rank (please don’t, if you can help it) — and also perhaps doing what I’m doing here, which is writing about writing. Every one of these activities is the result of very good fortune — you couldn’t be doing them if you hadn’t gotten that book into print — and they’re generally a lot of fun (aside from Googling and Amazon Ranking, the dangers of which I cannot stress enough). Yet you’ll notice that there’s one thing missing from that list of activities: aside from writing about writing, you may not be doing very much writing at all — not the kind that probably led to the actual book you’re now holding in your hands.
It can sneak up on you. If you’re anything like me, spending too much time away from writing means getting more and more irritable, and getting on your loved ones’ nerves. Often it’s my wife who, finally fed up with me, demands that I find some time to write or else. In those moments, it’s even possible to get a little resentful of your own good fortune—I would be writing if only it wasn’t for all this author stuff! But I don’t recommend embracing that resentment. These author activities are not only fun, not only the fruits of tremendous good fortune — they can also be an important part of the creative cycle.
Writing about writing (like I’m doing right now) is a great example of that. When I’m in the midst of writing short stories or poems, I’m not thinking a lot about what I’m doing. First drafts come out in a sort of unplanned, raw way, and even revision involves some specific strategizing, but not much thought about big questions, like Why do I write? or Why am I writing in this particular form? or What’s the best way to get work done? or any of a variety of other possibilities. The time after a book gets published is actually a rare and valuable time to sit back and get some perspective on what you do. It can add layers of meaning to your work, and it can make you a better and more purposeful writer.
For example, this fall, my writing about writing has helped me to: finally understand the basic difference between a novelist and a short story writer; to get clear on how a short story collection comes together successfully; to really appreciate the fact that I use writing to understand things that initially confuse me; to explore the Jewishness of my work and my process; and — right here — to value the very writing about writing that I’m doing now. It has also helped me participate in a larger conversation between writers and readers — a conversation I first encountered as a little boy learning to read. I want to be a part of that, and I’m glad that I get to be.
Of course, none of this replaces the real writing, the stuff that you’re most passionate about. And it makes sense to get a little agitated if it’s been a while since the last story or poem, and it makes sense to get back to it as soon as you can. But in the meantime it’s probably worthwhile to pay close attention to all you’re doing as an author, because, even in the middle of all the strangeness, you have an enormous opportunity to grow as a writer.
And really — just leave those Amazon rankings alone.
David Ebenbach’s collection Into the Wilderness is now available. Visit his website here.
David Ebenbach is the author of eight books of fiction, non-fiction, and poetry, including the new novel How to Mars and the creativity guide The Artist’s Torah. His work has won such awards as the Drue Heinz Literature Prize, the Juniper Prize, and others. David lives with his family in Washington, DC, where he teaches at Georgetown University. You can find out more at davidebenbach.com