On this day, 15 April 1916, the newspaper of the revolutionary Industrial Workers of the World union announced the formation of its Domestic Workers Union in Denver, Colorado.
Much of the history of the group was lost, but fortunately a fascinating letter by Jane Street, its secretary, was illegally seized by the Justice Department in 1917 and only discovered nearly 60 years later.
She was writing to another domestic worker organiser in Tulsa, Oklahoma in which she described how they organised and took action to improve pay and conditions:
“if you want to raise a job from $20 to $30… you can have a dozen girls answer an ad and demand $30—even if they do not want work at all. Or call up the woman and tell her you will accept the position at $20. Then she will not run her ad the next day. Don’t go. Call up the next day and ask for $25 and promise to go (and don’t go). On the third day she will say, ‘Come on out and we will talk the matter over.’ You can get not only the wages, but shortened hours and lightened labor as well.”
More information in our podcast episode 16 about women in the early IWW: https://workingclasshistory.com/2018/12/02/e16-women-in-the-early-iww/https://www.facebook.com/workingclasshistory/photos/a.296224173896073/1965392180312589/?type=3
Notes from Stephen King’s “On Writing” 03: How to Write
Now that King has laid out the tools before us, he sits down and tells us exactly how he goes about his craft. He acknowledges that everyone writes differently, and that how he writes may not jive with you, and that is okay. He is just walking us through what he does, and you can take what you want and leave what you don’t.
How to Summon Your Muse
“There is a muse, but he’s not going to come fluttering down into your writing room and scatter creative fairy-dust all over your typewriter or computer station. He lives in the ground. He’s a basement guy. You have to descend to his level, and once you get down there you have to furnish an apartment for him to live in. You have to do all the grunt labor, in other words, while the muse sits and smokes cigars and admires his bowling trophies and pretends to ignore you.”
Read a Lot and Write a Lot
“We read to experience the mediocre and the outright rotten; such experience helps us to recognize those things when they begin to creep into our own work, and to steer clear of them. We also read in order to measure ourselves against the good and the great, to get a sense of all that can be done. And we read in order to experience different styles.”
Man, I probably can’t even count how many times I’ve seen this piece of advice. But the fact that I’ve seen it this much means that it must be right, I guess. In particular, King advises us to read bad books, as the bad stuff is usually more glaring than the good, and we can learn from that.
He also says that reading bad things can provide us positive inspiration.
“Most writers can remember the first book he/she put down thinking: I can do better than this. Hell, I am doing better than this! What could be more encouraging to the struggling writer than to realize his/her work is unquestionably better than that of someone who actually got paid for his/her stuff?”
Certainly, I have to agree with him.I remember the first time I was deflowered with bad fiction.
King also advises us to read good books, because we can learn about style, graceful narration, plot development, the creation of believable characters, and truth-telling.
On Finding Time to Read
It’s not that we don’t want to read, it’s that we just don’t have the time to read when we’re working and have other obligations and also want to write. So how do we find the time to read? King says:
“The trick is to teach yourself to read in small sips as well as in long swallows.”
Especially with the advent of e-books, it is easier now than ever to have a book on hand at all times. Read in waiting rooms, in transit, in the checkout line, on the treadmill, and the bathroom. Read when you have an hour to yourself on Sunday. Just read when you can.
On the Importance of Reading
“The real importance of reading is that it creates an ease and intimacy with the process of writing. … Constant reading will pull you into a place (a mindset, if you like the phrase) where you can write eagerly and without self-consciousness. It also offers you a constantly growing knowledge of what has been done and what hasn’t, what is trite and what is fresh, what works and what just lies there dying (or dead) on the page. The more you read, the less apt you are to make a fool of yourself with your pen.”
This makes a lot of sense. From personal experience, even though English is my native language and I love reading and writing, I stopped reading English for leisure when I moved to Japan. I poured all of my free time into learning Japanese, and I consumed only written Japanese media for about three years. When I went to pick up a pen again, it felt like a foreign object in my hand. My prose was clunky, the words were stop and start, and I was forgetting words. Especially since I spend a good 90% of my day in Japanese now, I make it a point to come home and read in English every night, and I have seen an improvement.
How Much to Write?
Okay, so we know that we have to “read a lot” and “write a lot,” but let’s quantify that. (This is the specificity that I really love in this book.)
King prefaces this section by making it clear that all authors work at different paces. James Joyce sometimes wrote just seven words a day. There was this dude Anthony Trollope who wrote for 2.5 hours every morning before work and stopped even if he was mid-sentence when time was up. If he finished writing a book before the 2.5 hours was finished, he would close that manuscript and start writing the next one. What a machine.
Also, just how many works must a person write to become a Real Writer? Harper Lee only wrote To Kill a Mockingbird. (I know a sequel has been released since King’s book was published, but don’t we all want to forget that sequel exists anyways?) This guy John Creasey wrote five hundred novels under ten different names.
So how long your works are and how many works you have is your choice. You do you. But if you’re good at it and you love it, don’t put down that pen!
Writing Schedule
King writes in the morning, takes naps in the afternoon, and spends time with his family in the evenings. That sounds like a dream come true to most of us that are still working a 9-5 and writing on the side. But that’s what he does now.
To put things more concretely, he says that he has a strict 2,000 minimum that he must write every single day. Even if it’s like pulling teeth, even if it takes longer than he hoped, he does not stop until he has 2,000 new words on the page.
King also believes that the first draft of a book, even a long one, should take no more than three months to write. (Personally I feel that could be difficult for everyone to do unless they have the ability to commit a certain amount of time everyday to writing no matter what.)
How to Keep Good Writing Habits
King gives us this advice.
Have a “writing room.” For King, this was the cramped laundry room while he wrote Carrie and Salem’s Lot. He isn’t telling you to add a room onto your house. Just have a space that is yours and free of distractions. Have a space that is designated for writing and nothing else, and make sure you can close the door to it.
Set a daily writing goal for yourself. Even if it’s as low as 100 at first, that’s fine. Just write every day no matter what. He says you can take one day off a week at first. But only at first.
Eliminate all possible distractions while writing. No phone, no TV, don’t even have the windows open (unless your view is boring). You can have music on if it helps filter out the outside world.
Have a schedule. Dedicate a certain time before or after work that will be “writing time.” Let’s say mine is 8 pm to 10 pm every day.
Don’t wait for the muse. In King’s words, “Your job is to make sure the muse knows where you’re going to be every day from nine ‘til noon or seven ‘til three. If he does know, I assure you that sooner or later he’ll start showing up, chomping his cigar and making his magic.” Sidenote: King’s muse doesn’t match muse stereotypes lol.
“I think we’re actually talking about creative sleep. Like your bedroom, your writing room should be private, a place where you go to dream. You schedule -in at about the same time everyday, out when your word goal is on paper - exists in order to habituate yourself, to make yourself ready to dream just as you make yourself ready to sleep by going to bed at roughly the same time each night and following the same ritual as you go. In both writing and sleeping, we learn to be physically still at the same time we are encouraging our minds to unlock from the humdrum rational thinking of our daytime lives. You can train your waking mind to sleep creatively and work out the vividly imagined waking dreams which are successful works of fiction.”
The above quote put a lot of things into perspective for me. I had never thought of writing like dreaming, but really, that is what it is. I have a desk that was meant for writing, but is actually for everything now. Eating, chatting with friends, surfing the web, and writing. It is very far from distraction-free. I also just write “when I feel like it,” which means that sometimes I have months-long or years-long dry spells. And that’s nothing but a shame.
So now I’m looking at getting another smaller, simpler desk to put in my bedroom, upon which I’ll put a tablet with no internet connection and a wireless keyboard. Maybe a notepad. Maybe. I’m not much of a note-taker. But I’ll put that in my bedroom, which really has just a bed and clothes, not even a clock, and I’ll push myself to write more every day, right there, from 8 pm to 10 pm.
Source: King, Stephen. On Writing: A Memoir of the Craft. Hodder, 2012.
