As a child, the cinematic portrayal of writers utterly captivated me. Movies and TV shows painted a picture of individuals whose sole occupation revolved around the act of writing, or the art of preparing to write. These fictional scribes were often depicted gazing pensively out of windows overlooking iconic scenes – the Eiffel Tower, a serene meadow, or a bustling street in Greenwich Village – always poised to receive divine inspiration from their elusive muse.
However, as Leslie Gray Streeter, a seasoned journalist and author, reveals, this romanticized image is far removed from the multifaceted reality of a working writer. The glamorous facade conveniently omits crucial aspects of the profession. Where in these idyllic scenes are the practicalities? The financial anxieties of affording a Parisian apartment on a writer’s income? The mundane yet essential tasks – the meticulously maintained submission spreadsheets tracking queries to agents, the curated lists of bookstores and literary festivals, the comforting yet stress-inducing bag of Cheetos, half-eaten amidst deadlines? And what about the vulnerable moments, the tearful phone calls to mothers questioning life choices and the nagging thought of “should I have gone to law school?”
These less-than-glamorous realities are intentionally omitted from popular culture because they shatter the romantic myth. Streeter emphasizes that writing is merely one facet of being an author, particularly if the goal is readership and financial sustainability. Streeter is refreshingly candid about the financial aspect of writing, drawing from her decades-long career as a journalist. She recounts a well-intentioned but ultimately unrealistic comment: “Even if your book doesn’t sell, it was worth it because you finished it.” Streeter’s pragmatic response, “No, ma’am, this is my life’s work, and Mama doesn’t work for free,” underscores her professional approach to writing.
Streeter directly addresses those who view writing, or any artistic pursuit, as a purely spiritual endeavor, somehow tainted by financial compensation. She poses a thought-provoking analogy: would these same individuals expect their dentist or hairstylist, professionals who may genuinely enjoy their craft, to provide services like crowns or hair coloring without charge? The inherent absurdity of this expectation highlights the often-overlooked professional value of creative work.
Because Streeter has always perceived writing as a business, she was not surprised by the sheer volume of effort required to succeed as an author, even within the traditional publishing model. She acknowledges the immense hustle of indie authors who manage every aspect of publishing – from editing and cover design to printing and marketing. While Streeter, traditionally published first by Little Brown and now by Lake Union, benefits from advances and publisher-funded services, she clarifies that earning royalties necessitates first “earning out” that advance. Her debut book did not achieve this, underscoring the financial realities even within traditional publishing. Indie authors, while incurring upfront costs, retain all earnings, presenting a different financial dynamic.
Although Streeter benefits from a publicist, much of book promotion still relies on her proactive efforts. This includes soliciting blurbs from fellow writers, engaging with bookstores and festivals for event opportunities, and consistently updating social media platforms. Even this very blog post, Streeter points out, is a form of marketing. In a crowded marketplace of books and authors, visibility is paramount. Streeter candidly admits the inherent uncertainty: despite relentless effort, success is not guaranteed. Her memoir, “Black Widow,” released just before the global pandemic lockdowns in March 2020, suffered from unfortunate timing, disrupting planned tours and media appearances.
Despite the initial setback, Streeter highlights the long-term perspective crucial for authors. While “Black Widow” didn’t achieve immediate bestseller status, it continued to find readers and, importantly, became a valuable marketing asset for her subsequent novel, “Family and Other Calamities,” slated for release in May 2025. Streeter emphasizes that demonstrating a proven track record – having written a book, establishing industry connections, and possessing the drive to execute a marketing plan – is crucial for continued success. “It’s all marketing. It’s all hustle,” Streeter reiterates, driving home the central theme.
Concluding with a glimpse into her daily routine, Streeter reveals the disciplined approach that underpins her creative life. After finishing this blog post, her schedule includes exercise and then diving into final copy edits for her upcoming novel. She also mentions delegating tasks to her assistant (her goddaughter), specifically researching book festival opportunities. Amidst the business of writing, Streeter acknowledges the importance of nurturing the creative spark, mentioning plans to work on her next novel, allowing the muse to inspire. However, even the muse, Streeter playfully asserts, must adhere to a schedule. This blend of creative pursuit and disciplined business acumen encapsulates the reality of being a working writer, a reality far more nuanced and demanding than the romanticized portrayals often depict.
