Michael Thomas Ford

Archive for the ‘writing’ Category

Name Calling

Wednesday, June 10th, 2009

Last month I sold my first photograph. I’ve been taking pictures for about two years now, but just recently began showing them publicly. This was my first show.

This morning I was telling a friend about the sale and she said, “Congratulations! You’re a photographer!”

Well, no, not really. I take photographs, and one of them is interesting enough that someone bought it and hung it in his home. But I’m not a photographer.

What I am is a writer. My income comes entirely from my writing. Selling this photograph added a little bit to the pot, but it’s the writing that pays the mortgage. Everything in my life is paid for with words.

Why the distinction? Well, this is the tricky part. I’m going to step on some toes here, hurt some feelings, maybe even make a few enemies. But the truth is, I’m tired of people calling themselves writers who aren’t really writers. They’re people who write.

What’s the difference? Well, I like riding horses. That doesn’t make me a cowboy. I like writing reviews of the films I get from Netflix. That doesn’t make me a film critic. I like taking pictures. That doesn’t make me a photographer.

There’s an attitude (and I think it may be peculiar to North America, maybe even to the United States) that anything “arty” is fair game. You like to paint? Call yourself a painter! You like to dance? Call yourself a dancer! You like to write?

You get the idea.

Last week I was reading the blog of a perfectly lovely woman whose post of the day happened to be about the writing life. She referred often to “we writers this” and “we writers that.” She talked about how the writer’s life is so difficult, but reminded us that the rewards of dedicating oneself to the occupation of writing more than make up for the hard times.

Except that she isn’t a writer. She’s an elementary school teacher. To be fair, she has written a novel. But it remains unpublished. She remains unpublished. In any form. As far as I’m concerned, she’s an elementary school teacher who likes to write. She is not a writer.

I can hear you from here. “You’re being mean!” “If she says she’s a writer then she’s a writer!” “Why do you care if she calls herself a writer?”

I’ll tell you why I care. Because being a writer is not the same thing as wanting to be a writer, or even the same as working toward being a writer. It is a profession. And if you are calling yourself a writer and it is not your profession, you’re insulting everyone whose profession it is.

Listen. I get it. I understand that very few artists actually make a living at their art. I understand that there are a lot of actors working as servers, a lot of dancers working as dog walkers, a lot of writers working as grocery clerks. I know that there are circumstances beyond our control that make it impossible for most of us to do our art exclusively, that force us to be part-time when we want to be full-time. I understand that we call part time artists actors and dancers and writers as a way of acknowledging that it isn’t necessarily their fault that they aren’t doing this full time.

That’s all very well and good, and I don’t want to quash anyone’s dreams. However.

There’s a Jehovah’s Witness woman who stops by my house every couple of months. Last time she came she had an older man with her. “This is Clark,” she said when I answered the door. “He’s a writer like you.”

What Clark is is an insurance salesman who has penned a picture book. He wrote it for his grandkids. They think it’s brilliant. Clark asked me how he could get an agent.

This happens all the time. When we were buying our house and I had to fill out a stack of forms a mile high, the woman at the title company looked at one of the documents and said, “Oh, you’re a writer. I’m a writer too.” I forced myself to ask what she wrote. “Poems,” she said enthusiastically. “I’ve done it since I was a little girl.”

Maybe her poems are brilliant. I don’t know. But I can guess. And yet, she’s a writer. Just like I am.

Are you starting to see why this is just the tiniest bit irritating? And believe me, I’m not the only writer who thinks so. All my writer friends do. They just don’t want to say so because they’re afraid it seems churlish.

Maybe it does. I don’t care. I’m tired of people thinking that writing is something anyone can do. I’m tired of everyone who’s ever penned a letter to the editor or written an article on rhododendrons for their garden club newsletter telling me they’re writers. I’m sick of hearing about some acquaintance’s “other writer friend” who turns out never to have published a thing.

Before you start, I realize that defining what does and does not constitute being a “real”
writer is impossible. Is it one published book? Is it five published short stories? Is it ten published poems?

Professional writing organizations have guidelines for membership that vary widely. The Romance Writers of America, for instance, is “open to all persons seriously pursuing a romance fiction writing career.” I don’t know what “seriously pursuing” means, but there you go.

The Mystery Writers of America are more demanding of their applicants. To be an Active Member one must meet the following requirements.

Active membership is open to professional writers in the crime/mystery/suspense field whose work has been published or produced in the U.S., who reside in the U.S., and who meet specific criteria set by the Board for this category. Currently, some of those criteria are:

  1. The applicant is a professional creative writer of fiction, non-fiction, or drama (including TV, screenplays, radio, and staged drama).
  2. The writer has received payment for his or her work in an amount determined by the Board of Directors of Mystery Writers of America. Proof of payment is required.
  3. The work is neither self-published nor cooperatively published; no monies were required of the writer by the publisher.
  4. The publisher is on MWA’s list of approved publishers or eligible to be added to that list; similar criteria are set for dramas, films, and video productions

The Horror Writers Association is even more exacting. Prospective members must have achieved publication credits of varying degrees depending on their genre (poetry, scripts, comics, etc.). For those who write books, the requirements are as follows:

The publication or sale of at least one book-length work, fiction, non-fiction, or translation, sold at professional rates and containing one or more elements of dark fantasy, horror, the occult, or fear. “Book-length” is defined as being in excess of 40,000 words. Professional rates are defined in this case as an advance of at least $2,000 against royalties of 5% or more, OR an advance of at least $5,000 against royalties of less than 5%. Flat-fee sales or royalty rates below 1% of the retail price of the volume do not constitute professional sales. For works not published as independent volumes, such as magazine serials, qualifying rates shall be defined as five cents (5ยข) or more per word. “Publication or sale” is defined to mean either publication, or the receipt of payment for future publication; the signing of a contract shall not constitute sale until the first payment has been received.

PEN American Center puts their membership requirements more succinctly:

The standard qualification to become a Member of PEN is publication of two or more books of a literary character or one book of exceptional distinction (i.e. winning a major national prize).

I believe at one time PEN also required letters of recommendation from two current members. I applied years ago, after publishing three or four nonfiction books for young adults. They turned me down, presumably because my books were not “of a literary character.”

“Ah ha!” you may be crying. “You know what it’s like to be shut out!”

Yes, I do. Which makes it even more annoying when people toss the word “writer” around as if it applies to anyone who has ever put pen to paper or fingers to keyboard. I’ve worked very hard for the privilege of putting “writer” as my occupation on forms that ask for it. (By the way, there is no option for choosing writer on the tax preparation software I use, as if they decided that no one could possibly make a living at it.) It is what I do. It is what I am.

When you use a word indiscriminately it begins to lose its power. Take fuck. Used once in a while for effect, it’s startling. Used over and over, it’s tedious. In the same way, when everyone is a writer because they say so, encountering someone who really is a writer is not particularly interesting or, for the writer in question, even remotely pleasant.

Imagine for a moment that you are at a party, chatting to a friend. Someone with whom your friend is acquainted joins the conversation. Your friend says, about you, “This is my friend [insert your name here.] He/She is a writer.”

The acquaintance looks at you and says one of the following:

1. “A writer? Good for you. I hope you get published someday.”

2. “A writer? Have I read anything you’ve written?”

3. “A writer? What do you do for work?”

If imagining this scenario makes you grind your teeth to keep from punching your new friend in the face, go off in search of another drink, or triggers a facial tic, you’re probably a real writer. If, however, you can respond to those reactions with “Thank you,” “Oh, I don’t have anything out yet,” and “I’m in computers,” I’m afraid we have to consider your membership application more carefully.

Again, I’m not trying to be mean here. I wish everyone who wants to be a writer the best of luck. I want you to see your stories in magazines, your books face out on store shelves, your name on the cover of your poetry collection. I really do.

But I also want saying you’re a writer to mean something. Like a merit badge in scouting. If you haven’t managed to get a fire started using flint and dried twigs, don’t sew that patch to your sash. By all means announce that you’re working toward earning that badge. Let everyone know, so that we can be excited for you when you finally get it. But don’t go sewing it on ahead of time, because that’s cheating, and scouts don’t cheat.

When I told my friend this morning that I don’t consider myself a photographer, she asked what would make me consider myself one. I don’t know. I’ve been asked to do a solo show of my work at a gallery. For that I’ll have to produce 25 or 30 prints. Will I be a photographer then? Do I have to sell five of them to be considered a photographer? Ten? What if I don’t sell any? I still took them. They’re still photographs. But am I a photographer?

Maybe I’ll wait for someone else to decide. The one photo I’ve sold was bought by a real photographer, someone who does it for a living and has published four books of his work. Because he thinks my work is good, does that mean I’m a photographer too? Or will it take something else to make me claim that word? When a reviewer calls me a photographer, maybe, or when my income is comprised equally of money from writing and money from photography. I don’t honestly know.

But until I figure it out I’m going to tell people that I’m a writer who takes pictures.

To Read Or Not to Read

Thursday, June 4th, 2009

Take a good look at the photo on the right. This is the view an author has when standing in front of an audience at his (or her) reading. I took this Wednesday night at a reading at A Different Light bookstore for my novel What We Remember.

Notice that there are 12 seats. Then notice that only six of them are filled. Then subtract the store’s author events manager, two of my friends, and two friends of a friend who were ordered to go.

Now we have how many attendees? Oh, right. One.

To be fair, two other people came in after I took this photo, which brings the grand total to eight, three of whom were there because they like my books. Also to be fair (to me) I signed around 30 additional books that had been ordered online by people who couldn’t attend but wanted autographed copies.

I think most writers dream about their first reading. The idea that people will buy your book and read it is one thing; thinking about them coming to see and hear you is something else altogether. It’s been said that all writers secretly long to be rock stars. If that’s true, then the reading is the equivalent of the big concert, replete with lights, crowds, and possibly even groupies and T-shirts.

There are certainly authors for whom this is true. Generally they are enormously popular or spectacularly attractive. (But seldom are they both, which is at least some comfort to the rest of us.) These authors easily pack the venues at which they read. Sometimes they even get away with selling tickets. They have handlers, and publicists, and shocking cocaine addictions. Okay, this is not entirely true. They don’t all have publicists.

Then there are the rest of us.

For us readings are hit or miss affairs. After 20 years of doing them, the only thing I can say with certainty is that you cannot possibly predict what will happen. All you can do is show up and deal with whatever you get. Sometimes you’re pleasantly surprised; other times you wonder how you ever imagined writing a book was a good idea.

My first book tour–which I financed myself, by the way, and am still paying off 12 years later–was for my essay collection Alec Baldwin Doesn’t Love Me. It was my first book for an adult audience and my first book for a gay audience. Filled with optimism, I decided to visit as many bookstores as I could. I spent weeks setting up dates, figuring out flight routes, and blissfully imagining a storm of adulation. Even the bookstore owner who told me he wouldn’t have me unless I guaranteed him I would sell 40 copies of my book couldn’t discourage me.

I think I hit 20 stores on that tour. Of those appearances I would say that five went very well, ten went moderately well, and five were unmitigated disasters. At the three readings I did in Texas (in Houston, Dallas, and Austin) I had a combined audience of–one. But that was not the worst. That distinction belongs to Portland, Oregon, where I walked into the store, told the manager I was there for the reading, and he said, “Reading? We have a reading tonight? Nobody told me.” At least he was kind enough to make the staff sit and listen to me read to them.

As I said, these were the worst ones. The ten moderately good events saw audiences of 5-10, the really good ones 20-40. Curiously, the best-attended events took place not in cities such as West Hollywood and San Francisco, where I expected big crowds, but in Columbus and Minneapolis. The one I’m proudest of, however, is the New York event, where I’d cleverly managed to schedule my reading for the night of the Oscars. As I lived in New York for almost a decade, and because I have dirt on a lot of people, I knew I could count on a dozen or so, but I didn’t expect to see a single unfamiliar face in the crowd.

I did, though. I saw a lot of them. And that made up for Texas, and Portland, and Chicago (where I was caught in a downpour on the way to the bookstore and read, dripping on the carpet, to one friend).

When new authors ask me for advice about doing readings, I don’t know what to say. I know they’re excited. I know they envision rooms filled with people nodding, laughing, crying as they listen to The Work. I also know that they will probably be disappointed. But I don’t know whether I should try to prepare them for the likely reality or let them enjoy their excitement for as long as possible. After all, they’re not going to believe me anyway. But somehow I expect them to blame me if it all goes wrong. “You should have told me!” I hear them wail.

Usually I just tell them to do it if their publishers will pay for it or if they have a lot of frequent flier miles and friends with couches. Then I hope that their reading will be the exception to the rule, and that they will leave with their self-esteem filling them up like the helium in a Macy’s parade balloon.

I am enormously thankful for every single person who comes to one of my readings. And after all this time it’s no longer about numbers. Now it’s about connecting with people–whether it be one or five or 50–who find something meaningful in my work and want to hear me read or just say hello. I know they have a lot of other things they could be doing than sitting and listening to me read for half an hour, and the fact that they choose to come see me means a great deal.

I am also thankful for the bookstore owners and managers who, in an increasingly bleak book industry, continue to support authors by inviting us to read. People like Philip Rafshoon of Atlanta’s Outwrite, Stephen Quinones of San Francisco’s A Different Light, and Michael Lemon of the now-closed Baltimore branch of Lambda Rising. Thanks to them and many others like them my books–and the books of other writers–have gotten into the hands of readers they might never have reached. In a business that is increasingly conducted online, they provide a personal touch that no website, no matter how well designed, can offer.

As for those of you who promised to come to one of my readings and didn’t, don’t think I didn’t notice. And I’m keeping a list.

And You Can’t Make Me!

Tuesday, June 2nd, 2009

Starting about two years ago I went through a period where I was late on every single project I had under contract. And not just a few days, or a few weeks, or even a few months late. We’re talking really late, as in moving a book from one year to the next and a couple of publishers sending me “or else” letters.

Being late had never been a problem for me. In fact, I believe I owe a great deal of my early success in publishing to the fact that I could be relied upon to write quickly and without a lot of fuss. At one point I wrote a 15-book series (Circle of Three, which I wrote under the name Isobel Bird) at a rate of one a month. I won’t claim these books are perfect, but they’re good. And editors liked that they didn’t have to worry about me.

But after about 15 years of stolidly plugging along, things changed. I started taking more and more time between books, starting new projects when the deadlines were only months, and sometimes weeks, away. At first I thought it was a challenge I was setting myself, to see how quickly I could get a book written. If I thought it would take six months, I would start four months before the due date. I made detailed schedules of how many pages I would have to write each day between now and the due date. Then I ignored them.

Not only was my lateness a problem from a relationship with my editors perspective, it was also financially disastrous. Like most writers, I live check to check. Often I’m dashing to the bank the day the mortgage is due, depositing a begged-for check to cover it. But with no manuscripts being handed in, no money was coming my way. I started relying on credit cards, with regrettable results. Every time I got a cash advance or charged something (like my income taxes) I told myself the money would “be here soon.”

Throughout this time I made regular visits to my shrink, to make sure the medications I take for my tiny little anxiety and bipolar problems were still working. And despite how miserable I was feeling, every time I went I managed to shower, change out of my pajamas, and adopt a cheerful attitude. When I was asked how everything was going I said, “Fine.”

It got to the point where, because I kept not writing them, I had three novels due at roughly the same time. I kept telling myself that everything was fine, that I could get it all done and finally get some cash. But every day I got up, sat down at the computer, and spent the next ten hours looking up Tom Petty’s tour schedule, poking friends on Facebook, and researching the history of costume jewelry.

And then I had what my doctor later referred to as a slight cardiac event.

Technically it was a not-very-pleasant angina attack. It occurred, probably not coincidentally, following a breakfast meeting with two of my editors, who happened to be in town at the same time but for different reasons. We’re all friends, so we got together one Saturday morning over coffee. We had a lovely time. No one mentioned deadlines, and I smiled a lot. When they asked me how everything was going I said, “Fine.”

Then, while walking to the subway afterward, my heart started beating irregularly. It’s done this periodically throughout my life, so I don’t freak out about it. But this time it didn’t stop. Then I started sweating. A lot. And then I experienced intense pain in my jaw. This is what a heart attack feels like, I thought as I continued to walk. I wonder if I should do something.

I did do something. I walked four blocks to the Orpheum Theater, where I exchanged some tickets for a show (Spring Awakening) to a different night. I joked with the ticket agent and looked at the seating chart, all the while trying to calm my heart and ignore the sweat that was soaking my shirt. Then, tickets exchanged, I took the train to the Castro, where I picked up some visiting out-of-town friends and drove back to my house. There I changed my shirt and lay down until my heartbeat returned to normal.

I didn’t go to the doctor for another two months. Nor did it occur to me that the attack might be related to my inability to get my books written. That didn’t occur to me until a few months later, when two days before one of the books was due (and I was only about 50 pages into it) I had back spasms so severe that I woke up screaming. I couldn’t sit, which meant I couldn’t write, and each new spasm was worse than the last.

Off I went to my shrink, but only because it was time for our next four-month visit. This time when he asked me how everything was I said, “I think I might be a little bit stressed.”

He then asked every shrink’s favorite question: “Why do you think that is?”

I remember starting to babble. I said something about the books being late and not knowing why and being surprised because usually I do know why I’m having problems with a book and how it was really annoying because I actually liked the books and should be having a good time writing them and oh by the way I kind of maybe had a little heart attack and was seriously considering bankruptcy and. . .

I went on for some time. Then I heard myself say, “I think I have literary anorexia.”

And that’s when I understood what was happening. Shortly before the start of my “block” I’d released a book for which I had high expectations. Unlike most of my books, it had taken several years to write. It was very close to me. And it went nowhere. After some great reviews, it just sat there staring at me like a lost puppy.

Before that I’d released several other books for which I had high expectations. For one reason or another, each had been a disappointment. And what they all had in common was that their lack of success was not due to me or my writing, but to some colossal screw up on the part of the publisher. One, part of a loosely-related series of which mine was one of six books, had been given absolutely disastrous packaging despite the objections of everyone involved (except the marketing department). After the dismal reception to the first two books in the series, it was decided that the last two books would be salvaged by repackaging them as stand-alone novels. But it was too late for books three and four, which had already been printed. Those were just plopped into the pool and allowed to sink out of sight. Mine was number three.

Over the course of 20 years I’ve had a number of “This is going to be the one!” moments. And I’ve become used to them not being the one. I’ve had a book series for which I wrote nine titles tank because the television show on which it was based was canceled before the books came out (after we’d been promised lucrative tie-ins with Burger King and Spaghetti-O’s). I’ve had books optioned for film by enthusiastic producers, only to have them languish in production limbo for years before eventually dying with a whimper. After so many of these experiences, I thought I was used to it. At least, I no longer allowed myself to hope for anything big.

But apparently I was not as okay with this as I thought I was. Apparently I was tired of picking myself up and starting again, of putting a disappointing experience behind me and launching into a new book with the belief that this time it would end magically. In short, I had become sick and tired of giving my book to someone (a publisher) and having them kill it.

In my mind, the only recourse for preventing this disappointment was to not give anyone the opportunity to screw up my book. If they didn’t have the book, I reasoned, they couldn’t screw it up and I wouldn’t be disappointed yet again. Obviously, then, the solution was to simply not write the books.

I know this makes no logical sense. Neither does anorexia. It’s all about trying to hang on to the one thing–the only thing–over which you have complete control. For some people that’s food; in my case it’s words. The only part of a book that I have any real control over is what I put down on paper. The cover, the marketing, the sales, the reviews–they’re all up to someone else. And any one of the people involved in those aspects of my book can screw it up for me.

I don’t like that. Apparently I don’t like it enough that I’d rather have a slight cardiac event and debilitating back spasms than allow it to happen again. Well, at least at that point I would have.

I’d like to say that realizing what was going on put an end to it. But it didn’t. It did make things better, and I did manage to get those books written, but I still resented handing them over. When one of them came out with a cover I didn’t love, I spent a few days regretting having “given in” yet again. But I got over it. Mostly.

I recently handed in two novels, both of which have the potential to do very well. My editors are excited. There’s been “buzz” in the industry. The film department at my agency thinks there will be good news. I’m trying not to get my hopes up, but I can’t help it. And I know that if the books don’t sell well, or if the film deals don’t materialize, I’m going to be an unhappy camper for a while. That won’t change.

However, I am fighting it. I’ve launched into a new book, which is going really well. For the first time in a long while I’m actually enjoying the writing. Not the having written. Not the will be writing. The is writing. I’m trying to do it without expectations, trying to remember why I liked writing in the first place. And slowly, word by word, it’s coming back to me.

Work Related Injury

Monday, June 1st, 2009

My father thinks that I work for a publishing company. Which, technically, I do. But not in the way he thinks. He’s under the impression that I am employed by a publisher and given an annual salary to write books for them. He assumes, too, that the publisher gives me ideas on which to base my novels. He says things like, “So what are they having you write these days?”

I’d like to say that he’s alone in not really understanding what writers do, but he isn’t. In my nearly 20-year career I’ve encountered this on a regular basis. Usually it takes the form of innocent yet deeply irritating statements such as, “You’re a writer? Well, good luck with that.” Then there’s the ever-popular, “You’re a writer? Have I read anything you’ve written?” Inevitably, they haven’t, at which point you’re regarded with suspicion, because surely if you were even remotely successful someone would be reading you on an airplane.

Speaking of airplanes, woe to the unfortunate author who answers truthfully the obligatory, “Are you traveling for work?” question posed by a seatmate. New writers, usually ones flush with the thrill of publication and winging their way to their first signing or literary conference, almost always answer this query with great excitement. Finally! I can talk about being a writer!

This generally ends in tears and depression, usually when the seatmate nods and says in a tone that suggests you have something in common, “I’ve got this great idea for a novel. Just have to sit down one of these weekends and write it. It’ll sell six million copies easy. Mind if I call your agent?”

When I travel I tell anyone who asks that I’m in the human waste reclamation industry.

My favorite incident of this type occurred when I lived in Boston. One of my neighbors was in law school, and the two of us spent part of every day sitting on his porch talking while our dogs played. One afternoon another neighbor came up and, with great sincerity, said, “I just want you guys to know that I’m really sorry you’ve been out of work for so long.” When we finished laughing and explained to her why we weren’t going to an office every day, she was actually offended, as if we’d somehow tricked her. “Well,” she said. “I always see you just sitting around.

Really, you can’t win. But I can’t blame these people (okay, I can, and I do) because popular culture doesn’t do writers any favors. When the Will Ferrell comedy Elf came out, one of its central plot lines concerned Ferrell’s character’s father, a children’s books publishing executive, having to come up with a bestselling picture book to save his job. What does he do? Well, first he turns to the two writers who work in the office penning books for the company. When they fail, he calls in a fixer, a writer hired by desperate publishing houses to give them ideas for bestsellers (for which he is paid enormous sums of money).

Funny, yes. But I can’t tell you how many people, having seen Elf, asked me why I couldn’t get a job like that. “Because they don’t exist,” I’d say, and again the suspicious looks would come my way. I could practically hear them thinking, He’s lying. It must be true. It was in a movie.

Those jobs used to exist, back in the days when rooms full of writers churned out pulp novels at ten cents a page or whatever. And I have several writer friends who wish we could go back to those days. “At least then I would get published consistently,” one of them said to me a few days ago. “This whole submitting manuscripts and waiting six months to hear back thing really blows.”

Yes, it does. Particularly when other writer friends ask if you’ve heard anything. They know full well you haven’t, or that if you have it was bad news. Otherwise you would have mentioned it. In passing, while inquiring about the status of their books. And with not a hint of bragging.

Again, though, you can’t get too upset with them. We’re all in the same leaky boat, and knowing that everyone else is wet and cold and hungry is perversely reassuring. Besides, when we finally do sell something, they’re happy for us. Sometimes. In passing. And with not a hint of jealousy.

Enough of this blogging. I have to get to work. If I’m late again my boss will give my book to one of the other writers in the office.

I Yam What I Yam

Sunday, May 31st, 2009

I used to answer Godzilla’s fan mail.

It was my first job, and I wasn’t hired to answer Godzilla’s fan mail, I just kind of fell into it. I was actually hired as an editorial assistant at a children’s books publisher. We published books for the school library market. One of the series was based on classic monster movies, including Godzilla. I don’t know why, so don’t ask. They were already doing them when I got there, so it wasn’t my fault.

My first week on the job, someone handed me a stack of mail that had been sitting around for about six months unanswered. It turned out to be letters from kids, a surprising number of which were addressed to Godzilla. I don’t even want to think about why so many children believed Godzilla actually existed and could read, but they did.

My inclination was to throw the letters away. But I was bored, and so I answered them. Mostly I wrote things like, “Thanks for the letter. Things are really busy here on Monster Island, but I wanted to say hi. Love, Godzilla.” Every so often, when a kid wrote a really effusive letter praising Godzilla’s fiery breath or whatever, I wrote something more. “Sure, I’ll be happy to destroy Chicago! See you in June!”

This went on until my boss, asking me what I was doing, read one of the letters. Fearing a lawsuit over copyright infringement, he told me to stop. I was disappointed, as I then had to start writing catalog copy, which was far less interesting.

And so began my writing career. I suppose it could be argued that it actually began years before, when I wrote some awful stories for school, but I don’t count that because I didn’t want to be a writer then. I wanted to be an astronaut. Or one of Charlie’s angels. I didn’t really think about books, or at least about the people who wrote them. I assumed they just appeared on bookstore shelves, like milk in the grocery store.

I went right on not thinking about being a writer until the day I was called into the office of my new boss (the company had recently been sold) and was told that I could either move to New Jersey to work in the new office or I could be let go. On the cab ride home, I thought about what I was going to do next, and realized I had no idea. I’d been at the company for five years. By then I was an editor, in charge of my own line of books. And I hated it. Even worse, I wasn’t good at it. I didn’t care about budgets and approving covers and all of that. Most of all I didn’t like fixing someone else’s bad writing.

But I liked writing my own stuff. I’d even published a book, one of the first books for teenagers to address the AIDS crisis. It had received a lot of attention and excellent reviews. I had offers to do more books, and now I decided to take them.

(All right, at that point I’d published two books. The first one was a biography of Paul Abdul. Now you know and we will never speak of it again.)

That was almost twenty years ago. I still sometimes sit around thinking about what I’m going to do with my life, and when I have to put my occupation on forms I inevitably think about Shirley Jackson, who when she was registering at the hospital to deliver her third child put writer on the admission form and watched helplessly as the nurse changed it to housewife. I always wait for the receptionist or IRS or mortgage broker to look at the form, giggle, and say, “No, really, what do you do?

But a writer I am, whether I like it or not. And often I don’t.

“Are you crazy? I’d kill to write full time.” I know you would. A lot of people would, and all of them tell me so. Well, I’d like to be George Clooney, but I’m sure it’s not all it’s cracked up to be. And please don’t get me wrong; I’m thankful that I can do this and more or less make a living at it. It’s the more or less part that’s a problem. See, something like only 2% of writers actually make a living at it. Most of us have other jobs, or trust funds, or rich partners. That 2% either write bestsellers or burn their books to keep warm.

Objectively, I’ve enjoyed a lot of success. My books routinely get positive reviews, they sell well (if not at Stephen King levels), and I receive a lot of mail from readers telling me how much they love my work. The reality, however, is that I’m more in the bottom half of that 2% than I am in the top half. And that makes thinking about the future a little tough. As my partner reminded me when I decided I wanted to play rugby last year, “You’re just one broken arm away from the poor house.”

I’m also getting older. I know, 40 isn’t old old, but it’s not young, either. When I started writing I told myself that I had 30 or so years to make it big and have enough money to retire on. Then 30 came and went, and those 30 years turned into 20. Now they’re flying by like mile marker signs on a freeway.

Every year or so I receive a letter from the Social Security Administration letting me know what my benefits will be when I retire. My last one showed that I will receive approximately $238 a month based on my contributions. So money is a big deal around here, and it gets bigger as the years pass. I have writer friends who are in their 60s and 70s and still writing and publishing, but for the most part life is hard for them. They can never retire. Although I don’t think any of them would say they regret having chosen to be writers, I think all of them would agree that business school might have made things easier. The life of the mind doesn’t pay nearly as well as the life of advertising or import/export.

But I have faith. One of these days the Big One will come come along. And if it doesn’t, I hear Mothra is looking for a personal assistant.