Stuck for Ideas? 20 Quotes Telling You What To Write About

Picture of woman thinking of ideas

Would You Like to Find Ideas for What to Write About?

You want to write, so you sit down to begin. 

You stare at the blank page or screen. And stare. And stare.

After this happens a few times, you come to the conclusion: “I want to write, but I don’t know what to write about”. You shelve your writing dreams and believe you’ll never be a writer.

Here are some ideas disguised as quotes to banish blank page blues and get you started:


Write your truth


1. If there’s a book you really want to read, but it hasn’t been written yet, then you must write it. ~ Toni Morrison

2. Write down the thoughts of the moment. Those that come the most unsought for are commonly the most valuable. ~ Francis Bacon

3. The one thing that you have that nobody else has is you. Your voice, your mind, your story, your vision. So write and draw and build and play and dance and live as only you can. ~ Neil Gaiman

4. I dare you all to write one more thing that you won’t say to my face. ~ Marilyn Manson

5. Write books only if you are going to say in them the things you would never dare confide to anyone. ~ Emile M. Cioran

6. Better to write for yourself and have no public, than to write for the public and have no self. ~ Cyril Connolly


Write your experience


7. I write for myself things that I’ve gone through. ~ Dolly Parton

8. I write out of my intellectual experience. ~ Tom Stoppard

9. You write about what you know. ~ Larry David

10. And if you don’t live, you have nothing to write about. ~ James Maynard Keenan

11. If you do not breathe through writing, if you do not cry out in writing, or sing in writing, then don’t write, because our culture has no use for it. ~ Anais Nin


Write what gives you pleasure


12. Never write anything that does not give you great pleasure. Emotion is easily transferred from the writer to the reader. ~ Joseph Joubert

13. Write in recollection and amazement for yourself. ~ Jack Kerouac

14. Usually, I walk and think about things. When I come across a thought that makes me laugh, I write it down. ~Demetri Martin

15. I like to write when I feel spiteful. It is like having a good sneeze. ~ D. H. Lawrence

16. Love. Fall in love and stay in love. Write only what you love, and love what you write. The key word is love. You have to get up in the morning and write something you love, something to live for. ~ Ray Bradbury


Write to know more


17. I write books to find out about things. ~ Rebecca West

18. Writing a story … is simply an exploration of the nature of behavior: why people do what they do, how it affects others, how we change and grow, and what decisions we make along the way. ~ Lois Lowry

19. I write entirely to find out what I’m thinking, what I’m looking at, what I see and what it means. What I want and what I fear. ~ Joan Didion


In a nutshell…


20. And by the way, everything in life is writable about, if you have the outgoing guts to do it, and the imagination to improvise. The worst enemy to creativity is self-doubt~ Sylvia Plath


Each day you sit down (or stand up, or lie down!) to write, you face different challenges to your writing. How do you decide what to write about? I look forward to hearing from you in the comments!


About the author:

Vinita Zutshi is a writer, editor, storyteller and parenting coach. She is also Guest Post Editor at Write to Done and Content Editor at A-List Blogging.

Image: Thinking of ideas courtesy of


The One Marketing Tactic That Will Get Your Book Noticed

picture of man holding clapboard

Would You Like to Get Your Book Noticed?

Like you, I don’t have enough time.

Not enough time for my day job, my family and friends, and certainly not enough time to market my new book, Breathing for Two.

Oh, did I mention not enough time to write? That too.

So the last thing I ever wanted to do was make a trailer for my book. Sure, I could record myself talking the book up — not a bad idea if I already had fans, but hardly my concept of compelling video. And if I didn’t want to watch it, why would anyone else who didn’t already know me?

Thinking about the time and money it would take to make a book trailer — or paying someone else to do it — made my stomach churn. Not to mention that I’ve never bought a book based on a trailer, or ever run across a trailer that didn’t bore me to distraction.


What’s the problem? 


Let me go out on a limb here and say that most trailers are over-produced.

Why is this? The problem is an embarrassment of digital riches. It used to be that only major outfits could make movies. No more. Got an iDevice? You’re a producer.

It’s so easy to produce video that it’s intimidating. Most trailer-makers, including professionals, get carried away and try to do too much. When you throw in everything but the kitchen sink, the result looks cheesy.

The real trick is learning what to leave out.

But I didn’t realize this until I encountered Iris Has Free Time, a brilliant trailer that is so NOT boring I watched it twice again after I first saw it, just to see how it had been stitched together.

In The Creative Confidence Matrix, Mary Jaksch talks about how letting go of ideas and preoccupations will create beginner’s mind. That’s what happened to me when I watched Iris Has Free Time.

That 2-minute video helped me to re-frame the making of a trailer. I forgot it was impossible.

Suddenly, the difficulty was transformed — what had been a time-and-money-sucking beast now appeared as a creative puzzle to solve.


A trailer is an ad, a spell


Its purpose is to arouse your interest and seduce you to consider a purchase. A lot of trailers involve talking heads—fine if you already love the author. But many last several minutes. I ask you: do you want to spend that long watching a commercial?

The trailer for Iris Has Free Time was plainness itself: a string of still photographs of a young woman (in a tutu!) underscored with a modest piano tune. There was some barely noticeable written text. The sequence took place over a single day, and was utterly captivating.

How much did it cost? Could be the publisher spent a lot hiring professionals. Could be the author herself shot it on a lark with a friend.

Either way, when I saw it I thought: This is thrilling. It’s something I want to try.

Not because book marketers say a trailer is necessary. But because the thought of all that simplicity filled me with enthusiasm.

I couldn’t wait to see what I was going to leave out.


Arousing curiosity for an odd bird


My book Breathing for Two is an odd bird, and I didn’t think I could fully explain it in a trailer. But now I knew I didn’t have to (simplicity!). All I had to do was get people curious.

I wasn’t going to copy Iris, obviously. But I would go for the same clean lines. I liked that you didn’t even know Iris was a trailer until you saw the book’s cover at the end. That bit of structure I would keep.

Breathing for Two is about my day job, anesthesiology. It’s non-fiction, a short, poetic dissection of life at the head of an operating table, meant for the curious. People are intrigued when I tell them about the book. But what elements would best get them to ask for it? That’s what would go in the trailer.


Constraint forces creativity


As a filmmaker, I am an amateur. I have no special knowledge or equipment. But I do know something about simplicity—that it comes of limitation. And limitation, far from obstructing creativity, frees it.

Have you ever been to Portland, Maine?

After a devastating fire in 1866, residents rebuilt their town entirely in brick. You might think this would make a dreary, monotonous landscape, but native architects responded to the challenge with a riot of inventiveness that continues today. Portland remains a city full of whimsy and charm, and red brick.

Was there a way I could make my limitations work for me? What I lacked in chops and resources, could I make up for in resourcefulness?

That thought led to more specific questions: What tools did I already have? What elements (voice, music, photography, drawing, etc.) excited me? How could I combine them to make something that was good enough to show?

After a day or two spent pondering, I came up with three ingredients that appealed to me, and that I thought I could work with: a voice-over, music, and a few video shots of my hospital day.


I knew the narration already


The first paragraph of my book’s prologue is short and a bit mysterious. Why reinvent the wheel? I would employ those words and I would say them myself. I used a free program, Audacity, to record with my computer’s built-in mic and add some reverb. Cost: nothing.

Could I have used written text instead of voice? Sure. It’s easy to add text with video editors such as iMovie or Windows Movie Maker. Many trailers use text, but I believe it signifies an opportunity lost. Nothing is more resonant or persuasive than the human voice. And everybody has one.

Does your computer lack a built-in microphone? A zillion inexpensive smartphone apps record live voice and music, and send it to your desktop—Retro Recorder ($.99) and HT Professional Recorder ($9.99) are two that work well for the iPhone.

Don’t have an iPhone? I bet you have a friend who does.


The visuals


Still photos, paintings, sketches make great montage, and it’s easy to add image files into video editors. Just drag and drop. There are myriad low-cost or free sources of stock photos and art on the web such as Wikipedia Commons, Dreamstime, Photobucket, fotolia, Clker, morgueFile.

Better than stock photos and art, though, are photos and art you make yourself. Better because it’s you. Better because it’s free. Better because it’s unique.

You’re not a photographer? Ahem. Is it even possible to take a bad photograph with Instagram and the hundreds of other add-on photo apps?

You’re not an artist? Ditto ahem. Take a look at the cartoon art of James Thurber. Take a look at Lewis Carroll’s original manuscript artwork for Alice in Wonderland, rejected by his publisher in favor of the more “polished” drawings of a professional artist.


Lowering video expectations


Stills would have worked fine for my trailer, but I wanted motion. Why? Because I got fired up thinking about it, and I’d already thought of a sequence of shots.

I wanted video to match the narration’s tone: mysterious, almost dream-like. The look of an old, black and white film would suit. I found a plugin for Apple Final Cut Pro that would work. Cost? $200 for a video camera, $300 for Final Cut Pro, $1,000 for the plug-in.


In 4 Ways to Hack into Your Mind, Ollin Morales argues that lowering your expectations leads to unexpected results. Could I come up with a less expensive solution using tools I had on hand?

On my iPhone, I have a video program called Super 8. It makes camera video shots look like an old, Super 8 movie, complete with glitches—and you can shoot in color, or black and white. Android phones have similar apps.

I arrived at work early one day and walked around the empty operating room, iPhone in hand. Problem solved.

Revised cost? $.99 for Super 8 — much better.


Listening for music


Voice by itself is often enough of a soundscape, but I thought a touch of background music would add color, if I didn’t overdo it.

Where would I get the music? As it happens, a few years ago I had noodled around with some loops in a friend’s Apple Logic program to create a tonal piece. It now seemed just right for the atmosphere I wanted.

Don’t have $200 for Apple Logic? Use a program like Garage Band (free with a new Mac; otherwise $14.99 in the Mac App Store) or Mixcraft, the Windows equivalent ($10 for a month’s use.) Not a music noodler? Check out the Free Music Archive.

Maybe you play an instrument? Or your friend does? Try recording on an iPhone with the $10 HT Professional Recorder app. Can you tell the difference between that and the sound produced in a million-dollar studio?

I can’t.


Editing your trailer


You need an editing program to put your elements together. Most everything you want can be found in Windows Movie Maker (free) on a PC, or iMovie on a Mac (free on a new machine, otherwise $14.99 in the Mac App Store). You can find fancier programs for less than $100—make sure to trial before you buy. No need to splurge on Apple Final Cut or Adobe Premier unless you plan to turn pro.

All editors are alike, more or less. The interface has three areas:

  1. A timeline at the bottom where your video and audio tracks go, and where it’s easy to rearrange segments or edit out what you don’t want
  2. A preview area where you can watch your movie, and
  3. An area where you keep elements you want to add in — sound files, images, video clips, etc.

Everything works by drag and drop.

I used the Pinnacle Studio editor app ($12.99) to put all the elements together on my iPad. It was up and running in half an hour.

I had three tracks: the video I’d emailed from my iPhone to my desktop and then synced to my iPad through iTunes. And two sound files (music and narration), similar iTunes transfers.


How to upload your trailer


When your trailer’s ready, open an account on a video service like YouTube or Vimeo. Many editing programs will upload to these directly, or you can export your trailer as a movie file and upload it manually — the sites provide instructions.

If you run into descriptions of technical terms such as codexes or compression, you can forget about them. Your trailer will be too small a file to worry about compressing.

Once your trailer is uploaded, link to it. Better, copy the embed code (click on “Share” — upper right corner of the trailer on Vimeo; underneath the trailer on YouTube). You can paste the code into any blog post, as below.


And the winner is . . .


Did my trailer adequately summarize my book? Not really, but that wasn’t its purpose (remember: lowered expectations). What I wanted is to make people curious. You be the judge.

Breathing for Two trailer

Intrigued? Ask me about it.


The bottom line


Total out-of-pocket expense for my little experiment? $13.98.

Total time spent? I won’t kid you. I spent 4-5 hours a day for several days doing what I described above: 2 days figuring out what to do and researching how to do it, another 2 days on the narration and video, and 2 days editing and uploading. On the seventh day, I rested.

I didn’t work every day, so from start to finish it took a few weeks. But still, how did I find the time? I don’t know. I was fired up. I was a filmmaker! Other projects lost their luster and I put them on hold.

Of course, I’m not really a filmmaker. Neither am I a media techie. When I started, I had no idea what I was doing. What I had were my limitations. But that’s the point. If you use the tools you have, your limitations will parent your creativity.

I didn’t get carried away with all the snazzy things you can do in video editing programs. I decided in advance what elements I would use, and how I’d use them. I played to my strengths. Your strengths are different. And your trailer will play to those.


But I’m writing sci-fi on another planet, or a fantasy romance in the middle ages!


Okay — you probably can’t afford to shoot a large landscape action sequence with professional actors in costume. But why bother? You’re not making a movie. You don’t need to tell the whole story.

Go with your theme. Go with one detail. Why did you write your book? What do you love about your main character? Talk about that. Show it in a single image.

On my wall I’ve taped an old Sister Coreta postcard with the caption: Turn your avoid dance into a void dance. I always liked the words, but never really got it until I attacked the trailer problem.

Maybe, like me, you’ve put a trailer or some other project on hold because it seemed too agonizing to contemplate? Maybe it’s time to let go of your ideas and preconceptions about it and become a beginner. You might find, as I did, that your limitations will ignite you and lead directly to your creative source.

If Iris Has Free Time isn’t your cup of tea, here’s a stack of fantastic trailers. Here’s a collection of the best and worst.  Here are some made by elementary school kids. Take a look to see if anything grabs you—maybe you can do it better, simpler, and for less money.

You might surprise yourself. I surprised myself. I love my trailer, and I love talking about it (can you tell?). Who knows — it might even sell a few books!

Ready to give it a whirl, or do you still have doubts? Tell us about them. Maybe you have some favorite trailers? Share them in the comments, please!


About the author: 

Wolf Pascoe is a physician, poet and playwright. He blogs about mindful fatherhood at Just Add Father. His book, Breathing for Two, is available on Amazon.

Image: Man with clapboard courtesy of

The Creative Confidence Matrix: Write With Confidence – Part 2

write with confidence

How to Write With Confidence

Do you want to write with confidence?

I’m sure you do. As writers, we yearn to feel solid ground under our feet – and that’s what confidence promises.

However …

High confidence is the enemy of good writing.

In this post, we’ll look at confidence from a Zen point of view, and I’ll introduce you to Beginner’s Mind, which is the ultimate creative state of mind.


Where are you on the Confidence Continuum?


Confidence is the belief in one’s powers or abilities.~ Oxford Dictionary

The word ‘belief’ implies that confidence is a subjective idea, the sum of thoughts and stories about our ability.

But it’s not only our thoughts and stories that determine confidence. We are social animals and confidence doesn’t exist in a vacuum.

We are all somewhere on a continuum between being dependent on the opinion of others at one end, and being independent of the opinion of others at the other end of the spectrum.

write with confidence

Where are *you* on this continuum?

Some people need a lot of outward indicators of success to feel confident, whereas others may feel certain of their ability, despite few markers of success.

For example, as writers we might want to take feedback from readers,  or reviews, or book sales, or blog comments as indicators of our ability as writers. But this kind of confidence is built upon shaky ground, as it’s dependent on the reaction of others.

In contrast, here is a different stance:

I was always looking outside myself for strength and confidence, but it comes from within. It is there all the time.  ~ Anna Freud

How can you find this inner strength? Read on to find the answer.

Keep in mind that there’s more than one kind of confidence. There are two distinct types: performance confidence and creative confidence – and it’s important to understand the difference between them.


What do gymnasts, musicians, brain surgeons, and pilots have in common?


All performers need to develop a high level of performance confidence. 

Performance confidence means mastery gained through practice and repetition.

Whether you’re a musician, an athlete or a pilot, or any other kind of performer,  the training requires that each move is practiced over and over until it becomes automatic.

The more you practice as a performer, the more your confidence grows.

Unfortunately, this kind of confidence doesn’t apply to writers. 

Each piece we write has to be unique and we can’t use repetition as the foundation for confidence.


What writers, composers, and painters need


Creators need creative confidence.

Creative confidence means that you trust in the creative process. This kind of confidence can’t be reached through repetition; it comes through learning to access a creative state of mind.

In order to show exactly how confidence and creativity interact, I designed the Creative Confidence Matrix below.


The Creative Confidence Matrix


Matrix (noun)
1. An environment or material in which something develops.
2. A mass of fine-grained rock in which gems, crystals, or fossils are embedded.

The Creative Confidence Matrix is a framework for understanding the interplay between confidence and creativity.  It can help maximize your creative confidence.

martix image4.001

As you can see, the Creative Confidence Matrix is divided into four quadrants. The two on the left-hand side, Doubt and Arrogance, are harmful to the creative process, whereas the two on the right-hand side, Beginner’s Mind and Confidence are helpful.

Let’s take a look at each quadrant in turn.


The problem with ARROGANCE


Creativity comes from a conflict of ideas. ~ Donatella Versace

Creativity is our brain’s way of solving problems. It’s triggered through disconnects, and springs into action when we see some dots – but can’t quite connect them. That’s when the creative brain kicks in and finds a solution.

The mind-state of arrogance sends a signal to the brain that you have all the answers. Because of this message, the creative brain isn’t triggered; there is no conflict of ideas.

When people feel arrogant, they dismiss any ideas that might conflict with what they believe is right. This is why arrogance kills creativity.


How DOUBT affects creativity


The worst enemy to creativity is self-doubt. ~ Sylvia Plath

Doubt puts a damper on creativity. It’s a self-absorbed state of mind which generates anxious questions. Like these …

Am I good enough?

Have I got anything to say?

Will people laugh at me?

Can I do it?

Do these questions seem familiar?

Doubt means that the mind is consumed with negative personal stories and memories.

When the mind is consumed with personal stories, creativity takes a break. The reason is simple: to be creative, the mind needs to be open to receiving new ideas.


Why CONFIDENCE isn’t always helpful


When you know something well, you feel confident, right?

Imagine for a moment that you are a runner and want to write about running.

You know about running, about the grind of training, the highs that come with pushing yourself beyond your limits. You know about technique, and about gear.

You are confident because you know about the topic.

Sounds good, doesn’t it?

And it is. It’s good for utilitarian writing. With this kind of confidence, you can crank out article after article quite quickly. But that’s all it’s going to be: utilitarian writing.

The reason why confidence hinders you from writing something out of the ordinary, is that when you ‘know’ something, your brain goes to sleep and your creativity doesn’t even get off the sofa to greet you.

It really depends on what you want as a writer.

If all you aspire to is to crank out articles in the shortest possible time, then this kind of confidence will suffice. But if you aspire to grow as a writer and learn to create outstanding fiction or non-fiction, then the confidence that comes from a sense of knowing will be more hindrance than help.

For example, Alan Sillitoe ‘knew’ all about running. But he needed to let go of all ‘knowing’ in order to come up with his inspiring short story, “The Loneliness of the Long Distance Runner”  – which is still a bestseller, half a century later.


Why BEGINNER’S MIND is the ultimate creative state of mind


In the beginner’s mind there are many possibilities, but in the expert’s there are few. ~ Shunryu Suzuki, Zen Master

There is a state of mind that taps directly into our wellspring of creativity.

In Zen it’s called Beginner’s Mind. It’s a state of total freshness where you experience everything anew in each moment.

Beginner’s Mind is the direct route to creative confidence.

In this state of mind, you have no expectations, no fixed view of yourself, or preconceived ideas about what you are going to create. Your mind is open and receptive.

Beginner’s Mind connects you directly to your wellspring of creativity.

Here is why…

Imagine that you are searching for a particular channel on the radio. But all you can find is a mix of channels where you hear music, an advert, a news report – all at once. There is also a faint voice that seems to be giving an important message, but it’s drowned out in the cacophony.

The ordinary mind is just like this.

As you start to write, there may be many different thoughts going through your mind.

You might be thinking anxiously about whether you can write well enough. At the back of your mind there may be a niggle about an unpaid bill, or you may have some stray thoughts flitting through your brain about what groceries you need to buy, or why you got into an argument yesterday.

And somewhere, in all of this, is the quiet voice of creativity that is offering you ideas on what to write about.

But the voice of creativity is drowned out.

When you access Beginner’s Mind, the chatter in the mind drops away, you become receptive, and your creativity comes into play.

It’s really quite simple:

When the mind is preoccupied, there is no space for creativity.


Here’s Zen story about this:

Nan-in, a Japanese Zen master, received a university professor who came to inquire about Zen.

Nan-in served tea. He poured his visitor’s cup full, and then kept on pouring.

The professor said, “The cup is overflowing!”

“Like this cup,” Nan-in said, “you are full of your own opinions and ideas. How can I show you Zen unless you first empty your cup?”

It’s the same with creativity.  When the mind is preoccupied, there is no place for creativity. It’s only when we let go of thoughts and stories in the mind that the creative wellspring within us begins to flow.

This is the power of Beginner’s Mind. 

Read on to find out how to access it.


How to access Beginner’s Mind


You might wonder whether it would take hours of meditation to access Beginner’s Mind. The answer is that it’s simple to access Beginner’s Mind, but difficult to maintain it. That’s where regular meditation practice can be helpful.

There is a lovely way to access Beginner’s Mind. It’s the practice of the half-smile. Lift the corners of your mouth slightly for the space of three full breaths. (You can think of this as ‘lip yoga’).

When you try it, you’ll immediately notice a mind-shift that makes you feel calmer and more receptive. You’ll also feel a surge of creativity.

At first, you may find that the state of Beginner’s Mind is fleeting. But the more you practice it, the more you can sustain this calm, creative state for longer. Try sticking notes saying BEGINNER’S MIND on your computer or your work-station. Every time you notice one of the notes, take three breaths and practice the half-smile.

The more you access Beginner’s Mind, the more you’ll learn to trust the creative process and be able to write with confidence.

What are your thoughts? Please share in the comments …


About the author:

Mary Jaksch is Editor-in-Chief at and Creator of A-List Blogging. After creating two super-successful blogs of her own, Mary has dedicated herself to teaching students to grow profitable blogs that attract attention. Take her fun quiz to see how much you know about what makes a blog successful.

Click here to read part 1 of our Write with Confidence series.

Image: Landscape with book courtesy of

The Secret Fear Of Every Writer – And How To Subdue It Every Time

Would You Like to Subdue Your Writing Fears?

Would You Like to Subdue Your Writing Fears?

Do you sometimes sit in front of a blank screen and wonder why your brain just isn’t working?

I can almost hear your response: “all the time”, “in certain situations”.

I think very few writers could respond to that question with a resounding “no”.

I’ve had two conversations this week with would-be writers. The first believes he could write, with just a little practice, but finds every time he sits down that he just doesn’t know where to begin.

The second would love to write, but believes the craft is reserved for those who are ultra creative and talented, so she doesn’t even try.

Both those attitudes scream fear.

Most of us recognize and understand this fear. It’s a fear of the unknown. We feel it when we take a new route in life. And if the fear is successful in overpowering us, we back-pedal right away.

But what about those of us who aren’t new to writing and still feel fear?


Removing the ‘Fear of Failure’ band-aid


Fear is talked about a lot in the writing world.

Often we’ll apply a one-size-fits-all Band-Aid, and blame our fear on a momentary lack of inspiration or writer’s block, which may well be the case on some days. But more often than not, we’re dealing with the kind of fear we won’t admit to, or may not even be aware of.

The fear I’m talking about isn’t to do with writer’s block or lack of creativity.

It’s about believing we have something worthwhile to say.


Comparison—the thief of creativity


When we doubt the worth of our words, it’s a pretty safe bet that we’re comparing their value to the words of other authors and bloggers. Comparison is deadly, yet it seems to be inherent in human nature.

If we look at what other writers have to say and value it above our own work, we create a barrier between the page and our authentic words. It’s a paralyzing barrier.

The healthiest type of comparison is to compare our work with our previous efforts and try to build on that.


Why we don’t talk about it


We don’t talk about this hidden fear because if our life is writing, then everything we are is wrapped up in what we have to say. If we doubt what we have to say, don’t we then doubt who we are?

Well, no.

Every writer –every person who shares their art—doubts the value of their work at some point in their career. But doubting what we do is different from doubting who we are.


To write is to take risks


Every time we sit down to write, we take a risk.

-          We risk our words being rejected.

-          We risk our work being compared to others’.

-          We risk revealing parts of ourselves we may not want others to see.

That’s the nature of creativity; we’re sharing a part of ourselves. And sharing who we are is always risky because it makes us vulnerable.

But we keep going, encouraged by our audience and ignited by our passion.

That doesn’t mean we’ll always deliver according to expectations, be it the reader’s or ours.


When an audience is waiting for your words


Every artist has off days.

Think of your favorite musician. I bet you can think of a few songs or even albums that haven’t made it to the iTunes popularity bar; the ones that didn’t really inspire you.

Even well-known authors have books that don’t harvest the reviews they may be expecting.

I’ve seen it happen. I’ll pick up a book by an author I like and there’s a certain expectation. But sometimes I feel let down. I think, “This is not good. Not up to their usual standard. How did this even get past an editor?”

Sometimes we can become complacent with our writing. Often the reader will forgive. At other times it may result in a big fat ‘F’.

The scenario we feared actually happens. It’s normal. Not all of our work will be received with open arms.

The question is: how will we take that experience and use it to better ourselves as artists?


Connecting with your reader


Reaching that place of vulnerability after a setback, or even doubting the value of our words, is a good thing. It puts us back on track and helps us to re-evaluate our goals.

The last thing we want as writers is to be sitting up a tree far out of reach of our audience. In that place, we are unable to hear what they want or need from us.

But when we sit in the fear, ground ourselves, and hang out with the people who scare us the most, we are forced to listen. And then we write what we believe will be valuable for our readers.

If your reader has come to value your words, they will keep valuing them—unless you deliver something completely off the wall that doesn’t align with your voice, style, or who you are.


Writing through the fear


Writing takes courage.

Of course if you’re writing an article about French cuisine or fitness, it’s not such a courageous feat. But if neither topic is your passion, then that’s not where your fear is going to be either.

If you’re passionate about recycling, you’re going to inspire others to be passionate about recycling. Your best work is where your passion lies.

With passion comes emotion. And with emotion comes vulnerability.

If you embrace openness in your writing you’ve done the best you can do. Your only responsibility is to say what’s in your heart and be true to yourself, your audience, and your subject.

After that the world can do what it likes with your words.


Do you sometimes compare yourself to writers you admire? When you doubt the value of your words, what helps you write through the fear? Join the conversation in the comments below!


About the author:

Claire De Boer is an author, editor and creative writing mentor living in Vancouver, BC. She blogs at and is currently offering a limited time only free critique for writers.

Image: Secret fear courtesy of

The Mental Games We Play: Write With Confidence – Part 1

write with confidence

Do you want to write with confidence?

This is the first in a series of three posts about how to write with confidence.

Dashed hopes. Broken dreams. What ifs. Regrets. Wasted potential.

These are the things that writers’ nightmares are made of.

If you’re like most budding writers, you know all too well about the fears and doubts that creep into your mind during the process of creating.

Not only is it frustrating, but even worse – fear and doubt can wreak havoc on your confidence and…

• Keep you from starting something new.
• Intimidate you into scrapping a perfectly valid project.
• Stop you from releasing your work out into the world.

“Confidence cannot find a place wherein to rest in safety.” — Virgil


What Are You Made Of?


While the rest of the world may think of writers as meek intellectuals, you and I know that creatives (at least those who persevere) are fearless and pretty damn tough when it comes right down to it. They step out into the spotlight and bare it all for the world to see. Figuratively, of course.

Even so, you may view your fears and doubts about your writing as weakness, or even a lack of talent – but you’d be wrong.


Somewhere in the Middle Lies the Truth


The fact that you experience doubt and fear during the writing process may actually be a sign that you’re on the right track because you’re taking risks and pushing outside your comfort zone. If you don’t stretch yourself, you don’t grow – plain and simple. And when you stretch, it can be scary, so a certain amount of fear is actually a healthy part of the process.

On the other hand, it’s difficult to grow if you have so many doubts that it undermines your confidence. Without the confidence to push on, you risk stagnation.

You need to find that productive zone somewhere between ‘productive fear’ and ‘confidence-wrecking doubt’.


10 Mindsets for Confident Writing


The trick is to find a level of confidence that lets you experience that useful ‘creative discomfort’ but avoid stalling out due to your fears and doubts.

The development process takes time, but here are 10 mindsets you can easily adopt to help you build confidence in your writing.


1: Know your reasons for writing.

A good deal of confidence comes from clarity. And one of the most important things you need to be clear about is why you’re writing in the first place. Ask yourself…

  • What do I want to achieve by writing this?
  • What is my goal with this piece?

You’ve probably heard the advice ‘Start with the end in mind’. That’s what we’re talking about here. When you begin writing with a clear vision of what you want to achieve with your work, you’re starting from a place of clarity and confidence.


2: Realize it’s a process.

Just like everything else in life, developing confidence as a writer is a process. Processes force us to grow – and growth always takes time and effort.

When you accept the fact that the Writing Fairy isn’t going to show up and whack you on the head with the ‘famous writer wand’ – you’re on the right track.

Devote yourself to constantly learning and growing – and for cryin’ out loud, learn to enjoy the process.


3: Quit quitting. Really. Quit it.

You’re going to get rejected. You’re going to get criticized. You’re going to get frustrated in some way at some point. But once you’ve fully committed to being a writer, remove the word quit from your vocabulary.

The only acceptable time to quit is before you fully commit. When you go all in, stay all in. When you tough it out and see your projects through, your confidence will grow.


4: Keep your goals realistic.

Since we’re in agreement that becoming confident as a writer is a process, let’s also agree that we can’t be perfect right out of the gate. For that reason, keep your goals realistic for where you are at this point in time. Set your goal to write the best work you possibly can at this point in your development.

When you set goals you can’t reach from where you are today, it’s like throwing fuel on the fire of fear and doubt.

When you set and achieve realistic goals, it’s more like throwing fertilizer on the seeds of confidence. Sow more than you stoke.

Shoot for better than last timeevery time.


5: Don’t expect universal acceptance.

No matter how good you are, someone isn’t going to like your work. You may as well swallow that pill right now. Any great author you can name throughout history had their haters – so why should you be any different?

Being aware of this fact is liberating. It allows you to brush off confidence-destroying thoughts like “What if people criticize my work?”

You know what? No matter what you do, someone will – so why give that any consideration, time, or power?

Remember that you don’t need to please everyone – you just need to please the right ones.


6: Forget about finding your ‘voice’.

I swear to God that if I have to read one more post on ‘finding your voice’ I’ll delete the entire internet. I mean it. My finger is on the button.

But seriously – your voice is simply the real you. It’s not an Easter egg that’s under a couch somewhere that you can just find one day if you look hard enough.

The real you comes out when you write more and become more confident in what you’re doing. Focus on that and trust that your voice will show up as your experience and confidence grows.


7: Keep your mental state somewhere between Pollyanna and self-deprecation.

The way you talk to yourself about yourself matters. You have to find a realistic happy medium. Many emerging writers seem to live in one of two extremes.

Extreme 1: Negative self-talk.
“I’m no good. I stink. Why would anyone read my stuff?”

Extreme 2: Fluffy, bunny-hugging, unicorn-chasing unrealistic positive affirmations.
“I am the next Pulitzer Prize winning author. I am the best writer anywhere!”

Neither extreme serves any purpose other than to ultimately deliver yet another blow to your confidence.

Being negative about yourself sets you up to fail before you even start.

And stuffing your head with crazy, lofty goals when you’re still developing sets you up to fall short of those goals. Keep your self-talk positive but realistic.

Don’t put yourself down… or up on a pedestal.


8: Take compliments humbly – but not too humbly.

While your self-talk is important, so is what you actually say out loud to others about your work.

Humility is a good thing, but be cautious of how you respond to compliments. How do you respond when someone says, “Hey – I loved that piece you did! It was incredible!”

It’s very easy to reply, “Really? I was so nervous about that one. It never felt right to me. You didn’t think it was too (whatever)?”

When you do that, not only are you having internal confidence problems, but you’re implanting your doubts about your work into someone else’s mind. If you tell others that you lack confidence in yourself – they will likely share in your doubt.

Instead, try: “Thank you. I’m so glad you liked it. I appreciate that.”

Spread confidence, not doubt, in your work.


9: Select your influencers wisely.

Be careful who you hang out with.

Ok, so I might sound a little like your mother on this one, but let’s all fess up: Mom was right more often than not.

When you associate with negative or whiny people you tend to absorb and duplicate their negativity. Likewise, if you choose to associate with supportive, positive people you wind up emulating those qualities.

Find other writers with positive attitudes to associate with. Form an unofficial support group of people who support and promote each other – or join a more formal mastermind group. It’s a wonderful thing to have people who are a positive influence in your corner.


10: When you crash, make sure you find the Black Box.

I’m not going to tell you that you should enjoy your failures. That’s crazy. No matter how you slice it, failure sucks. But when it happens, instead of wallowing in it, the right thing to do is begin sifting through the rubble to find at least one actionable lesson.

When a plane crashes, investigators immediately look for the ‘black box’ which holds all the data they need to find out what caused the crash. The box helps them identify critical problems they can correct in the future to prevent similar disasters.

Somewhere in the wreckage of each writing failure is your black box data that will provide you with the causes of that failure. Use that information to boost your confidence by adjusting or eliminating things that didn’t work for you in the past.


It’s All in the Application


I keep one of my favorite quotes pinned to the wall in my writing space so I have no choice but to see it when I write.

“There’s a world of difference between knowing what to do and actually doing it.” – Bill Phillips

So you know 10 mindsets that will help you build your confidence as a writer. Now it’s up to you to actually use them.

Please do me (and yourself) a favor. Apply these mindsets to your writing. Make them part of your process. You’ll find that over time and with practice, your confidence will begin to grow.

It’s your turn to share! In the comments section, tell me what your biggest confidence issues are as a writer – or how you’ve overcome confidence issues.


About the author:

Gary Korisko writes about The Art of Genuine Influence on his blog Download his free eBook, How to Alienate All The Right People – a real world guide to breaking away from the herd and doing something special.

Image: Girl with Butterfly courtesy of