This morning, Angie went down to our local freeway overpass to hold NO ON 8 signs, alongside the imported yes on 8ers. The boys and I started to clean the house, and then we got a call from Angie that the yessers had huge signs strung all along the fencing, and she was there with only one other person.

So I called someone and she called someone and then I called my mom. Then I changed diapers and went off to drop the boys at a park with my mom and join Angie. By the time I got there, there were just two yes guys and their one big yellow sign, and several older women (my mom’s age) had shown up and were pressing a no on 8 sign against the fence, with the wind pushing back at them. I held a big tarp sign with a woman who teaches at Los Positas Community College. She told me that many of her students were voting for the first time today.

It was freezing on the overpass, and while we got a lot of thumbs up and honking from the west-to-east side, the folks going the other direction–who had the yellow yes sign to react to as well–seemed a lot more conservative.

I found myself feeling so angry. I wanted to turn to those yes on 8 men and say, “What does it feel like to be on the wrong side of history, the wrong side of family and the wrong side of Christianity??” They seemed more jovial than I–sort of that “we’re all in this together” feeling that you can get when everyone is pressing signs against the wind, and streams of traffic are gushing under your feet, shaking the cement structure on which you stand. I did not share their joviality, perhaps because this is my family and my marriage we are voting on.

This could be the most momentous, historic occasion of my entire life, past and future, if things go my way. If things go really, really wrong, I’m going to feel like getting out of here, though some folks on Talk of the Nation today suggested that this was an unsportsman-like attitude. In general, my slogan is that of Mother Jones: “Pray for the dead and fight like hell for the living.”  But I do want to keep my loved ones on one side of that line for as long as possible.

Meanwhile, I’ve pounded out 6017 words on my novel in the past three days. (I will start chugging on my next 1667-2000  words when I finish this blog.)  I always say that it is easier to write than to think about writing, but of course it’s easiest of all to do neither. At the same time, I get irritable and draggy when I stop writing for long enough. My father used to say, “If only coffee tasted the way it smells . . . ” (Angie says that it does, but then she is on a slippery coffee slope.) I wish that writing felt like reading feels.

The closest I get to that is when I just keep writing, past the extreme judgments of my inner editor (how come my inner editor is in there with my inner child and she still has time and brain power to be so harsh and detailed? Shouldn’t she be changing diapers or something?), past the hiccups and the slow, uphill inclines, past the raging uncertainty . . . and did I mention the judgments?

I think critics, inner and otherwise, are a little like yes on 8ers. They are angry and negative about something that really had nothing to do with them. There are, for example, a certain number of people who are really angry about NaNoWriMo. They say that it brings thousands of crappy manuscripts into a world overrun with manuscripts and makes thousands of people believe that they are writers when they are not. And the people opposed to gay marriage seem to feel that marriage is unravelling if all these extra people get to get married, as if we are producing shoddy relationships in a world overrun with relationships . . . Okay, I might be working too hard or not hard enough at this metaphor. I am sugar-filled and caffine-walloped and sleep-deprived, so I hope you can bear with me.

What I am trying to say is that people writing crappy manuscripts and people creating unorthodox relationships are NOT A THREAT to the establishment. People who write crappy manuscripts are more likely to buy published books and to read them well. People who are getting up together each day to figure out how to make breakfast, get everyone dressed and out the door, keep the house clean and the laundry done, make a living and have quality time with the children and each other are not ripping at the fabric of traditional marriage.

One literary-political note. In plots, when things are looking really good for the hero and you’re fifteen, twenty minutes from the end of the movie or, say, a quarter of the way to an eighth of the way to the end of the book, what are you thinking?

You’re thinking, in the immortal words of my sons, Uh oh. We know the rhythms of plot so well when we are consuming it (creating it is a different story for some of us). It does not bode well for our guy when things are looking up too far out from the end. And it’s been going well for Obama for a while now. Better and better. I hope that real life will do as it often does and rebutt our understanding of plot and just soar right on to victory.

Because it felt incredible to walk around Whole Foods today, grocery shopping, and look at all the people who populate my world and think, “We just might be electing an African-American man president today.” I want my boys to come to consciousness with a man of color in the White house. I want them to think that if it was ever another way, that was a long time ago, back in the last century . . . Besides which, our Cobra insurance coverage runs out next year, and it would be great to have an alternative to Kaiser . . .

I have yet one more undeveloped thought. As you know, we’ve never made any kind of reparations to the many Americans whose ancestors were enslaved in this country. I know that Obama may not be one of these, except possibly on his mother’s side, since we are all quite a lot more mixed up than we pretend. But it occurs to me that all this fear of “redistribution of the wealth” taps into a national knowledge that the original distribution of the wealth was acquired by theft and murder, and that a Black president might look at reparations in an entirely different way. I think the fear of redistribution of the wealth is a fear of honest reparations being raised as a real issue–some seriously messed up mortages coming due with a big balloon payment.

But walking around today, I felt excited. I felt like we might be able to do something far beyond reparations, and move right on over to fairness and representation and something that actually looks like democracy.

I had so many wonderful folks take the challenge and enter into my giveaway. I took one of my boys’ lesser masterpieces and tore it into little pieces, each with a number (corresponding to a comment) on it. Needless to say, the boys loved these little scraps of paper with their haphazard pen marks scrawled across them, and are this very minute in the living room crumpling them into balls and pushing them into Angie’s mouth.

(I have to say that when it comes to their art, I am at my most subjectively parental: I think they are absolutely fantastic artists, that the scribbles and the block sculptures and the sand piling at the bottom of the slide all exemplify true artistic brilliance and hail unbelievable future talent. Maybe I’m right. Maybe I’m their mom. Maybe both. We’ll see . . .)

Anyway, Leo insisted on being the one to draw the numbers, which he did well, though it took about fifteen minutes to persuade him to let us see the two clutched in his tiny (though for a baby rather mitt-like) fists.

And the winners are . . . Alison and Mari (numbers 3 and 7).

Congratulations to Alison and Mari for winning free tuition to my course, Gathering Your Materials. Please be sure to get in touch with me by Tuesday for information about how to register for your course, or I’ll have to have Leo pick some new winners . . .

But wait, there’s more. In creativity, capitalism’s shortages and hierarchies do not apply. Everyone can be a winner.

As read through the comments, I realized that I, too, got lucky through this drawing. I have been moved and inspired by everyone’s willingness to share their hopes, fears and aspirations for NaNoWriMo 2008.  And that’s what writing is, the wandering into the darkness, not knowing the path, but trusting that the road will rise to you.

Gathering Your Materials helps lift the road a little higher by  offering inspiration, technique boosts, community, structure, deadlines, and coaching. And if you need it, emergency aid. I’ve got 45 days packed with the support and encouragement you need to write your manuscript.

So, in the spirit of continuing to build community, I’d like to offer a 25% discount to all you folks who took the time to enter the drawing.  That means that instead of $140, you can take the Gathering Your Materials course for $105.  If you are interested in signing up at the reduced rate, email me by Wednesday with your comment number, and I will send you directions, as the website is not set up to offer the discounted rate.

And everyone is invited to register for this amazing course at http://www.elizabethstark.com/courses for the still unbelievably low tuition of $140 for six weeks of daily inspiration, structure and craft guidance: an action-packed novel-writing course.

Congratulations again and thank you to all of you who joined me for this drawing.

There will be a FREE EVENT posted soon, so keep an eye on this blog.

Now, write your book . . .

My youngest son has apparently learned the word, “Shit.” Not sure where. Must be the babysitter. Or Grandma. Sh*t! Now he is holding the dustpan, which is about the same size as himself, and saying the offending word again and again.

In other news, today is my birthday and the day before my sudden marriage, and in honor of these occasions, I am giving away two spaces in my amazing course. It is not terribly immodest of me to say this because the course includes an amazing community which we’ve already started to build this month in the Framing Your Book stage. It also includes technique boosts, inspiration and encouragement, coaching and emergency aid.

For the first month, you can and should also sign up for NaNoWriMo, which will help you get through your first 50,000 words. Then Gathering Your Materials will keep on going until you have a full-length book manuscript. And whatever the condition of that manuscript–don’t worry: from mid-January through February, I will offer a revision course.

Here’s the thing: most people secretly want to write a book. Some of those people have never written a thing and others have published, but still it’s sort of a secret. Like calling your own course amazing, admitting you want to write a novel in a country that doesn’t greatly value art carries with it a bit of shame, I suppose.

When I was about thirty, I started taking hip hop dance classes. I am pretty bad at it, and I was taking the classes in New York, where other participants included chorus dancers for Broadway shows and serious club folk who tear up dance floors on a regular basis. As I danced with my mirror-image, I often found myself saying to myself, “I can write. I can write.” But by the time I was thirty, I knew that life was too short to do only those things I was good at. I had to dance, whether I could or not.

So should you write a novel whether you can or not. But everyone needs that guy or gal at the front of the classroom showing them the steps–again and again and one more time. For Gathering Your Materials, I am going to be that person–through podcasts, online forums and Skype phone calls. Yes–we have folks in Georgia, Los Angeles and Emeryville in our group. (Note bene: I will not wear any spandex, which even online would not be a pretty sight.)

So . . . throw your hat into this novel-writing circus ring. ALL you have to do is post a comment, and I will put your name in a hat, and draw out two lucky winners who will be inundated with inspiration and creative encouragement for six weeks. You know you have a book in you. I know you have a book in you. (Angie adds: This is a cheaper way to get it out than going to the doctor . . . )

Tell your mother. Tell your co-worker. Tell your favorite writer.

Sure, sometimes, like Charlie, you’ll find yourself saying, “Shit, shit, shit” for the sheer pleasure of the sound or the reaction on the faces of the people around you. Sometimes, you’ll be saying, “I can dance” or “I can run a seven-minute mile” or “I can tell you everything you’ve ever wanted to know about Grey’s Anatomy.” Sometimes, just sometimes, you’ll think, “This is amazing.”

“Whatever works” is the motto of the six-week-novel.

You have until Oct. 24 to post your comment, and then the winners will be declared. Go on. I dare you. Get ready to write your book.

I am in the process of ushering some folks through the planning stages of writing a novel, in preparation for my upcoming course, Gathering Your Materials, which will operate in conjunction with NaNoWriMo but go much further.

Somerset Maugham is sometimes credited with saying, “There are three rules for writing a novel. Unfortunately, no one knows what they are.” Someone else talked about writing a novel as being like driving across the country in the dark: you can only see the three feet in front of you in the headlights, but you can go all the way like that. (The original quote, needless to say, is a heck of a lot more elegant.)

The main thing I’ve learned from both writing and teaching is that it doesn’t matter how it is done, it matters only how *you* do it. When I taught in the creative writing program at Pratt Institute, I worked for a whole year with fifteen creative writing majors. One of my assignments for them was to create a contract with themselves and me for the work they would do over each semester and how that work and its quality would translate into a grade. Each student had to contract individually, and what I noticed was that everyone came in to our initial conference and said something like, “I tend to write abstract poetry, so I am going to focus on narrative.” Or, “I tend to write really long, epistolary novels, so I am going to try flash fiction.” If they found that they stayed up for long weekends, hardly sleeping, and produced copious quantities of prose, they decided to force themselves to write for an hour each day. If they wrote best in the park, they were going to try to work at a desk. If they preferred to journal, they would try the computer, and if they read for inspiration, they were going to put those books aside.

This tendency–for the creative to try to reinvent themselves–is not isolated to my Pratt students. There are times when it seems that becoming an entirely different person would be easier than facing that next revision or approaching today’s blank page.

So the question is not, HOW do you write a novel? It is, How do YOU write a novel? And the answer, always, is that you write a novel in the same flawed, frustrating way that you do anything else in your life. Are you a list maker? Are you a fumble-blind-refuse-to-look-at-a-map-nik?

I guess this was the epiphany of my life, because I feel like I’ve written about it in every blog entry, but when I was giving birth, when I was waiting to be able to push my baby out, at a moment when most people have moved beyond language and become the animal beings that we all are, I was repeatedly asking, “What’s the plan? What’s the plan?”

So I am going to propose that changing who you are is about 700 billion times harder than getting down to business with the tools you’ve adapted to your own crazy way in.

Still, I am teaching a class, which is to say, I am offering myself as a sort of a guide, and in order to do this the best way I can, I asked myself, what do you need to write a novel? My answer is: some sort of framework (plot) to keep the thing up off the ground; a novelist’s instinct, so that you create vivid scene, characters, dialog, and so on, so that, in short, you write a novel and not a tract; and then another framework with which to approach the thing once it’s piled before you (likely, on your screen). And this is what I am offering in my courses, more or less.

Last year, when I wrote a novel draft in six or seven weeks, I started only with an idea. It was an idea I’d been harboring (and confessing) for about fifteen years. But it was only an idea. Now, rampantly, each night, it became a specific story with a protagonist who was in trouble. Lots of trouble. I had no idea what he should do, honestly.  I was still learning a lot of basic things about being a parent of two, and other basic things about writing 2000 words a day, and I had little to offer by way of advice for this guy chasing down priceless documents that offered him personal and professional redemption and the chance to turn at least his particular world upside down.

But because I had to go into a room and stare down the screen and make things happen, I did. Night after night. I winged it. And I learned a lot from winging it.

Now in the title of this blog, I am trying to make prayer stand in for planning, for asking for advice, for thinking ahead and staving off the trouble you can get yourself into if you do not. This may stretch the definition of prayer–or it may come kind of close to matching it. But go with me, if you will.

I have given all of these assignments to my students so that they may plot their novels, and I am giving myself the same assignments. (I marketed this as the course I wished I’d taken last year, and so it is.) But I notice that I am a little bit reluctant to give up on winging it, to see what emerges out of my head or heart or fingers or whatever it is that steers the story when I have two hours to produce 2000 words, bleary-eyed and sleep-deprived.

At the same time, I have the manuscript from last year, and even though I think it is the best thing I ever wrote, it still needs support in many places where it sags to the ground, and it needs cropping where I resorted to babbling (in character) because I was waiting for something to happen and I had no idea what that might be. And if I could save myself the trouble of some of that, I suspect there’s something I’d get in exchange, which is a different level of discovery.

It’s the difference between being told a story–say, how your parents met–and being transported to that time and place to be the proverbial fly-on-the-wall. What I mean is, without knowing anything much about my plot and character going in, I am essentially telling myself the story, listening for what is going on, what happens. But if I know what happens, then I am going in to learn what the textures and subtleties and meanings are in each moment, in each room, between people. I am creating the experience for myself.

There will be discoveries all the same, but instead of discovering the plot, I will be discovering the flesh of the flesh of the story.Or, to revert to my original metaphor, a little wind beneath the ol’ wing may loft me to a better view . . .

Okay, I stole this title from Barbara Sher (the Wishcraft lady), who has a book entitled I Could Do Anything If Only I Knew What It Was. I am about to usher myself and a passel of writers and hopefuls through the process of planning and writing and revising a novel.

In October, we will plot and plan, write about writing, fumble and feel and think our way to the stories we think we will tell. In November and half of December, we will write our a**es off, at a minimal rate of 1667 words/ day. In mid-January, after a respite for perspective and recovery, we will gather again to see what these books are about and to begin to revise them.

But right now, we are about to start (on Oct. 6. To join us visit http://www.elizabethstark.com/courses). And I am asking people to come up with a pitch–character, motivation, obstacles. These are good times for stories. No one can say that nothing happens: corruption, greed, ambition, loss, fear, and a lot of the unknown, looming. And yet, what to write?

I won’t say that there are two types of people . . . but I will say that some people have tons of ideas (but don’t necessarily follow through) and some people seem not to have ideas. My theory is that people who don’t seem to have ideas are just shooting them down before they pop up. Scaring them away.

It is easier to come up with five ideas than only one. Five ideas is like dating; one idea is like getting married on your first date: what if I don’t want to stick with this idea?

The secret, I think, is to trust story. Not a particular story, but the fact that caught in the happenings and imagery and relationships of a story is everything you have to say about the world. Start with a composite of your grandmother and your dental hygienist. Start with a moment when someone loses everything on the stock market. Start with a little boy at the park hugging smaller little boy in a matching shirt until they both fall over in the wood chips and start to cry. (Character, dire situation, imagery.)

When I was seventeen and had just started college, I took a class with Gloria Anzaldua (another amazing writing teacher who died too young. Uh oh.). She has us write a Table of Contents of our lives. This is a great exercise for digging up story.

Shakespeare lifted his plots (stole them, you might say) and transformed them. I’ve heard that Jane Smiley always uses another book as a blueprint. (I know that A Thousand Acres uses King Lear.) Natalie Goldberg (not a great writer but a great writing teacher) would tell you, write down, “I want to write about . . . ” and then keep your pen moving, coming back to this phrase whenever you get stuck. Barbara Kingsolver asks herself a question whose answer she does not know, and she learns the answer in the process of writing her novel.

Start with a story from the newspaper. Or the story of how your parents met. Or the story you invented about that strange guy at the corner store. Think of someone you know and about what would cause this person to change completely. Then make that person a different gender or age or race, give them a different profession in another city; let them become a fictional character.

Take a stack of index cards and write down ten different characters, ten different impossible situations, ten different insurmountable obstacles. Then mix and match.

Write in crayon on big paper. Ride a bus and scribble in a little book. Go for a walk and let the rhythm of your feet turn into words, into a voice, and let the voice tell you its story. Look at someone across the cafe from you and imagine something in his life that changed him completely. Ever wondered, “Why do people do XY&Z?” Make-up a character who does that and let her tell you.

I remember a story–I think it was in a play? or in The Sun magazine?–about a woman who told her young daughter that she was going to teach a drawing class to adults. “You mean they forgot how?” the child asked.

Your mind is full of stories. What are you afraid of, what do you hope for, who did you think you might be? The great thing about the writing experiment we are about to embark upon is that you can start anywhere, explore, and move deeply into a story. Through that story you will discover other stories, discover a voice or voices, discover what you think about some piece of the world and–by extension–about the world itself.

Meg Waite Clayton, author of The Wednesday Sisters, a moving book about a group of women who meet in the park in the 1960s who become writers together, posted a great link to a story on the Powell’s blog about a guy, Seldon Edwards, who worked for thirty years on his novel, The Little Book, which was finally published and became a best-seller. The lessons: Don’t give up! And: Hire an editor!

Meg’s blog is called 1st Books: Stories of How Writers Get Started, and she hosts various guest writers who tell all sorts of interesting tales about their first tales.

As someone who spends half my time in the park (today I was there, sitting cross-legged by the merry-go-round, hunched over my computer), I love that this is the setting for Meg’s book. She weaves in key historic moments and movements along with the personal journeys of the women.

Meg also did something I’ve been waiting to see for a while: she made a video preview for her novel. Check it out; it’s great.

Just while I was loading the dishwasher earlier this evening and the boys were upstairs in the bath (under Angie’s supervision), I heard that the bailout went belly-up and the DOW plunged. “We don’t know yet if this is another Black Monday,” the guy on Marketplace said as I rinsed off the last dishes and stacked them in the rack. Then it was time to wrap up the babies and towel them off and go to bed. After I got up again, I received some tragically sad news, and I’ve been sitting here adjusting myself to the fact that it gets darker earlier now than it did yesterday.

But working for thirty years on a book lends some sense of perspective, doesn’t it? It reminds me of what I finally learned from various elders about how to have a life-long relationship:

Don’t leave.

I feel like I’ve said this before in the blog somewhere. It’s a choppy night, Friends. I hope you are warm where you want to be, cool where you need to be, and held in the comfort of friends.

Angie is behind me working away on my Online Learning Center. Shortly, my Nano Complete Course Series (which begins October 6) will be open for enrollment. This is the course I wish I had taken before I ran my first NaNoWriMo marathon. This will be the community that will get you from bald hope to a book in just a few months. Or you can do it over thirty years. Hey, whatever works!

At the start of last November, I had a two-month-old baby and a six-month-old baby. Years before I’d published a novel, and for the years since, I had been revising and revising my second novel, Strip. Sure, I had written some short stories, published some articles, made a couple of films, even. I’d gotten and given up a tenure-track teaching job, and taught elsewhere and privately, too. I’d moved across the country a couple of times since my first novel was published. In other words, I kept busy, which is sometimes the same thing as productive and sometimes not.

But I was not really a writer. “A real writer is someone who really writes,” Marge Piercy says in her rather profound poem “For the Young Who Want To.”

This is not to say that someone else had penned my novels–the published one or the endlessly revised one–or articles or any of that. It was just that, despite knowing better, I had a sort of passionate, on-again, off-again relationship with the kind of Writing that hangs out in clubs with people who call themselves “Inspiration” and “Great Idea” and “Excitement.” They have little gang rumbles with people who call themselves “Doubt” and “Brilliant Editor” and “You Could Do Better.”

Having babies got me really focused. I couldn’t hang out with that kind of writing anymore, had no time for skirmishes or romances or other capital-D Distractions. But did I have time to write?

That’s when NaNoWriMo came along. It sounds goofy, amaturish, like a crutch or a scam or some kind of edifice with nothing behind it, perhaps. But what, you may be asking, is NaNoWriMo? NaNoWriMo, Friends, is National Novel Writing Month. A web site; a sort of a program; a contest in which the number of winners is unlimited. Check it out at http://www.nanowrimo.com . . .

So there I was with the two babies, and after they would fall asleep, around 7 or 8 p.m., I would sit down, half-asleep myself, and type out about 2,000 words. (Officially, you must write 50,000 words between Nov. 1 and midnight on Nov. 30 to “win.” This works out to 1667 words/ day, but I started a day or two late, so I aimed for 2000 words. Also, I knew that I would be cutting so much of what I wrote, that I felt I had to get over 80,000 before I stopped.)

I crossed the 50,000 word line at the end of November, and then I kept on going, at a slightly less hectic pace, but more or less the same, until about Xmas, when I got to about 85,000 words and the end of a draft.

Those are the logistics. Also included are writing buddies, all sort of cafe events and marathons across the country (none of which I participated in because of the aforementioned babies), pep talks sent out by NaNoWriMo from various authors, and forums where you can get advice, solicit plot suggestions, commiserate, or just waste time.

Oh, and there are a number of people who’ve published their NaNoWriMo books (after, one assumes, significant revision), including Curve editor Diane Anderson-Minshall and her partner Jacob Anderson-Minshall, as well as Sara Gruen, whose Water for Elephants was a NaNoWriMo book, as was a previous book of hers. (There’s a list at the web site of other published authors; these were the ones I’d heard of . . .)

But more importantly than all of that, for me, is the personal experience I had of sitting down, night after night, exhausted and uninspired much of the time, leaking breast milk, to pound away at the keyboard. Sometimes I was nearly asleep, leaning close to the screen of my trusty laptop, letting my unconscious take over. My unconscious did all right.

Sure, the book is full of extra information, a lot of “ideas” and digressions, and even an excess of description. But I tend to be a minimalist when it comes to writing fiction. This comes from a certain fear, I think, something M.F.A.-driven that has to do with “purple prose” and a tendency toward embellishment and nostalgia. In other words, I have been developing a style that is in many ways opposite to my own “natural” style–a reaction to the “faults” that others have pointed out to me.

Fitzgerald said something about keeping all the quirks that the critics hated because that was his original style. I can’t find the quote right now, even at Google, but my larger point is that writing a first draft full of my inherent stylistic choices taught me a lot about myself as a writer.

Honestly, while I was doing this–churning out 2000 words every night–I felt confident that I would continue doing this every day for the rest of my life. I felt a kinship to Joyce Carol Oates that I’d never felt before. Because if only half of what I wrote was worthwhile, I could still write several decent novels a year at this rate, and raise up a passel of babies, too.

I forgot that babies stop sleeping so much and start running around and talking, at which point they need to be chased and answered, and it’s just harder to mull over the coming night’s writing while chasing and talking than it is while humming, rocking and nursing. I also forgot that good habits are hard-earned. Which is to say that I have not continued to write 2000 words every day, or even 1000 (though since I began blogging, I’ve written some number every other day or so).

However: November approaches.

Here’s what happens when I put my seat in the seat and type. Characters do things I hadn’t imagined; scenes develop; histories unfold; the people talk to each other and I listen, carefully, sleepily, and take notes. I know more and have more to say in front of a keyboard than I ever do anywhere else. Joan Didion said, “We tell ourselves stories in order to live.” My partner, Angie, talks about writing in that way–to find out what happens. When you write everyday, no matter what, you get as close as possible to being a reader of your own work, with the attendant pleasures, surprises and identifications readers get to experience.

I heard an interview with Joyce Carol Oates once on the radio (with either Terri Gross or Michael Krazny, can’t remember), in which she talked about how she goes jogging every day, and while she jogs, she tells herself stories, so that when she goes to the keyboard, all she has to do is write from recall. Let us not forget that she lives in New Jersey, a place of winter, of snow. So this takes some dedication to the running, not to mention the writing.

In any case, for that month, I was more of a writer than I’d ever been, despite the above mentioned published novel, the unpublished novel, the M.F.A., and the teaching. Which is to say: I was writing. And when you are writing you don’t much care if you are a writer, just as when you are making love, you don’t much care if you are a lover. You’re just doing it, and it’s great.

So I invite you to join me over at the NaNoWriMo site. Become my “buddy,” so we can encourage each other along. I know you are busy and perhaps frightened and maybe you have a dissertation due or a job that drains you or babies to tend, but really, is that any excuse not to write a novel in November?

[Note: Fifteen percent of the 100,000 people who participated in NaNoWriMo last year completed their 50k words. Check out the course I am offering to see you through before, during and after: http://www.elizabethstark.com/courses. Thanks.]