Isn’t it funny how your average “lay person”, or non-writer is amazed at the way we can focus on one project for so long? But we’re up for it! We can go the long haul, and we do it well. What these “lay people” don’t understand is how obsessed passionate we are about our works. How could we not finish what we’ve started? We can’t leave John Doe hanging from one limb on Death Star 1. We have to see John through to the end. While that laser focus is incredibly helpful, I’ve discovered the beauty of splitting my focus of late, of working diligently on more than one project at a time. But how many is too many and is the juggling worth it?
2018 has seen me working on three projects: a co-novel to release next summer written with Hazel Gaynor set in 1956 Monaco and the south of France; my own WIP set in 1901 U.S. with a Big Concept that is still in progress; and a crazy, multi-collaborative novel written with five other authors set during the French Revolution, also set to release next year. Each of these projects has pushed me hard, and they’ve also been terrific fun. Still, there have been moments when my head was spinning, and I had to figure out how to make this juggling work for me. Are you crazy enough to go down this road, too?
THE CHALLENGES OF MULTIPLE PROJECTS
Jumps in history or world/location can be a real mind f*ck. Yeah, this can be a real problem. As I mentioned above, my current three projects are rather disparate in time and location. One is set in 1780s Paris, one in 1901 New York City, and the other in 1952 southern France. When I began the short collaborative piece (20,000 words), I discovered quickly that I could not be in old Paris and the twentieth century at the same time. The dialogue, the mannerisms, the societal norms were all so different that I found I was making too many errors. I finally made the tough decision to pause on my 20th century projects to finish the French Revolution before continuing forward.
Multiplicity: Has anyone seen that movie from the 90s where Michael Keaton’s body is replicated a bunch of times? Replication, or bleeding from one story to the next, can happen if you aren’t careful. It’s important to distinguish your protagonists from one another, both in the emotional tenor of the story and their voices, or you’re Project A will sound exactly like Project B. When I switch to Project B, I handle this issue by rereading the last two scenes that I wrote, as well as doing a quick warm-up exercise of journaling in the character’s voice for ten minutes. This helps me step back into the shoes and voice of the correct, unique protagonist.
Spending enough dedicated time on each: You have to be honest about what you can accomplish in the allotted time each project needs. I think we look at a calendar sometimes and over-estimate what’s possible, and then we feel backed into a corner and stress breaks down the creative fuel that’s so important to our writing. If you aren’t working under deadline, this is much easier. For the most part, I will work on Project A for two to three days at a time to stay “in the right head space”, and then switch to Project B. Though there is always a bit of reacquainting with the characters and the story that needs to happen, I find this method works best. Anymore than a few days away from any one manuscript and I feel disconnected from the story.
Did you notice how I used the word “challenges” in the heading above instead of something super negative like “cons” or “pitfalls”? That’s because in spite of the difficulties, I still believe juggling can be great for a writer’s skill set and mind set. We didn’t take up fiction writing because it was easy, after all.
THE POSITIVES OF MULTIPLE PROJECTS
Alleviating Manuscript Fatigue: For me, this is one of the most beneficial parts of working on more than one book or story at a time. I’ve found that I come back to each project with fresh eyes and a new attitude if I’ve let one rest for a few days while working on the other. It also gives my brain a chance to work through sticky plot and character issues that I may be having with Project A. The subconscious is an amazing thing.
Releasing the Pressure Gauge: Another beautiful thing about juggling, is that it forces me not to put too much pressure on a single manuscript. One idea isn’t the end-all be-all, and if Project A doesn’t turn out the way I’d hoped, it isn’t the end of the world. We put a lot of pressure on ourselves to create the best and most amazing thing EVER with each work, and while that’s certainly something to aim for, it leaves a lot of room for crushed hopes and despair when things don’t go as planned either in pitching the work, or readers buying it. Let’s face it. We suffer all kinds of angst when our audience doesn’t see the gold we believe we’ve created. If you know, in the back of your mind, that this is one project of many, that you’re striving to stretch and grow and do better next time and you have all of this excitement about Project B going on, it’s a huge relief. You’re freed from the burden of perfection, and it may even allow you to go deeper, to have more fun with your works.
Multiple Avenues for Co-Marketing: If you’re working on a collaborative project, there’s a terrific opportunity to market together. In other words, you can expand your audience significantly this way. You may also have the opportunity to give joint panels and book talks, which can be a lot of fun. I’ve found this aspect of collaborative work incredibly rewarding—and also wonderful for my craft.
As you can see, I’m a believer, but what about you? Have you found it too difficult, or a breath fresh air, to manage more than one project at a time?
About Heather Webb
Heather Webb is the international bestselling author of historical novels Becoming Josephine, Rodin’s Lover, The Phantom’s Apprentice, and Last Christmas in Paris: A Novel of WWI. In 2015, Rodin’s Lover was a Goodread’s Top Pick, and in 2017, Last Christmas in Paris became a Globe & Mail Bestseller. To date, Heather’s books have sold in multiple countries worldwide, received national starred reviews, and have been featured in print media including the New York Times, Wall Street Journal, Entertainment Weekly, and more. As a freelance editor, Heather has helped over two dozen writers sign with agents, and go on to sell at market. She may also be found teaching craft courses at a local college. When not writing, Heather feeds her cookbook addiction, geeks out on history and pop culture, and looks for excuses to head to the other side of the world.
Heather, you recommended that I switch to another project when I had manuscript fatigue. It saved everything. :) While I am not really able to work on multiple projects at once, having that other project percolating in the background is super helpful to my creative process. Thank you!
Wow, this post is amazing, Heather. I like the idea that we can do anything, but not everything. Doing multiple writing projects tend to drain me creatively. I sometimes have worked on two short stories at one time, or a short story and a novel, but found that the coming and going of it affected the quality of my work and showed my fatigue and choppy pace. Also, I’m often balancing my short story blog posts–and book promotion activity–and all the ‘whatevers’ that come up. So, I’ve learned that I produce my best when I’m working on one story at a time to give it my consistent attention, taking breaks to recharge with nature walks, music, and relaxation.
A topic I haven’t seen addressed here before and you’ve done a great job of covering both the challenges and the positives of this. I did start a second novel after I finished the first one and it was out for developmental critique. When I was about 50 pages in, got the first one back and had to scrap everything and start over so the second one is laying fallow at the moment. I’ve thought about switching back and forth and may consider it after reading your article. Also in between that did write a short story that will be published this fall. So all in all, I’d say I’m in the believer camp.
Wonderful topic, and timely (at least for me). You’ve given me some useful tips for managing my many active projects. Thank you!
Heather, I give you a lot of credit for your ability to juggle multiple projects, especially across different periods in history. Getting away from your WIP can work wonders for the psyche. There are times when I want to throw mine into the ocean. I’ve worked on short projects (two novellas) during my WIP journey and I find them restorative. It is good for writers to stretch and reach, but as you point out, we must also have the wisdom to know when it is time to cut back. Thanks for a thoughtful essay.
Perfect timing – have you been peeking through my window? I’m currently juggling three projects – the edits for a recently contracted historical romance, a short contemporary romance for a series, and my first attempt to write a “sweet” contemporary romance. (Wish me luck on that last one.) I’ve worked on two stories at the same time before and switched back and forth as the inspiration, or the blockage, moved me. I’ve found that not putting all the eggs in one basket relieves some of the pressure. If I get stuck, I switch WIPs and am off and running.
Wow Heather, you’re amazing for working on multiple projects and with several people.
I do work on multiple projects because one idea leads to another and another…but when I’m deep in a project (esp. fiction) I prefer to give my attention solely to it. But there are always little offshoots. Hehe. And when I’m stuck, I’ll work on those.
I’m juggling two projects – one involves heavy revisions on a big novel, the other is a smaller, lighter novel in a different genre. The first project gets the lion’s share of my time and appears most days to be making painfully little progress. The latter project feels easier, more fun and rewards me with hits of accomplishment that translates into fuel to keep moving on the first project. Making progress on two fronts makes me feel productive and I like that.
I have a new novel I’m proofing/re-structuring/formatting for the 50th time, readying it for self-publication. It’s exciting but tiring, especially when I know there could be a 55th or even a 60th time – I aim for perfection, whatever that is.
At the same time I’m revising a book I previously published that I felt needed some tweaking — this long after the initial publication — ideas that have been an irritating buzz at the oddest times, reminding me that things don’t have to be so final (particularly with the self-publishing route).
I absolutely agree that working on the two MS a few days apart has given me fresh eyes and energy. It took a while, but I now am learning how to deal with impatience, as well. It’s OK to take a break for lunch, for instance. Coffee is not a substitute for a meal.
My current mantra: There is no rush. There is no rush.
Thanks for your insight.
What a great piece — and I am IMPRESSED, Heather, that you can do this. My situation may be different, but I have found that I struggle mightily if I am working on two TYPES of writing at once (freelance for business and nonprofit clients, and fiction). They require such different mindsets and skills that I am not able to juggle well and switch my mind from one to the other — like you said, if I’m away from the fiction more than two days or so, it’s like starting from scratch. And that happens when freelancing deadlines loom. But maybe, if it were multiple FICTION projects, I would feel differently? I like your pro points at the end; they make total sense!
Thank you for your tips on how to stay in character when you switch projects.
I’ve worked on multiple projects for years and won’t work any other way. For me, it’s a bright idea.
Thanks for the article – sage advice from you and others above. I’m a new writer trying to put together a collection of short stories.
I found your piece after suffering manuscript fatigue, editing the collection. So I started a couple of new stories. Then I wondered if I was committing some grievous writer sin and Googled it.
Yes, the new tales have freshened things up. It helps when the projects are related, spoken with a consistent voice. Less helpful when, as you and others said, the works need a different tone and personalities.