Writing Between Books

Your voice is your voice, whether you are writing a book or a blog post. The platform changes. The standard does not.

John Updike wrote in many forms — novels, short stories, essays, criticism, poetry, and children’s books. He did not reserve his writing life for novels. He reviewed books for The New Yorker. He wrote light verse. He composed essays on subjects as varied as golf and Vermeer. The forms were different. The attention to the sentence was not.

Updike’s example matters here not because every author should write as widely, but because it illustrates something easy to forget: a writer does not stop being a writer between books.

Now What?

The book is finished. The launch is over. The campaigns have run. The author sits down and wonders: now what?

The answer is the same as it has always been: write.

Maybe the next book. Maybe something shorter. An article. A reflection. A piece of the story behind the story. A letter to the readers who wrote to say the book meant something. The form matters less than the decision to keep writing.

Writing between books keeps an author’s name visible. But there is a better reason to do it: it keeps the author in the work. You keep noticing. You keep thinking. You keep turning experience into words. The writing muscle does not distinguish between a chapter and a newsletter. It only knows whether you are using it.

The Same Standard, Shorter

A blog post is not a book chapter. A newsletter is not a manuscript. Neither one is practice for the real work. Both are the real work, done in a smaller frame.

The temptation is to treat shorter writing as lesser writing — to dash off a post, send a newsletter without reading it aloud, publish something not meeting the standard you brought to the book. Resist it.

A blog post may disappear down a feed tomorrow, but it still carries your name today. A newsletter may be shorter than a chapter, but the words still came from you. The form may deserve fewer words. It does not deserve less care.

This is the discipline Updike demonstrated across decades. A book review in The New Yorker did not need to be a novel. But it needed to be written by someone who took sentences seriously. The reader could hear the same writer in both.

Where to Write

Where you write matters less than why you write there. It might be Medium, a newsletter, LinkedIn, your own website, or somewhere else entirely. Choose one place you can sustain and where the people you hope to reach have a reasonable chance of finding you. Then write.

Campaign 139 asked: What is this for? The same question applies here. Do not start a newsletter because someone said authors need newsletters. Start one because you have something to say on a regular basis and you know who you are saying it to.

One place you can sustain may serve your purpose better than several you cannot.

There Is Only Writing

We call it writing between books, but perhaps there is no such thing. There is only writing — the book, the article, the letter, the reflection, each asking for the care appropriate to what it is meant to do.

The Power of Authors argues an author’s power lies in the deliberate use of words to serve readers. The power does not arrive with publication and leave when the launch is over. It lives in the writer who keeps writing — not to stay visible, but because there is always more to say.

The platform changes. The standard does not.

If this idea resonates with you, you will find the same philosophy throughout The Power of Authors by Evan and Lois Swensen — a book about why authors write and why what they write matters.

The Power of Authors is available from Amazon or your favorite bookseller: evanswensen.com. If you’d like an autographed copy, visit the same website and order directly.

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