Another Must-Have Memoir Writing Aid

It’s true that my own essay, “No More Secrets and Silence,” appears in the recently released The Magic of Memoir: Inspiration for the Writing Journey anthology, and that this essay won first prize in the Magic of Memoir contest. But if you write memoir or family history, I’d be urging you to get this book even if that weren’t so.

Why do I think you need this volume? Because it contains essays that shine a light on the processes, angsts, supports, and resources—both human and literary—that other memoirists and family history writers use.

Have you been shying away from writing your memoir?

Unable to do more than just write about the “nice little things” in your life as if your whole life consisted of just those “nice little things?” To write the truth, you’ve got to assemble your strongest inner resources. In her essay, Jill Kandel asserts, “Writing is not for the faint of heart.”

I couldn’t agree with her more.

This is a book for serious writers, who are ready to tackle memoirs or family histories they’ve been putting off or downright avoiding for years. This book will help you get serious if you aren’t already. Kelly Kittel quotes a refrigerator magnet in her essay in The Magic of Memoir. That magnet urges, “be brave and do hard things.”

You won’t find distracting, time-wasting tips in this book.

Or even useful lists of how-to’s. The memoirists whose essays appear in The Magic of Memoir describe how they managed to write about the tragedies in their lives, their relationships with their families (so much of memoir addresses family relationships), their efforts to create meaning out of the tumult of daily existence, and the success of their work, despite their many doubts. Reading about how others coaxed forth their memoirs can have an inspirational effect.

The writers look at whether or not creating memoir heals the memoirist. (In her essay in this volume, Jill Smolowe writes, “I do not find the writing of a memoir cathartic.” What’s your opinion?) And they describe the need to shout demons down in order to tell the truth. In short, they let us see how to kick butt to get our memories of ourselves and/or our families down on paper.

Interviews with Famous Contemporary Memoirists

In addition to the essays, The Magic of Memoir includes interviews with some of the most renowned memoirists of our time, including:

– Cheryl Strayed
– Mary Karr
– Elizabeth Gilbert, and
– Dani Shapiro, to name a few.

This book is so good that even the Introduction, written by the anthology’s editors, Linda Joy Myers and Brooke Warner, is eye opening and instructive.

Let this book be your companion on your memoir-writing journey. It will make a great holiday gift for a memoirist you know—even if that memoirist is yourself.

Write That Memoir, Life Story, or Family History. Now.

That's me, Lynette Benton

That’s me, Lynette Benton

Know you should start or finish your memoir, stories from your life, or family history, but can’t seem to get up enough steam for the task?

Ease over to to see the tips I offer in my guest post. They can get you going.

– Lynette

Talking Memoir with Writing Instructor, Coach, and Publisher Brooke Warner, Part 1

As a memoir writer, as well as a memoir coach myself, I’ve followed Brooke Warner’s work on behalf of memoir and memoir writers for years. It’s a pleasure to welcome her here so you can learn more about her varied work, including publishing.
– Lynette

Instructor, Coach, Publisher Brooke Warner

Instructor, Coach, Publisher Brooke Warner

You’re a writing instructor, coach, and publisher. Can you distinguish among those roles?
BW: I teach memoir classes mostly, and sometimes classes on publishing, either online or in-person. As a coach I work with authors one-on-one, both on their writing and the emotional challenges that go along with writing. I’m a teacher, editor, champion, and midwife.

As publisher of She Writes Press, I’m more of a book shepherd than a coach. I still champion our authors, but my role is more directive, because I’m helping them with their books’ covers and positioning. I sometimes feel like more of a bossy older sister than a mother hen in this role.

You have experience in traditional publishing; you’ve been a speaker at writing and publishing conferences, and have expertise particularly in memoir, but also in other genres. What do you tell audiences about publishing?

I tell them that it’s really hard to get a traditional publishing deal these days. I hope I paint a mostly optimistic picture, however, because opportunities abound in the current publishing climate. But the book publishing world looks a lot different than it did even 15 years ago.

I educate aspiring authors about their options and what the different publishing paths might look like. I try to give them a dose of reality without squashing their dreams, because I’m strongly invested in the dream of authorship. I just believe that some authors need to reframe how that’s going to happen.

Please tell us about and She Writes Press. What is the connection between them? is an online community for women writers worldwide. On the site, writers can connect with one another, post articles, and join groups. was around for a few years before I contacted the cofounder, Kamy Wicoff, about starting She Writes Press. We built the press to complement the online platform. Authors don’t need to be a member of to publish with us, but the two companies are inextricably linked in terms of their brand and their messaging—which is that they both exist as platforms for women’s voices.

This year’s theme for your collaboration with Linda Joy Myers, President of the National Association of Memoir Writers, seems to be the Magic of Memoir. You’ve sponsored an essay contest, there’s the conference of the same name this month (October, 2016); and you’ve got the Magic of Memoir Anthology coming out in November. How do they fit together?

The contest was for The Magic of Memoir anthology, so those are one and the same. We did an open call for submissions for the anthology, for which you took home first place, Lynette. Congratulations!

Our second annual Magic of Memoir Conference, which took place October 15 – 16, in Oakland, California, makes Magic of Memoir more than a theme for this year. We’re making Magic of Memoir part of our brand.

We have a class called Write Your Memoir in Six Months, but we want to do a lot more around memoir than just our six-month course. The Magic of Memoir conference and website and book are allowing us to move into some more exciting content and ideas beyond our six-month course.

Please describe the Write Your Memoir in Six Months course.

This is our six-month online memoir intensive, which we run twice a year, with one class starting in January and one in June. (The next one begins in January 2017.) It’s blossomed into a lot more than just our six-month course.

Notably we also teach a Best-selling Memoir course each spring and summer. We’ve taught Wild, by Cheryl Strayed; Eat, Pray, Love, by Elizabeth Gilbert; Angela’s Ashes, by Frank McCourt; The Liars’ Club, by Mary Karr; and others. These short courses give writers an opportunity to learn what makes these memoirs work. They’re really fun.

Finally, we’ve been teaching a Mastering Memoir course once a year, which is a ten-week online course that’s faster-paced than Write Your Memoir in Six Months and exclusively focused on craft. The next one is starting in February 2017. So we feel that Write Your Memoir Six Months is the foundation for lots of other work we’re doing in memoir.

Note from Lynette:
Be sure you don’t miss Part 2 of this informative interview for all writers interested in starting, improving, or publishing their manuscripts.

See the list of authors who will be included in the Magic of Memoir anthology, which is available for pre-order on The anthology will also feature interviews with best selling memoirists. Find out who they are here.

Brooke Warner is publisher of She Writes Press and SparkPress, president of Warner Coaching Inc., and author of Green-light Your Book, What’s Your Book?, How to Sell Your Memoir, co-author of Breaking Ground on Your Memoir, and co-editor of The Magic of Memoir Anthology. Brooke’s expertise is in traditional and new publishing. She is the former Executive Editor of Seal Press and currently sits on the boards of the Independent Book Publishers Association, the Bay Area Book Festival, and the National Association of Memoir Writers. She blogs actively on Huffington Post Books and Brooke lives and works in Berkeley, California.

Visit Brooke at

Connect with Brooke on Social Media:

Talking Memoir with Writing Instructor, Coach, and Publisher Brooke Warner, Part 2

In Part 2 of her interview (below), Brooke Warner discusses She Writes Press’s approach to publishing and offers advice to those starting or continuing work on their manuscripts.
– Lynette

Instructor, Coach, Publisher Brooke Warner

Instructor, Coach, Publisher Brooke Warner

Why do you think She Writes Press is thriving? Does it publish a variety of genres? How does it differ from traditional publishing on the one hand and self-publishing on the other? Do you feel it empowers authors?

She Writes Press is thriving because we are filling a need. Right now barriers to traditional publishing are so high, and authors who might have gotten a book deal ten years ago have no hope of getting one today. This is because the focus in book publishing has moved from content to author platform, so you basically need to have a large established fanbase in order to get a traditional book deal.

She Writes Press is functioning in many ways like a traditional press. We vet projects and have a high editorial standard, and we have traditional distribution, which means that we have a sales force selling our list. But we are not basing our acquisitions on author brand or platform. Instead it’s solely about the books and the writing itself. Authors are so relieved to have this kind of option, where they have support without having to self-publish. Plus, our books are beautifully designed and we’re getting great accolades, both for the aesthetics of our books and for their content, which speaks to the kind of authors we’re attracting.

We’re also different from traditional publishing in that the authors invest in themselves. We offer a package that covers everything from cover and interior design, proofreading, project management, and everything it takes to get a manuscript prepared and through publication. For that, the authors retain 60% of net proceeds on paperback (as opposed to 15% in traditional publishing) and 80% on e-books (as opposed to 25% in traditional publishing). The cost of our package does not include individual title publicity support, but we absolutely market our titles, and the press collectively, which does give the authors and their books exposure.

Our press empowers authors by giving them an option to play in the big leagues, and our goal is always to rival our traditional counterparts. We are also collaborative, and authors retain more creative control with us than they would with a traditional publisher. They also retain their copyright, which is a big deal. The world of publishing is far from perfect, but we’re giving authors a legitimate shot at getting the kind of recognition that largely eludes self-published authors.

And yes, we publish multiple genres—fiction, memoir, self-help, and everything in between. We’ve done parenting books, cookbooks, leadership books, spiritual books, and even poetry.

Do you have any advice for those writing their first book? Or for those who feel their manuscripts are ready to publish?

First: Hang in there. It might be a long process, and that’s okay. There’s so much hype right now about writing your book in a few weeks, never mind six months (which is what our class was built upon), and what we’ve found with our own class is that we end up giving authors a strong foundation to continue. Certain books are emotionally taxing to write, and there’s a lot to learn.

Study your craft. Read other authors in your genre—please. Connect with other authors. Join writers’ forums and attend events. The road to becoming an author starts with understanding who’s come before you, and with social media you can actually connect with these people. Your journey will be that much more inspiring and less lonely as a result. And when you’re ready, seek out experts to read, edit, and help you figure out which publishing path is right for you. None of this should be done alone; it’s much more joyful with company.

Brooke Warner is publisher of She Writes Press and SparkPress, president of Warner Coaching Inc., and author of Green-light Your Book, What’s Your Book?, How to Sell Your Memoir, and the co-author of Breaking Ground on Your Memoir. Brooke’s expertise is in traditional and new publishing. She is the former Executive Editor of Seal Press and currently sits on the boards of the Independent Book Publishers Association, the Bay Area Book Festival, and the National Association of Memoir Writers. She blogs actively on Huffington Post Books and Brooke lives and works in Berkeley, California.

Visit Brooke at

Connect with Brooke on Social Media:

Examples of Boomers and Seniors Writing About Their Lives

As I’ve written in other posts here, I teach boomers and seniors (and others) to write stories from their lives. Our classes are moving, funny, exciting, suspenseful, and a whole lot of fun—and that describes the stories the students write.

When people tell me they have a pressing urge to write about their lives, but don’t know what to write about, I suggest they take a look at My Legacy is Simply This, a book of short essays by seniors living in various neighborhoods in Boston. The short essays were made possible by Grub Street, a prominent Boston writing institution, and the City of Boston. (Note: I have no affiliation with the publishers or writers of this book.)

No matter what age you are, these are stories you’ll enjoy, and what’s more, they can serve as examples for your own writing.

Among my favorites is the story of his dangerous career, recounted by William Boyle, a former fire fighter. As a young man, he helped quench the big Hotel Vendome fire, which killed nine Boston fire fighters, in 1972. Even after pulling dead coworkers out from the rubble, he still loved his work, especially because that day, he found his boyhood friend, alive in the debris.

Dorothy Parks is a woman who lives each day as if it were her last, as a result of the perils she faced in her travels, whether by train, ship, or air. Her essay is the funniest in the collection, as she recounts an absurd brush with death on an airplane with a wing on fire.

But most of those whose essays appear in the book write about ordinary aspects of their lives: their homes and hometowns, their children, their families, their careers.

If you’re looking for an engaging model for your own writing, consider reading this book. By the way, it’s one of five volumes sponsored by Grub Street and the City of Boston.

If you want to get the stories from your own life down on paper, I hope you’ll find the following posts helpful.

Writing Stories from Your Life
Supercharge Your Life Story with These Ideas
Teaching Creative Writing to Boomers and Seniors, Part 2

You don’t have to be a boomer or senior to join my Memoir Writing or my Writing Stories from Your Life classes. Just keep your eye on the Upcoming Teaching Events tab at the top of this page to see where and when I’ll be holding classes next.

Or, you can work with me privately, as many others have and do. Your choice. Just use the Contact tab at the top of this page to get in touch.

Free Memoir and Family History Writing Talk

Interested in writing memoir, stories from your life, or family history?

I’ll be presenting a free (and lively) talk on Tuesday 7/12 at Robbins Library, in Arlington, Mass. at 1:00. I hope you’ll join us. This talk could help you get started or work your way to the finish line!

Allyson Latta: The Best Memoirs Don’t Preach

I regularly check Allyson Latta’s web site for meaningful ideas for memoir writers. In her guest post that follows, Allyson explains how preachiness mars a memoir and she offers practical strategies for avoiding it in your manuscript.
– Lynette

Allyson Latta - photo by Keane Shore

Allyson Latta – photo by Keane Shore

We were sitting cross-legged on the floor in my apartment, three young women in our early twenties, debating as usual.

It was what we did in the evenings, a form of entertainment when, as university students, we couldn’t afford much else. The more controversial the topic, the better. On that occasion, it was abortion.

My two classmates were vehemently against abortion, under any circumstances. I argued that there were situations where it might be the only viable option. They were passionate and unyielding; I was outnumbered. As the discussion progressed I began to feel preached at, and a little resentful.

A year or so after that discussion, I was taken aback to discover that each of these women, as a teenager, had undergone an abortion.

While I empathize with their not wishing to disclose everything to me during that earlier debate, if they had trusted me with the truth of their experiences – and the fact that they had come to regret their actions – I would better have understood their vociferousness. What they had gone through couldn’t help but colour their views. Their personal stories would have given context to the discussion.

The past we see as meaningful shapes our thinking and who we become. As memoirists, we strive to structure and render vividly such life-shaping incidents. We endeavor to say something revealing and true – emotionally true – about ourselves, and in the process, humanity. But a potential pitfall is preachiness.

Just as holding back relevant backstory can render someone’s argument moralistic-sounding, so too can a writer’s heavy-handed delivery of a “message.” Preachiness, says Denis Ledoux, director of The Memoir Network, is the “negative underside” of theme. Every effective story, beyond its ability to entertain, has an underlying theme or themes, but in the desire to drive home our points, we can easily sound didactic.

Which presents the memoirist with a dilemma. Don’t we write our stories because we believe we have something important to say? Don’t we ache to impart some essential wisdom gained through our personal challenges? How, then, to do this without sounding self-righteous?

As teenagers we didn’t take kindly to being lectured to, and as adults we don’t much like it either. We have Aesop’s Fables if we want unwavering moral lessons. But in reading memoirs we’ll skim over boring, moralizing passages, or perhaps even toss the book aside. We crave something deeper: a story that connects us with the world of the writer and encourages us to reflect on aspects of ourselves in a new way.

Like most readers of memoir, I look for a believable narrator, one I care about, and a plot that sweeps me along. I want to be taken somewhere I haven’t been before, scene by scene. And those scenes need to bring to life the writer’s challenges and struggles, the consequences of those actions, and finally, a satisfying (if not always tidy) resolution. I want to see, and more importantly feel, the narrator undergo some sort of transformation.

Underlying themes – and this goes for fiction as well as memoir – resonate only when the characters and story are compelling. It never works the other way around.

In To Kill a Mockingbird, Harper Lee manages to condemn racial discrimination through a fictional story that’s as powerful today as it was more than 50 years ago. In the acclaimed memoir Wild, Cheryl Strayed explores truths about forgiveness and the healing power of solitude and physical challenge without clobbering us with preachy passages.

Each author, first and essentially, tells a good story well.

The path we travel as writers of memoir can be one of gratifying, if sometimes gut-wrenching, self-discovery. Yet we will almost certainly be humbled at what we find difficult to express, or can never know. “The first product of self-knowledge,” said Flannery O’Conner, “is humility.” Those words might be worth tacking above our writing desks.

The best memoirs don’t preach. They don’t purport to have all the answers. They’re honest, vulnerable, and searching, and even as they attempt to illuminate, they allow space for reader to breathe and interpret.

Ways to avoid preachiness:
1. Write to entertain. Don’t sacrifice story for theme.
2. Eliminate words like moral, message, lesson, and teach from your vocabulary.
3. Encourage the reader’s empathy for your characters’ struggles.
4. Focus on breathing life into your experiences on the page, not on exhorting readers.
5. Be honest; be brave. Don’t be afraid to expose your weaknesses. Readers will relate to your vulnerability. They will be more influenced by what you say if they believe you’re being emotionally truthful.
6. Use scenes, action and dialogue to make your points.
7. Write with compassion. Give voice to various sides of any issue, through your actions and those of other characters.
8. Portray yourself and other characters as multi-dimensional: not all good or all bad. Acknowledge and explore the complexity of their issues and attitudes. Oversimplification can come across as preachy.
9. Ask questions. Dani Shapiro, author of the memoir Devotion, said, “I wanted to use my own self, my own life, as a laboratory, using both my history and my present to ask myself some of the deepest questions I could.”
10. Avoid lecturing and putting speeches in your characters’ mouths (unless a particular character is prone to pontificating). Maintain your story’s pace; don’t get bogged down in persuading readers to your point of view.
11. Use humour, where appropriate. Some of our greatest lessons are learned through laughter.
12. Read your work out loud. You’ll home in on preachy passages.
13. Avoid tied-in-a-bow or over-explained closings. Your story will have a stronger and more lasting impact if you allow readers to glean its significance.

Allyson Latta is an independent editor of literary fiction and creative nonfiction. She teaches memoir writing online for the University of Toronto (formerly also for the New York Times Knowledge Network) and is available through UofT as an online mentor. Her love of travel has led her to teach English in Japan and creative writing in Arizona, Chile, Costa Rica, and Grenada. Books she’s edited have won national and international awards, including the Commonwealth Writers’ Prize.

Allyson holds a degree in Journalism, and worked as a reporter and magazine editor/writer before turning to book editing. Her website,, was recommended in The Writer magazine and features essays, interviews, and resources for memoir writers.

She hopes this guest post doesn’t sound preachy.

Lynette here, again. Have you found yourself moralizing in your memoir writing? Did you purge it from your subsequent drafts? Please share your own tactics—-or anything else–about avoiding preachiness in your memoir writing.

Clichés Bugging You? Me, too.

That's me, after hearing a cliche

I used to think of journalists as the leaders, rather than the lemmings, of our language. Well, maybe I was thinking of print journalists, New Yorker writers, who don’t go in for clichés as broadcast journalists too often do. They (and the self-aggrandizing pundits who appear on their shows) seem to have sunken happily into the sloth of clichés.

Old enough to remember the first Gulf conflict, when Stormin’ Norman and Colin Powell brought us “prosecute a war?” For months after that war ended, you couldn’t watch a news show without hearing someone mention prosecuting something—and they weren’t talking about a person or a courtroom.

On the Ground
There’s nothing like a war to stir up broadcasters to copy military terms and apply them long after those terms have anything to do with war.

I hear journalists using “on the ground” for just about any exciting event, especially bad weather. A tornado has passed through? They tell us they have a reporter on the ground, then ask the reporter: “Can you tell us about the situation on the ground there?”

War Zone
Most of us haven’t ever seen a war zone (thank heavens) except on TV. But anywhere there’s rubble, a broadcaster’s sure to exclaim, “It looks like a war zone!” The phrase has caught on to the extent that people use it to describe their offices and their teenagers’ bedrooms.

For quite a while after journalists began traveling as part of fighting missions in Iraq and Afghanistan, everything was embedded. Everything.

Order of Magnitude
Does anyone really know what an “order of magnitude” is? I hear it on the radio practically every day, particularly in reference to the escalating US debt.

Ugh. I don’t remember who it was, but someone wrote that you could just substitute “not” for arguably and come close to the truth. Try it.

Fiercely Independent
One of my longtime annoyances. Some family protecting its rights in Vermont is fiercely independent. The phrase is written as if its constituent words cannot be separated. Why is no one ever intensely independent? Forcefully independent? Ferociously independent?

The same goes for “companionable silence,” although I admit that one usually pops up in novels.

Why Do So Many Journalists Employ Clichés?
The habit of leaning on clichés could be tied to the pressure of writing stories under tight deadlines (or just plain lazy brains). So, I asked Shari Lopatin, a journalist who doesn’t rely on clichés, for her take on the subject.

“As a journalist and media strategist, one of the first lessons I was taught in journalism school, was to avoid clichés. And I try my darned hardest to stick to that lesson! Nevertheless, those clichés will arise inevitably. Have I noticed a rise in the clichés used by other journalists? Not any more than I’ve seen in the past.

“I cannot think of specific clichés that rub me the wrong way (catch that one?). But I have other pet peeves in print-and-broadcast writing that drive me bonkers—such as beginning a sentence with ‘There is.’ Or adding too many ‘thats’ to a paragraph. I understand the pressure that comes with writing news under deadline, but I always try to go through my work and check for clichés before submitting it. Because the best writers and journalists think outside the pen.”

Mired in clichés yourself? Try Phrase Finder. And see: Are You Addicted to Clichés? Help Is On The Way!, by Russell Working. He’d also be grateful if you’d take a look at the trailer for his book, The Hit.

Add the clichés that bug you in the Comments below.

In my next post I’ll rant about rampant incorrect usage: “Hopefully,” anyone?

Book Review: Women Writing on Family

Click the cover image to learn more about this book

Interest in genealogy, family history, and memoir* is so intense these days it’s about time a book to guide writers working in these genres became available.

Women Writing on Family: Tips on Writing, Teaching and Publishing, an anthology edited by Carol Smallwood and Suzann Holland, is that book. Smallwood says she was led to compile the collection when a novel she was working on raised questions concerning writing about her relatives.

“How much to tell, how much to leave out?” she wondered.

When no books came to her aid, she decided to collect essays by published women who were also experienced in writing about families. Why did she choose all women? She recalled Virginia Woolf’s observation: “We think back through our mothers if we are women.”

With eight sections (including one on “Writing Exercises and Strategies”) and 55 essays, Women Writing on Family can help women writing about family stay out of court on charges of libel from irate relatives; carve out writing time from frantic schedules; approach editors in the hopes of getting published; and promote their work—whether self- or traditionally-published—to the public.

In the opening essay, “Family Secrets: How to Reveal What Matters Without Getting Sued or Shunned,” Martha Engber takes writers on a tour of their—and others’—First Amendment rights, and offers tips on protecting yourself and those you write about.

Lela Davidson’s “Laundry, Life, and Writing: Making the Most of Short Sessions and Stolen Moments” (Don’t you love that title?) shows writers how they can make brief bursts of writing productive.

As a writing instructor, I tell my memoir-writing students not to bother writing paeans to their perfect childhoods. I won’t believe them and neither will anyone else. In her no-holds-barred essay, “How to Write a Childhood Memoir,” Catherine Gildiner lists the unpleasant memories writers should be willing to excavate from their own pasts, warning that writing a memoir “takes nerves of steel.”

If you’re ready to propel your story out into the world, take a look at “Identifying Potential Markets for Family Writing,” by Rebecca Tolley-Stokes, “Locating Markets for Writing About Family,” by Colleen Kappeler, and “A Writer’s Thoughts on Book Marketing,” by Ann McCauley. All three contain a host of valuable ideas for sharing your writing with larger audiences than your family.

*According to Booklist, the number of memoirs alone published over the last four years increased 400%.

If you’re up to exploring more hard-hitting memoir topics, see Supercharge Your Life Story with These Ideas.

Quit Complaining and Write

In my roles as a reader, writing instructor, and coach, it’s my job to encourage writers. And there’s little I enjoy more. I want to see more writers writing, and more good work published.

But those writers who’ve been fooling with Chapter One for two years, who can’t get the story down because the little time they devote to writing is spent tweaking those first 15 pages?

The ones who insist they’re preparing to write when what they’re actually doing is caressing the new writing tools they got for Christmas, or shopping for color-coded stickies at the stationery store?

The ones who tell me their latest accoutrements are just what they need to make significant progress on their book? Encouraging words for those writers? Sorry. I’ve run out.

These are not my students. The “writers” I’m referring to haven’t found time to take a class with me or anyone else. Instead, they accost me after I give a talk on writing or when I’m on my way into the library for some focused writing time.

I’ve Heard All the Excuses
For years I’ve nodded patiently while listening to these writers list the reasons their lives are busier than other writers’ lives.

I tell them about Margaret Walker and countless other women and men who had children to rear on little money, or struggled with illnesses—their own or their family’s—or scrambled to subsist in war torn areas—but still wrote and published their work.

The wannabe writers smile sheepishly. “You’re right,” they say, earnestly. “I know you’re right.”

I tell them to take a writing class of their choice; it needn’t be one of mine. A class will help keep them accountable.

But when I next see them, they offer a new raft of excuses.

Do You Really Want to Write—or to Have Written?
Brenda Ueland wrote If You Want to Write, a wonderful book for aspiring writers. Go ahead and read it.

But if you really want to write, stop talking about it. Quit complaining. Give up the excuses. (You can’t come up with any I haven’t heard ad nauseum.)

Don’t grab me to whine when I’m on my way to write or to teach. Just sit down and write.

If you’re an aspiring writer who’s running out of time, you might want to read Finding Time to Write.

If you’re running out of excuses, bookmark Excuse Editor. You’ll get spot on tips and gentle nudges that can help you. Or, at least read Writer’s First Step: Show Up.

Finally, I recommend this post: Hardworking vs. Talented.

For more writing tips, please follow lynettebenton on Twitter.