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“I'm in Washington Square Park wishing I could write a poem, the poem that would help. Poetry doesn't help, money helps. I know I don't believe that. What to do. Observe, observe, observe. It is my new mission to lay back and observe. Put less of myself out there and listen more.”

That's memoirist Janice Erlbaum writing a blog entry in 2005, reflecting on life changes that would ultimately bring her in contact with a teenaged runaway named Sam. (She had just finished her first book, Girlbomb.

Erlbaum would keep writing as she came closer and closer to this troubled girl, and that journey is recorded in her new memoir, Have You Found Her.

Today, Erlbaum explains how she ended up becoming a writer and how she supported herself over the course of her career--all the nitty-gritty detail that can help a fledgling writers think about their own lives.

Welcome to my deceptively simple feature, Five Easy Questions. In the spirit of Jack Nicholson’s mad piano player, I run a weekly set of quality conversations with writing pioneers—delivering some practical, unexpected advice about web writing.

Jason Boog:
While writing and living this book, you also maintained a freelance career. This can be a very difficult lifestyle for a writer. How did you hold your life together, both financially and emotionally, during those early years before your first book was published?

Janice Erlbaum:
Most of my freelancing involved my books, and my steady gig as a columnist for BUST magazine, and thank god for that – I’m terrible at pitching articles and drumming up piecework. Continue reading...

That's the introduction to the six-word memoir collection, Not Quite What I Was Planning, where the editors explore the emotional range that they discovered in the thousands and thousands of submissions they received.

The book was edited by Larry Smith (founder of Smith Magazine) and Rachel Fershleiser (senior editor at Smith), and today they both explain how they manage and organize their writing projects. 

Welcome to my deceptively simple feature, Five Easy Questions (this week, each of our guests get two-and-a-half easy questions).

In the spirit of Jack Nicholson's mad piano player, I run a weekly set of quality conversations with writing pioneers—delivering some practical, unexpected advice about web writing.

Jason Boog:

Rachel Fershleiser: 

"[Why not] make the elevator a moving improvisational performance space, turning your elevator ride together into more of a theater-of-the-absurd type of situation. It may go something like this: 'Man, have you ever installed a door on the ceiling? Whew, tough work.' 'No, I never have ... just cabinet doors in dirt.'"

That's Jeffrey Yamaguchi, editor of the action-packed blog 52 Projects, inventing a new art form in his anti-business handbook, Working For The Man.

Today, I caught myself having the same kind of meaningless elevator patter on my way to the dayjob. This weekend, I'm going back to the writing table, just like you. Yamaguchi has some good advice for all of us.

This week he's our special guest on my deceptively simple feature, Five Easy Questions. In the spirit of Jack Nicholson's mad piano player, I run a weekly set of quality interviews with writing pioneers—delivering some practical, unexpected advice about web writing.

Jason Boog:
Your book has plenty of wacky advice for keeping sane in an office, but I know you must have had some real-life struggles while writing this book. How did you balance your 9 to 5 job with this project? Any serious advice for how writers can write on the side without letting their day-jobs interfere?

Jeffrey Yamaguchi:
I used my own advice, and also failed at using my own advice. It’s a battle, you know, to balance the day job with the writing efforts. Continue reading...

Did your dayjob hurt your writing?

I've asked lots of writers that question, most recently in this video interview with National Book Award winner Sherman Alexie and NBA finalist Joshua Ferris.

Sometimes, you just need to leave that dayjob. Jeffrey Yamaguchi has an interview with writer Lilit Marcus about her work on Save the Assistants--a web project that saved her writing career. Check it out:

"In the year since Save the Assistants launched, I've been able to actually make my living as a writer. But no matter what happens, I can never forget what it was like to have a boring, soulless, depressing job. I will never be able to totally let go of the feeling of emptiness I had when I worked there."

Elsewhere in the virtual literary world, Tao Lin takes his signature brand of writer porn to the pages of The Stranger, writing about "the levels of greatness a fiction writer can achieve in america."  

Finally, the madcap political reporter, Matt Taibbi, has a few choice words for fledgling writers. Read it and weep:

"What journalism really needs is more people who are reporting who actually know something. Instead of having a bunch of liberal arts grads who’ve read Siddhartha 50 times writing about health care, it would be really nice if some of the people who are writing about health care were doctors." (Thanks, Romenesko)

Thousands and thousands of writers are really stressed out right now... 

Over at The Hufffington Post, Rachel Sklar has a brilliant roundup of all the web videos, blog posts, articles, and speeches created by striking WGA members. Follow her links and send some love to screenwriters of the world:

"see our Writers' Strike Opinion Page!... see this video featuring various showrunners from Lost, ER, Family Guy, Scrubs, The Shield, King of the Hill and The Office stepping up for their writers; Garry Marshall — creator of Happy Days, The Odd Couple, Mork & Mindy and Laverne & Shirley — giving some perspective on his fifth strike; and "Buffy" creator Joss Whedon, who explains that it's not about more money but a fair share when the studios make more money"

This strike is happening, in part, because it's really hard to scrape together a living as writer in an economy rocked by online media--we all end up doing too much work to compensate. If you feel swamped, read Urban Muse's post about how to beat writing burnout. 

Finally, even writers with dayjobs struggle to keep balanced. Last night podcasting author Felicia Sullivan interviewed Jeffrey Yamaguchi about his book, Working For The Man. Follow this link to the interview (click here and press play on the player on the right-hand corner). Around 20 minutes in, the pair discuss the fine art of writing your novel on the dayjob clock.

One of the main reasons I started this website was to ask the questions that I never had answered during graduate school.

I'm sorry if I sound like a broken record, but I think all fledgling writers need to know how published authors made it to their first book. I ask every writer a simple, crucial question: How did you survive the hard times, how did you balance your writing life and your day job?  

Today, I asked Brian Francis Slattery, a first-time novelist and editor who rocked the literary world with his trippy new novel, Spaceman Blues.

His answer will surprise and hopefully inspire you, part of my deceptively simple feature, Five Easy Questions. In the spirit of Jack Nicholson's mad piano player, I run a weekly set of quality interviews with writing pioneers—delivering some practical, unexpected advice about web writing.

Jason Boog:
You have a day job as an editor. How do you find time and energy to balance your day job responsibilities and your creative writing side? How did you stay sane during those early lean years as a graduate student, writing this book with what I imagine was a pretty crowded schedule?

Brian Francis Slattery:
That's a good question. I'm not as disciplined about it as I should be; I just try to find time when I can. Continue reading...

"As the younger brother takes my picture, he asks why the newspaper is doing a story on me. 'Oh, I'm a writer,' I tell him. I'm too embarrassed to say I'm running for Congress. I make sure he digitally fixes my turkey neck and softens my wrinkles before we e-mail the photo to Folio Weekly in Jacksonville."

That's just one unvarnished moment from author Richard Grayson's epic political memoir for McSweeney's magazine--a first-person look at how it feels to be steamrolled by a political machine, Diary of a Congressional Candidate.

Besides being a Five Easy Questions graduate, Grayson's career has already included more hats than most writers wear in an entire lifetime: lawyer, political candidate, activist, and teacher. 

Today he weighs in with some very level-headed advice for young, frustrated writers. I know many of you have felt these pressures to find a more lucrative career, but Grayson reminds us that those are dangerous impulses.

"Do not go to law school because you are frustrated with your writing "career." You should go to law school only if you have gained a realistic sense of what to expect from law school and from a legal career and considered and ruled out other fields," he writes.

Check out Grayson's bid for Congress, another step in a life full of suprises. Let's see how his new political adventure turns up in his writing.

Besides playing in the rock band, Richmond Fontaine, our special guest this week has worked as a warehouse worker, house painter, and writer. 

Today, Willy Vlautin explains how he survived the lean years to write his first novel, The Motel Life--a story that can teach us a lot about endurance and balance as a fledgling writer.

Welcome to my deceptively simple feature, Five Easy Questions. In the spirit of Jack Nicholson's mad piano player, I run a weekly set of quality interviews with writing pioneers—delivering some practical, unexpected advice about web writing.

Jason Boog:
You've had countless jobs to support yourself over the years, but your band and your writing have been your focus. How did you survive the early lean years when nobody believed in you and you were working too many jobs? Any advice for young artists looking to balance their work with a pile of other commitments?

Willy Vlautin:

I hadn't had much success with music or writing for years and years. Maybe 20 years. Continue reading...

"'The funny thing is that if you were a millionaire like some of these managing directors shaking down seven figures a year, you'd have known to push your way ahead and fill your plate. Rich people can't get enough of the free stuff.' Walter shrugged. There was no reproach in his tone; in fact, there was a wistful admiration in his voice, as if he were beginning to understand how the world worked."

That's a bit of clever dialogue and a life lesson from first-time novelist, Min Jin Lee.

She converted her experiences of rubbing elbows with money and power in the novel, Free Food for Millionaires. Lee will be our special guest next week, serving up practical life lessons from her writing career.

Welcome to my deceptively simple feature, Five Easy Questions. In the spirit of Jack Nicholson's mad piano player, I run a weekly set of quality interviews with writing pioneers—delivering some practical, unexpected advice about web writing.

Jason Boog: 

It took you five years to finish this book. How did you survive the rejections and struggles of your difficult first-novel days? How did you balance your day job and your writing career?

Min Jin Lee: 

 I found the rejections and struggles very difficult. After my first novel was rejected, and after I realized that I couldn’t finish my two other novel attempts, I was demoralized. Continue reading...

There's no handbook in the world that can prepare you psychologically for the absurd pace of freelance writing. 

A few months ago, I was struggling to balance my day-job and my freelance work, and I stumbled upon Susan Johnston's practical interview with first-time novelist, Min Jin Lee.

Listening to Lee explain how she converted her legal experience day-job into a novel, I realized I needed to check her out.

I finished reading her first book, Free Food for Millionaires last week, and I'm pleased to announce that Min Jin Lee will be our special guest next week, answering questions about outlining novels, writing transitions in your work, and how to stay sane as a writer and mother.

If you can't wait, check out her inspiring Urban Muse interview:

"Rejections hurt. I don’t know how to make them not hurt. But this is what I will say about those of us who still feel the sting of naysayers—vulnerability is a kind of strength for writers."

Ack!

Once again, I return at mid-day from my day-job with a late, late post. When life gets busy, I sometimes ask myself, why keep this blog? I love doing it, but sometimes it really gets in the way of normal life.

I'm sure you've thought the same things about your own projects, but today, two of my favorite writers reminded me of why I blog--and why every writer should learn how to play online.

Jeff Jarvis makes the first point, in an off-handed, yet inspiring, set of links that all fledgling writers should pay attention to:

"Neil McIntosh has damned good advice for journalism students, following up on a report about the state of j-schools and technology, below: 'Again, for those at the back: if you think you want to be a journalist, I now don’t think there’s any excuse not to have a blog. The closer you get to looking around for jobs, the better it should be maintained.'"

Besides the professional resources, connections, and inspiration blogging has taught me, the form has also helped me learn the art of the practical interview. After reading thousands of posts, I've learned to ask the questions that matter most to me (and hopefully to you too!). 

The lovely novelist Heather McElhatton said it much better than me:

"Jason B, who posts The Publishing Spot, did an interview with me and got some very non-schlocky answers out of me. You know when you do a book tour and eighty people ask you the same question, after awhile you tend to answer them the same, creating for yourself a bit of a saccahrine 'pat' answer. Jason asked some stuff that got me to crack open a bit."

There are plenty of books that tell you how to become a better writer, technically. However, very few books will give you advice about how to survive while being a writer.

That's why I ask every Five Easy Questions guest how they balanced a day job and a their writing career, because those survival tips can save your life. 

Over at SlushPile, there is an essay about the Holy Grail of writing handbooks: 

"I’m talking about a resource that breaks down publishing contracts and business manuvers into minute detail. Pat Walsh’s 78 Reasons Why Your Book May Never Be Published and 14 Reasons Why It Just Might is probably the best in regards to the mechanics of the industry. I wish there was a publishing equivalent to Marc Ferrari’s Rock Star 101: A Rock Star’s Guide to Survival and Success in the Music Business."

Well, I might have found the answer to that question over at the MFA Blog, where Austin Kleon is writing about a Marriage Guide for Writers. That writer is plugging the writing handbook, Word Work: Surviving and Thriving as a Writer, which seems to be dedicated to the business of staying sane as a writer. No small task...

"[T]here was waitressing and photography school, an MFA, decent success as a short-story writer, and a downright solid career as a radio producer, which allowed her to rub elbows with the likes of Rushdie. (She currently hosts an occasional live variety show, Stage Sessions, which can be heard on MPR.) For her, the end of the chapter didn't read, "Sell novel, flip to page 86. Live life in obscure penury, flip to page 119."

That's a brief look at novelist Heather McElhatton's crazy resume before she finished her choose-your-own adventure book for adults, Pretty Little Mistakes.

Her book lets readers explore some fictional and semi-autobiographical paths that a life can take, a very addictive formula for a novel. She's our special guest this week, and today she tells how a radio career helped (and hurt) her writing career. 

Welcome to my deceptively simple feature, Five Easy Questions. In the spirit of Jack Nicholson's mad piano player, I run a weekly set of quality interviews with writing pioneers—delivering some practical, unexpected advice about web writing. 

Jason Boog:
You've spent a lot of time working on some of the world's best radio programs. How is writing for radio different than writing on the page? How do you conceive and pitch stories to radio producers? Any advice for writers looking to break into radio writing?

Heather McElhatton:
I think writing for radio might have really damaged my "literary abilities."

Like you, I juggle way too many jobs in the fight to keep writing and support myself. When I asked novelist Heather McElhatton (author of Pretty Little Mistakes) how she survived our frustrating lifestyle, she had a beautiful answer:

"Single moments can sustain you. Moments with friends, pets, nature, favorite TV shows, cocktails, other people's writing, poetry, chocolate, whatever you have to survive on, use it to get to the next day."

In other words, TAKE A FRIGGING VACATION! 

That's what I'm doing right now. Sorry for the light posting as of late, I am running around my hometown of Ionia, Michigan, home of that courthouse spire you see on the left. I am relaxing, relaxing and relaxing.

Our regular two-post schedule resumes next week, but this week enjoy the Heather McElhatton interview--she is sharing advice about radio writing, web page building, and choose-your-own-adventuring noveling.

It's like a vacation for your brain too. See you next week...

In novelist Heather McElhatton's City Pages profile, the author grimly describes your life before publishing her first book: "35 years old, living with her mother, having just heard from her agent, 'Honey, there just isn't anywhere else to send it.'"

If that description doesn't give you the shivers about your own writing career, then you are either a trust-fund baby or a bank robber who writes books on the side. Writing is a hard, thankless, low-to-no-paying job, and it is hard to know how to survive the lean years.

This week McElhatton is our special guest, explaining how she survived that early-life crisis and wrote a choose-your-own adventure book for adults. Her twisty book Pretty Little Mistakes lets readers actually choose where to take their heroine over the course of the book. 

Jason Boog:

How did you survive this frustrating time? What's your advice for any writer hoping to cope with "the grueling tar pits" that all first-time writers face in this crazy writing business?

Heather McElhatton:  
You survive it because you have no choice. Continue reading...

It's tough finding readers these days. Would you go find them at work?

The SF Chronicle reports that new publicity companies are seeking readers at workplace readings for corporate audiences--staging brown bag lunch readings series or full-fledged presentations at work:

"'At public bookstore events, 10 to 20 percent of the people buy books. At corporate events, 50 to 80 percent buy books and attendance tends to be higher,' she said. Plus, some companies, like Google, buy the books on behalf of their employees, often in orders of a hundred copies or more." (Thanks, Galleycat!)

Over at the West Coast literary journal, ZYZZYVA, editor Howard Junker asked a number of established writers how and where they had their First Time in Print. It's a demystifying look at the early lives of some of our favorite writers. 

Finally, if you are in New York and free tonight at 8 o'clock, I'm reading at the Anthology Film Archives tonight as part of the MDP/Sensei Bazaar--featuring short films, two bands, and three stories. What more could you want? My story was planned so quickly that the flyer spells my name "Jason Bogue" instead of "Jason Boog." Check out the sponsoring art gallery here.

My little guy has nut allergies. ALL NUTS, that's: tree nuts, peanuts, soy, sesame, no mango's for this guy allergic, scary swelling allergic. Yep, he is one of the children in an ever growing epidemic. As part of a society that has quickly become safety crazed with car seats and helmets, gates and guards, monitors and alarms, one little nut could prove to be lethal. So as I prepare to send him off to preschool this fall I wanted to make some t-shirts for him to wear so his teachers can more easily identify him.
This is the first attempted design. I will post more as I have time.