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Cathy Yardley

I didn't plan to be a writer. But, like the quote says -- if you want to be a writer, try being anything else. My life is a portrait of all the "anything elses" before I came to my senses.

I graduated from U.C. Berkeley with a double major in Art History and Mass Communications. I moved to L.A. with the full intention of figuring out what job I wanted to do, doing it until I could retire, and only then seriously considering writing a novel. Why? Because real people didn't write books for a living. (Stephen King , Nora Roberts, John Grisham, Tom Clancy,  they're not real people. In fact, I don't think they're human. Haven't you wondered?)

http://www.cathyyardley.com/


So I tried real jobs. Advertising assistant (read: slave), ad sales assistant, project manager, product marketing manger. Still kept plunking away every now and then at novels, although I'd hit chapter seven and stop cold on every single one of them. I hung out with writers. I joined writing organizations with the rationalization that I'd become a publicist for authors... I wasn't going to be, you know, a writer. God forbid!

I was so incredibly clueless, it was funny.

I became president of the Los Angeles Chapter of Romance Writers of America when I was 23, and did more than I ever thought I would to get our members involved. We had a writing contest that was short of entries. To encourage participation and to make sure we had enough, I turned in some of my own writing. I wound up winning first prize in the area I entered.

Hmmm, I thought. Might be on to something here.

I finished the book two years later, and queried Silhouette books. Two months later, I was rejected, but by that point I was enlightened. I worked on another book. Took me a year, but I finished it� and all hell broke loose. I was a writer, not a cubicle-worker! I quit my job, moved from L.A. to the S.F. Bay Area, and embraced the process of Being a Writer.
Then promptly went broke, and got another day job.

Three months after this momentous occurrence, however, I got The Call from Harlequin, selling my first book, "The Cinderella Solution". And everything else in my life went into focus. I'd always been a writer. I was just finally getting paid for it! Now, I'm working on my fifth book in four years, writing for Harlequin, Red Dress Ink, and New American Library.

And now that I'm a writer, I can't imagine being anything else�

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 Articles by this Author

You've finished your first manuscript, or maybe your twentieth. Maybe you're having trouble getting an editor's attention through the slush pile or conference interviews. Maybe you know that an A-list agent can cut through the bureaucratic hurdles and get your book into the hands of a decision maker. For whatever reason, you've decided that your next step is getting an agent.

The question is: how do you find, and "land", an agent who's right for you?

I attended a writer's retreat last June. The name of the retreat was "Writing and Dharma," and it was billed as a combination writing and meditation retreat. Sounded right up my alley, so I jumped a plane to Portland, Oregon, and caught a rideshare to Cloud Mountain meditation center in the southern part of Washington. Nestled in a forest of the tallest trees I've seen, it had tranquil written all over it. Just the ticket for a case of high stress and writer's block.

It's always a little depressing when a series or imprint closes. There are few enough markets, it seems, and to lose two more and cause even more authors to compete for the markets you're targeting: well, it's enough to discourage any writer intent on selling. And considering one of them actually seemed to be doing well financially, it seems like sheer capriciousness on the part of the publisher. If books that are selling well can be canceled, what the heck chance does any other book have? And is there any way of predicting the actions of a publisher?

Here's an old chestnut of wisdom: the Chinese character for crisis is "danger" and "opportunity." The people who can see the opportunities are inevitably the ones who are going to come out on top.

As a writer, you are a brand. This concept is just as important for the unpublished or newly published writer as it is for the career veteran. Why? Because you're going to be one name in a sea of competitors, whether it's on the editors desk or on a bookstore shelf. You need to have a definite sense of what makes you special in order to stand out.

When I sold my first book, I was ecstatic � until I hit a writer's block that lasted for a year and a half. Now that I've experienced it, I know that it's both real and painful for a lot of writers.