Category: The Writer’s Corner

Q. What’s your best advice to other writers for overcoming procrastination?

MM. The first lie every writer tells themselves is this: I don’t have the time to write. The second lie is this: I can’t write. Here’s the truth: writers always write. Are you a writer? But you’re not writing? Then ask yourself this: why aren’t you writing? What are you trying to avoid by not writing? I promise you the answer is going to be some variation of abject fear. Fear of failing as a writer, of falling short of our ideal of good writing, of disappointing others, etc. In other words, it’s all about self-preservation or to be more blunt: death. Death of my ideal self, death of my status in the world as “a great writer;” some painful, shameful, hateful permutation of emotional and/or psychological destruction. Don’t believe it! Don’t define your sense of self in the world through writing. Rather, your writing is defined by your sense of self. You are not your writing. Your writing is you.

Here is the irony (and I’m stealing this from the best): if you seek to save your writer’s “life” by not doing the work in order to protect yourself, you’re going to lose the very life you’re trying to save. More simply, not writing is the death of your career. Everything you think you’re avoiding by not writing is actually going to occur when you don’t write—so write! Here’s one more tip (also stolen, in this case, from Hemingway): the first draft is always (rhymes with) “spit” so you’re only job is to “spit” out your first draft—the complete and entire first draft—and then you can fix anything later in edit, i.e., “all writing is rewriting.” If Hemingway thought his first draft was “spit” then I’m in pretty good company and so are you. I spend most of my time spitting—from an outline.

If that’s still not enough, attack the problem from the other direction. Forget yourself and simply obey the work.

If you say you’re a writer then you’ve made a commitment to a “vocation” in the oldest sense of the term. Writing (truth telling, either fiction or non-fiction) is holy work; “holy” as in set apart for service. Whether or not you are religious, you committed yourself to the priesthood of Art once you said, “I am a writer.” What follows is both necessary and clear. You must recover and practice with earnest devotion the disciplines of the disciple—a follower, a student, a servant of the Work. Faith—the evidence of things hoped for, like a completed manuscript when you’re staring at the first blank page—and Love of the word are the first two hallmarks of the writer/disciple. Commitment, sacrifice, suffering…the list of the qualities of the true disciple are well known or easily discovered (e.g., the Gospels or whatever you prefer). In other words, writing is not about “you” it’s about answering the call, to saying “yes” when summoned and exerting inexhaustible effort toward the completion of the task, denying self and even other people and all other things that distract or dissuade you from your mission. “Not my will, but Thine.” If you happen to be a person of true religious faith, then your discipleship is twofold: obedience to the One who calls and fulfilling that call through the faithful exercise of the gift that the One has given you.

If all of that is too abstract then here’s the most practical advice I can give you: do yourself a favor and purchase a copy of Steven Pressfield’s, The War of Art. Study it, memorize it. Let it be your missal. Then get your derriere in the chair—and write!

Q. What comes first to you? The Characters or the Situation?

MM. Characters are all that matter. Situations, scenes, plots, actions…it all comes out of character choices, character collisions, character flaws, character construction.

Q. Do you ‘get lost’ in your writing?

MM. I start with a solid outline so I always have those touch points that keep me on the path from A to Z. But if I’m really writing—really doing it the way it’s meant to be done—I get completely carried away in the moment, plunging headlong into the river, carried along by the surging rapids.

Q. Are you working on something now? If so tell us about it.

MM. Yes. Can’t. Top secret. But it’s gonna be awesome and my first collaborative effort. News coming soon.

Q. When did you begin to write seriously?

MM. I’ve always written seriously beginning with my academic, non-fiction writing. What surprised me was to find out I was actually a writer. Yes, I could write. But I never thought of myself as a writer because of the mystery that surrounded that term. I was forty years old before I gave myself permission to call myself one. And what really surprised me was that I could write fiction. I was utterly stunned to discover I could write a screenplay but I knew beyond a shadow of a doubt I could never write a novel. Until I did. But one novel was it. Finito. No way could I do another even though I’d just signed a two-book deal. I knew I couldn’t write the sequel. Until I did. And another two-book contract showed up. And then I knew the game was up. My publisher would finally realize their big mistake. Until I finished those up too. And then…well, I think you get the idea. A serious writer writes. And writes. And writes. It’s hard work. Really hard. And it only gets harder—but only if you’re doing it right.

Q. Do you think we will see, in our lifetime, the total demise of paper books?

MM. Absolutely not. They may become rare or expensive but they will never disappear. For people of a certain age, ahem, me, the tactile nature of the printed page never ceases to amaze or comfort.

Q. What makes a writer great?

MM. All writers are great but only if they write. The act of writing—of completing the work—is an act of obedience unto the Muse. It is our offering on the altar. The mere doing of it is its own reward. Whether or not the work will be judged as “great” by history or the literati or the New York Times bestseller list is completely outside the control of the writer. We can’t choose to be “great” but we can choose to do the work. Tell the truth, be yourself (i.e., original) and do the work—the rest will follow whether you like the outcome or not.

Q. and the all-important: What does the process of going from “no book” to “finished book” look like for you?

MM. Get a bucket. Fill it with kerosene. Carry it to the top of a ten-story building. Stick your head in the bucket. Light your head on fire. Throw yourself off the roof. Hit the pavement. Douse the flames. Type, “end of chapter one.” Do it again. Sixty-five more times. Now you know what it feels like to go from “no book” to “finished book.” Easy as pie. Or as some wag said, just open up a vein and bleed onto the page.

Q. How has your life experiences influenced your writing?

MM. Everything. You write out of your life.

Q. What’s your down time look like?

MM. Reading. Watching the best film and television I can. Hanging out with my best friend (my wife). Exercise. Golf. Guns. Hiking.

Q. Have you or do you want to write in another genre`?

MM. I wish I was smart enough to write science fiction.

Q. Note to Self: (a life lesson you’ve learned.)

MM. General life lesson: “Discipline Equals Freedom.” (Jocko Willink)
General writing life lesson: “The bad news is, the Problem is Hell. The good news is, it’s just a problem. The Problem is not us. The PROBLEM is the problem. Work the Problem.” (Steven Pressfield)

PS. (from Mike Maden)  My Clancy novel ENEMY CONTACT was set in Poland. Amazing history, culture, people…and food. We love travel and learning new things but unfortunately it also means encountering the human condition in its worst permutation. Auschwitz is one such place and of all of the things that wounded me in that terrible place nothing grabbed me more than this moment. Those red shoes took me to a very dark moment. I could just see a young woman picking them out of the shop window one bright sunny morning, so happy and proud of them…having no idea where they would one day take her.

Did you miss Part I and Part 2 of this fascinating interview?

Book Review of Firing Point

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My weekly BLOG features INTERVIEWS with  best-selling AUTHORS!    March: Olivia Hawker, April: Dan Sofer, May:  Joram Piatigorsky, June: Mike Maden writing for TOM CLANCY
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