I Want You To Be Yourself, and To Be Gentle with Yourself

Hi writers! I'm Liza Olmsted, a writer, editor, and publisher at Thinking Ink Press. I'm also neurodivergent* and I have invisible disabilities.

The publishing industry can be really hard on those of us with visible or invisible disabilities … or really just all of us. (This is true of all industries, really, but let’s focus for a minute.) We’re trained to believe due dates are Very Important. We’re trained to believe we should put in 100%, without ever asking “of what”? We’re trained to believe it’s an honor to be published, so we should make all the changes editors ask for, or do a lot of work for very little money.

I recently co-edited and published** a science fiction anthology featuring neurodivergent authors and neurodivergent main characters, The Neurodiversiverse: Alien Encounters, which gave me lots of opportunities to think about those expectations, both as I set them and as I operated within them.

My co-editor and I went into this project with a goal to be supportive of neurodivergence in all its flavors. As a publisher, Thinking Ink Press values inclusion and diversity*** (and good storytelling!), and we’re aware that neurodivergent people can be excluded from publishing when their communication or working styles are out of sync from traditional publishing’s values. For example, autistic folks are less likely to have their work published because they may take instructions too literally, or they may miss cues or norms that aren't made explicit, or they may experience Pathological Demand Avoidance and be unable to make edits within the requested timeframe. ADHD folks are less likely to get published because they may have time blindness that causes them to miss due dates or because they may experience Rejection Sensitive Dysphoria and be unable to hear an editor's suggestions in anything other than a severely critical tone. Folks who have depression may have a whole battle just to get words out, let alone be able to interact with an editor.

We wanted people with any of those challenges to still have their stories and poems included in this anthology.

As the project went along, I discovered I wasn’t applying those principles to myself, even while I was applying it to our authors. I would hold too strictly to due dates that my time blindness thought would be reasonable (they were not), and I’d end up exhausted and unable to make good decisions. Or I’d find myself caught in the belief that things needed to be perfect rather than done. Several times that I had a conversation with myself that went like:

Liza: “I just need to push through to get this done.”

Also Liza: “ok, but if one of your authors told you they were burning themself out to achieve your deadline, you would change the deadline.”

Liza: “👀 👀 no, but that's different.”

Also Liza: “it's not different. you can change the deadline.”

I made a practice of giving myself rest every time I heard myself think “I just need to get this done” or “I should be able to do more.” And I rested until I heard thoughts like “ooh, I know just how to [whatever]” or “ooh, I wonder if [something].” In other words, anytime I felt excited or curious about the project I could go back to work on it.

My native state is excitement and curiosity. When I’m healthy and able, I am excited and curious about something. When I’m not excited or curious, I’m probably unwell and need rest or help.† This project was one I was excited and passionate about, and I couldn’t wait for readers to be able to read the fantastic stories and poems. If I wasn’t excited to work on it, it wasn’t because I wasn’t excited about the project anymore.

I know, you might be wondering: What about when the deadline does matter, or your editor/publisher isn’t willing to work with you?

And I have two answers to that:

First, you can always ask for what you need or want (with the understanding that they can always say no). It gives them the chance to say yes, rather than choosing the “no” for them. For example, if someone asks you to write a piece “for a good cause,” you can write back thanking them for the opportunity and telling them what your rates are. They might say they’re really not able to pay, or you might discover they actually have some money they can give to people who need it. Or if your deadline is approaching and you need more time, you can ask for more time. It might turn out they’re behind, too!

Second, sometimes the best thing is to not have your piece published in that venue after all. If the editor isn’t able and willing to work with your communication style, or if the deadlines are too tight for you to meet without hurting yourself, or if you just can’t agree with the editor about what the piece should be … then don’t do it. And if you discover that they’re rude about a request you make, remember that you have what they want: fabulous content. It’s your work, and you get to choose who publishes it.††

Of course the consequence of me changing deadlines was that I had to apologize, more than once, to authors who received editorial notes, feedback, or even print editions of the book later than promised (sometimes months later—I’m so sorry). Fortunately for me, they’ve been incredibly understanding.

One of our authors was persistently late with their drafts and revisions (and even with signing the contract), but their story is fantastic and it’s an honor to have it in the book. Were we stressed out occasionally? Maybe a teensy bit. Did we publish the book anyway, and include their piece? We sure did! (Were we also running late? We absolutely were!)

Fundamentally, what’s special about your writing is you. Not the “you” that got squished into the wrong-shaped box when you were a kid. Not the “you” who can hit every deadline only by sacrificing your creativity or well-being.††† Not the “you” who is “appropriate” in how you communicate. I mean the you who sees the world differently from everyone else, who crafts a sentence the way only you would, who brings characters to life in a way no one else can.

You are the only one who can write what you wrote. As an editor, I ask: Please be gentle with your amazing self.

—

* You can tell I have ADHD in part because of how much I use footnotes and parentheticals. 😄

** A couple of definitions: Publishers are the people who make the book exist in the world. Editors are the people who hold the vision for the book and suggest changes to the interior. There's a ton of overlap between the two roles, and I held both for this project, so I use them somewhat interchangeably. Note that copyeditors are also editors, but they have a much more narrow scope and aren't who I'm talking about here. There are also freelance developmental editors you could hire to help polish your work, but again they're not who I'm talking about here.

*** If that’s important to you, too, Thinking Ink Press is often open to submissions.

† My autistic brain demands that I clarify that this is a gross oversimplification. Most of you don’t need or want me to enumerate the exceptions, but if you’d like to chat about the nuances of situations like this, feel free to drop me a line!

†† Side note about contracts: If you’ve already signed a contract, there may or may not be a lot you can do about your disagreement. Do your best to read through the contract ahead of time to make sure they can’t make edits without your approval, and that there are rights reversions, and generally that the contract isn’t predatory.

††† And if your superpower happens to be hitting deadlines while being brilliantly creative, that’s fantastic! We’re all different, and we all have wonderful things to share. That’s the point.

The Author

Liza Olmsted (they/she): Liza Olmsted (they/she) is the co-editor of The Neurodiversiverse: Alien Encounters and refuses to struggle with ADHD, autism, or anxiety, regardless of how hard they struggle with her. They are also the editor of the inclusive writing inspiration book Your Writing Matters. Liza is one of the founders of Thinking Ink Press, which publishes fiction and nonfiction books with a focus on amplifying disabled, LGBTQ+, and neurodivergent voices. Thinking Ink recently received fiscal sponsorship from the nonprofit Independent Arts & Media, which means it can now accept tax-deductible donations from US taxpayers who feel moved to support its mission.

Cross-Pollinization

I’ve been obsessed with cross-pollination for a long time. I’m not talking about plants; I’m talking about linking up with endeavors of different kinds. I have a lot of writer friends, and I value their insights and knowledge, but it occurred to me that all of us should be looking at other fields for inspiration and information, too. Why not? I believe some universal principles can guide us to success, and maybe we can tap into some of that by extending beyond the writing community. How about looking at successful people in the arts, history, or science? What are the guiding principles and strategies that have placed them at the top of their occupations?

In my article about Annie Leibovitz that was posted in ALLI a few years ago, I took a foray into the art of photography and connected it with the art of writing.  I enjoyed that so much that I started looking for other possible connections. I didn’t expect to find exactly what I wanted about secrets to success in the financial world, but I did. I stumbled on Ray Dalio, founder of Bridgewater Associates, the world’s largest hedge-fund firm, and here’s what caught my attention: “Without pursuing dreams, life is mundane.” 

What writer can’t agree with that? Well, this one, for sure. But then he talks about what he calls hyper-realism. So, because I’m curious, if nothing else, I wanted to know what that means and what that does. He explains it as being a deep understanding, an acceptance, and being able to work with reality as it is and not as he wishes it were. 

Okay. I got it. And I’m paying attention.

Later he gives what he says are his secrets to investing and managing money and—most importantly—getting through the next 24 hours. I can use all the help I can get when it comes to “getting through” another day and actually accomplishing something, too.

• Identify and face the problems, however painful, that stand in the way of your goals.
• Diagnose the root causes of these problems.
• Design a plan to get around these obstacles. 
• Know your goals and run after them. 
• Execute on your plan, pushing yourself to do whatever is needed. 

Are these secrets to success universal enough? 

I see why this man is so successful. He has a philosophy that is overarching, much larger than one that’s about making money. He spoke directly to me here: “You will lose something or someone you think you can’t live without. You might think your life is ruined and there’s no way to go forward. But it will pass. There’s always a best path forward; you just don’t see it yet.”

So writers, why not explore other domains and see what you come up with to help you along in this challenging world of writing and publishing?

Balancing Your Cast of Characters

By September C. Fawkes 

It’s no secret that side characters can be amazing in their own right. Great side characters feel like real people–even if the focus isn’t on them. They have lives that exist beyond the scope of the protagonist. When they seem to exist only to help or exacerbate the protagonist, they lack authenticity.
 

With that said, untamed side characters can water down a strong story, or worse, steal the story. While we don’t want our characters to be exact copies of each other (unless, of course, you’re writing a story about how the characters are exact copies), it can be helpful to examine the main character and his or her journey to bring balance, depth, and meaning to your cast. After all, side characters are also called supporting characters, which means they are meant to support the protagonist’s journey, not take away from it.
 

In her book, Story Genius, Lisa Cron explains that while we need to develop secondary characters that have their own driving agendas, realizations, and often, own arcs, we also need to create them with this purpose in mind: “to help facilitate the protagonist’s story.”

She writes, “This means that although each one of them could stand alone as a full-fledged human being . . . you’ll create them and their beliefs so they will naturally facilitate your protagonist’s story.”

Consider what role the character plays in the protagonist’s journey, and develop the character with that in mind. What kind of qualities and attitudes are going to challenge your protagonist? What does your protagonist need to learn from this person? Who would uncover a new side of your protagonist? It’s possible to fully brainstorm a side character who actually doesn’t interact well with your protagonist. But when you consider these questions and similar ones, you’re more likely to create a side character who offers meaningful exchanges. 

If the character is an ally, some writers feel compelled to make him or her too similar to the protagonist. In reality, it’s often more interesting if the ally contrasts the protagonist. In Pixar’s Soul, the protagonist, Joe Gardner, has a thirst for life (jazz, specifically), but he is allied with 22, who has no desire to even be born. This contrast brings each character into sharper focus, balances out the story, and provides more opportunities for meaningful discussions. 

Likewise, if the character is an opponent, it’s often more effective to emphasize a likeness between that character and the protagonist. In Soul, Terry functions as the antagonist, trying to bring Joe to the Great Beyond. Like Joe, Terry is so obsessed with fulfilling his purpose (to count the dead), that he’s blind to the inspiring things happening around him: Joe helping 22 finally find her spark. Like Joe, Terry is also aspiring to a moment of recognition–he wants the Jerries to recognize him with an award for him doing his job. 

It may be helpful to consider much of the side characters as foils and mirrors of the protagonist and his situation. We can see how this balances out in Soul. Joe’s mom foils him by pressuring him to take a practical job. On the other hand, Dorothea Williams reflects what Joe wants to become. Dez foils Joe by letting go of his veterinarian dreams and becoming a barber. Connie reflects his passion for music. Paul foils by being someone who never went after his dreams. . . .

In a sense, each of these characters represents a different moment of or outcome to the journey Joe is on. In his book, The Structure of Story, Ross Hartmann refers to these characters as clones (a term that comes from award-winning screenwriter Brian McDonald). Hartmann writes, “a clone character . . . is a way for us to show what could, should, or might happen to a character if they take a particular path. . . . [We can] use a clone character to convey information about where the character is headed or might be headed either philosophically, emotionally, or physically.” 

The supporting cast is also more balanced when it contains different types of arcs, which tap into the protagonist’s journey. A character may change positively or negatively, or hold steadfast (remaining more or less the same) positively or negatively. In the film, Marley & Me, the protagonist, John, changes positively as he learns to embrace the adventures of domestic life. Marley, who already embraces the adventures of domestic life, remains the same, positively, throughout the film. John’s friend Sebastian dismisses domestic life to go on career-driven adventures instead, remaining the same negatively. Had the filmmakers wanted to, they could have added a fourth character who leaves the adventures of domestic life to fully focus on her career, which would have been a negative change character (within the context of the story). 

In any case, creating your supporting characters with your protagonist in mind, will likely lead to a more meaningful, balanced cast, and story.

Sometimes September C. Fawkes scares people with her enthusiasm for writing. She works as a freelance editor, writing instructor, and writing tip blogger. She is best known for her award-winning blog, SeptemberCFawkes.com. September is also a monthly guest on The Apex Writers Group, and was a writing coach on Writers Helping Writers. Some may say she needs to get a social life. It'd be easier if her fictional one wasn't so interesting.

Blog: https://www.septembercfawkes.com/
Editing Services: https://www.fawkesediting.com/

IWSG Day and Exploring Creative Activities

 

Purpose: To share and encourage. Writers can express doubts and concerns without fear of appearing foolish or weak. Those who have been through the fire can offer assistance and guidance. It’s a safe haven for insecure writers of all kinds!

Posting: The first Wednesday of every month is officially Insecure Writer’s Support Group day. Post your thoughts on your own blog. Talk about your doubts and the fears you have conquered. Discuss your struggles and triumphs. Offer a word of encouragement for others who are struggling. Visit others in the group and connect with your fellow writer - aim for a dozen new people each time - and return comments. This group is all about connecting! Be sure to link to this page and display the badge in your post.  

And please be sure your avatar links back to your blog! Otherwise, when you leave a comment, people can't find you to comment back.

Let’s rock the neurotic writing world! 

Our Twitter handle is @TheIWSG and hashtag is #IWSG.

The awesome co-hosts for the November 06th posting of the IWSG are Diedre Knight, Lisa Buie Collard, Kim Lajevardi, and JQ Rose!

Every month, we announce a question that members can answer in their IWSG post. These questions may prompt you to share advice, insight, a personal experience or story. Include your answer to the question in your IWSG post or let it inspire your post if you are struggling with something to say. 

Remember, the question is optional!

November 06th Question: What creative activity do you engage in when you're not writing?

What are creative activities? A random google search produced the following: dance, drawing, gardening, photography, bead jewellery, make simple puppets, DIY projects, craft, painting, music, roleplaying, collage, doodle art, mug painting, hand lettering, drama, puppetry, origami, art, coloring, journaling, scrapbooking, natural art, improvisation, calligraphy, knitting, crochet, Zentangle, cartooning, costume making, flower arranging, glassblowing, landscaping, nail art, pottery, sculpting, quilting, soap making, tattoo art, macramé, sketching… and I think that’s the tip of the iceberg.

Creative professionals seem to possess talent and inspiration that allows them to excel at more than one type of imaginative undertaking and many writers say that engaging in multiple creative activities helps their writing.

Here are some famous writers and their creative pursuits.
Rudyard Kipling was well-known for his oil paintings and watercolors.
Lewis Carroll was a talented photographer who may have toyed with the idea of making a living out of it in his very early years.
Emily Dickinson enjoyed baking treats for her family and friends and would even lower a basket of cakes from her window to neighborhood children in the street below.
Leo Tolstoy was also an avid chess player.

What are your creative activities? How do they inspire your writing?
Happy IWSG Day!