Book Cover and Blurb Released!

Welp. It’s done! That’s right. I finally finished the book on grief, now officially titled, Complicated Grief, Attachment and Art Therapy: Theory and Treatment. I also received some pretty exciting tidbits from Jessica Kingsley Publishers, this week.

Here is the cover they have selected (my very own design! Created in collaboration with  the typographical genius of the great Dale Shidler, of the Milwaukee Institute of Art and Design).

Cover:

Print

Blurb:

This wide ranging book on our therapy and grief provides everything and art therapist needs to feel confident in creating an effective treatment plan. It features 15 clear-cut protocols, outlining 4 -8 week curriculums for working with Complicated Grief, and explains the theory which informs the practice, including popular and evolving models such as Attachment Theory, Mindfulness, Dialectical Behavioral Therapy (DBT), and Art Therapy Relational Neuroscience (ATR-N).

Suitable for a variety of settings and clinical populations, the book breaks through the analytical jargon of the field and provides first-person narratives of art therapists exploring their own experiences of grief and client case studies.

Sales Points:

  • First book on art therapy and bereavement to examine the dynamcis of Complicated Grief specifically, which was added to the DSM in 2013.
  • Contains 15  ready-to-use protocols.
  • Up to date with popular and evolving theoretical models (e.g. Attachment Theory, DBT, Mindfulness and ATR-N).
  • Relevant to art therapists working across a wide range of settings and clinical populations.

Perhaps not-so ironically, despite all of the excitement and feelings of accomplishment I have, after pulling this all together, I am touched by yet another wave of grief. It’s not a single image, thought, or a memory, that plagues me-though all of those things pass through me like a flickering movie screen-It’s more of a feeling of fear. A fear of opening up. Of confronting possibility, again. Of trying and failing. Of wanting and being disappointed.

And yet, to reflect on that fear, I find myself pleased; to me, it is a sign that I am progressing. It may look like regression, but it is in service of both ego and Spirit.

I’m not afraid of never loving again; I am afraid because I know I can, and will. Perhaps I am afraid of the work relationships entail, but when have I ever run away from hard work? I am afraid of this rolling energy inside me; this thirst that compels me to sit in the driver’s seat, when all I want to do is stare out the back window and weep. So, today, I shed tears, despite the smile on my face. And tomorrow, I will hand in a manuscript and put the keys in the ignition.

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Create Your Bliss

Wow. It’s been a while since I’ve posted something to the community page, and there is just so much to share!

I have big plans for disbursing all the knowledge I have collected while researching and writing my current work in progress, slated to be published in 2017, Complicated Grief, Attachment, and Art Therapy: Theory and Treatment Applications  (I know, that’s a mouthful.) It’s an edited textbook about grief, love and relationships, woven together through personal anecdotes  of other art therapists and individuals with an intimate understanding of not only grief, but the power of the creative spirit.

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And in that vein, I’m bursting-at-the-seams excited to tell you about the opening of my new online school, Create Your Bliss at teachable.com. This is such a fabulous method for  interacting with all of this knowledge, in a convenient and meaningful way. I hope you’ll check out all the free previews  including guided meditations and info dump galore, if you peruse the first couple of course curriculums that are open for enrollment. AND there are free downloadable templates, if you sign up for the Sample Course Materials for Writers.

Check it out!

Online courses currently available and/or coming between now and September 2016:


June 2016

Art Therapy Test Prep

For those budding art therapists preparing to take their licensing or board certifying exam (and, to date, the most popular course by far).

Credible  Character Conflict: 11 Steps to Believably Conflicted Characters 

For writers willing to go on The Hero’s Journey alongside their protagonists, this course provides a psycho-spiritual approach to developing deeply conflicted characters, through audio lectures, guided meditations, therapeutic art activities, and insight-oriented writing exercises.


July  2016

Embracing Your Feminine Essence: 8 Practices to Encourage Transformation, Abundance, and Nurturance

Through 8 energetically-based, experiential exercises (including guided meditations, reading and writing assignments, movement activities, and art activities), you will learn how to reconnect to your feminine self and inhabit your queenly status. This course, co-authored with the fabulous Romona Mukherjee LMHC of Therapy to Evolve, will help you open up to embracing the abundance the universe is just itching to give you!

Romona and I are also conducting a LIVE two-hour workshop, on July 16th, at Reflections Yoga, as an introduction to this course. Stay tuned for details!

Plotting Through Characterization: 16 Chapters in a Page

This course  addresses how the character map developed in its sister course, Credible Character Conflict, contributes to developing dramatic hooks, meaningful turning points, and the over arching theme of the story. Participants will walk away with an in-depth understanding of their character, and a deliciously conflicted outline for their plot, including (at least) 16 chapters!


August 2016

Beyond the Break Up: Attachment Styles and Meeting Your Match

This course explores the most current scientific research and theory on what makes romantic relationships fail or succeed. You will learn how to identify your own attachment style—a biologically-informed approach to intimacy—and that of your partner, or potential partner. This course also includes interactive questionnaires, creative exercises, and guided meditations to set you on the right path to meeting your match.

Creativity Development for the Experiential Educator: Unleashing the Inner Animal!

This course offers a curriculum for art therapists and educators, to help children develop their creativity by unleashing their inner animal! The course includes marketing templates, descriptive letters for parents and other educators, an in-service curriculum for staff development, video tutorials, and more.


September 2016

A Mindful Approach to Grief: 8 Guided Meditations and Art Therapy Exercises  

This course offers an 8-week curriculum for addressing grief, utilizing art therapy and mindfulness-based practices. It includes educational materials, sample treatment plan, handouts,  examples, and audio recorded guided meditations. It may be used for “self help,” or as a guide for working therapeutically with clients, in both  individual and group settings.

#ThatMomentWhen…

Fifteen minutes after take off, the “ding” sounded and passengers were told they could use their portable, electronic devices. Ear buds securely in place, I changed the music to tibetan singing bowls and pulled out my lap top to work on my WIP–an edited book on the intersections of complicated grief, attachment and art therapy (it may sound like a digression from the five unpublished romance novels I have written, but you would be surprised).

I had just opened Word, when the steady hum of the engines suddenly silenced. We hit turbulence. I closed my lap top, closed my eyes, and focused on the singing bowls ringing between my ears. I just so happened to be listening to a recording intended to open the root chakra, the energy center associated with feelings of security.

The captain made an announcement over the intercom, “Ladies and gentleman, you might have noticed that we have lost one of our engines. We are going to turn around and make an emergency landing at JFK. Please be sure to remain calm, and follow the flight attendant’s instructions.”

I was not anxious or worried. If we lost another engine between here and there, I felt like I had done enough, at only 34. I loved without holding back. I forgave where forgiveness was warranted. I had a spirited child, and he had a good father, who would take care of him. I had contributed ten years to a helping profession. I had honored my creativity in my personal pursuits. And I had written five and a half books ( if unpublished). If I died now, I would not have lived “such a promising” life, but a life made up of fulfilled, infinitesimal promises. In fact, 34 years could be considered generous, from that perspective.

The plane landed. We disembarked with no issue. (Outside of the snarling complaints of most of the passengers.)

I took a seat in the waiting area and prepared myself for a 6-hour delay. I would miss most of the romance writing conference I was attending in Chicago, but still make it in time to give my presentation on character development, tomorrow. (And live long enough to raise my child.) It seemed a ripe moment for posting a Facebook update: “#ThatMomentWhen…The engine dies and we make an emergency landing. Figures, considering this weekend’s theme is romance.”

A notification for my email popped up on my screen. I opened the message.

Dear Briana,

Thank you for submitting this proposal to JKP – I was really pleased to receive it. Your book will fill a clear gap in the market and the structure you have put together is extremely strong. It will be an important addition to art therapy literature and I’m delighted to offer you a contract to publish with us.

 

An immense pressure exploded inside me, when I read this. I laughed, softly and quietly. Tears leaked a little down my face. I had been trying so hard to get published in the world of romantic fiction, but the first non-fiction I should ever write (and edit) garnered a contract before I had completed the first draft.

I recalled a blog post I had written on rejection. To quote myself:

 Try again. I made the commitment to myself that for every rejection I received, I would send out three more queries. This only multiplied the rejection exponentially. So, I am taking this tip as a suggestion to write something new, about what I know. 

Nine months later, that endeavor has paid off.

#ThatMomentWhen…the plane finally lands.

 

Four Functions of Personality: Character Outlines Made Easy

How many times have you heard someone say, “I hate my job, but it pays the bills?” You can research as much as you want about a character’s job, or what he does, but those are merely byproducts of the character’s external trappings, often revealing little of who the character actually is. How a character feels about what he does, reflects the nature of his relationship to himself; his internal conflicts.  That is the kind of conflict that inspires “heart,” and heart is what hooks an audience.

51pp-s0SCEL._SX331_BO1,204,203,200_When researching how I want to approach a character’s inner conflicts, there are two books I immediately consult. The first is A COMPLETE WRITERS GUIDE TO HEROES AND HEROINES, 16 MASTER ARCHETYPES, by Tami D. Cowden, Caro LeFever, and Sue Viders. Altogether, they review sixteen male and female archetypes and their interactions along three dimensions: how they mesh, how they clash, and how they change. This book used to be a print on demand, but usually available at the RWA national conference bookstore, now it’s on Amazon!

417eEmooK3L._SX324_BO1,204,203,200_Secondly, I recently discovered A WRITER’S GUIDE TO CHARACTERIZATION by Victoria Lynn Schmidt. This book is very similar to the former (in that it outlines common archetypes and their interactions) but it includes a questionnaire pertaining to Carl Jung’s four functions of personality assessment, and has the added bonus of comparing character archetypes to animal totems. This just tickles my mystic, paranormal inklings like nothing else! And you can buy it anywhere.

To give you a taste: Carl Jung believed all individuals fall somewhere along the spectrum of introversion versus extroversion. Within that, lie four functions: sensing, intuiting, thinking, and feeling. Each of these describes an individual’s way of “dealing” with the world.

Sensing: Jung called this one of the irrational functions, because it involves perceiving rather than judging information. Tangible immediate experience is valued over discussing or analyzing experience. This is kind of character well take what he sees and hears at face value. This character will think a person who cannot look him in the eye is lying.

Thinking: Jung called this a rational function because it involves decision-making and judging rather than simple intake of information. This character relies on objective truth and impersonal analysis. Think Spock from Star Trek. This kind of character will think someone is lying if they got the facts wrong or are not making logical sense.

Intuiting: Jung felt this was an irrational function because it involves a kind perception similar to sensing, but comes from the complex integration of large amounts of information, rather than simply seeing or hearing. It’s all about possibilities and asking “what could happen?” This means a character will make decisions based on gut instinct rather than logic. His ideas and creative solutions will typically go against the norm. He will know if someone is lying because he “just knows it.”

Feeling: Jung calls this a rational function, but not in the usual sense of the word. It is all about what value something has over logical examination of it; recognizing when the whole is more than the sum of its parts. Feeling, like thinking, is a matter of evaluating information. A character who relies on feeling will take into consideration his own emotional response. He will know if someone is lying because he will feel the person’s nervousness.

2016-01-20 10.45.10If this has piqued your interest, there are websites that offer free questionnaires to help you determine personality structure, based on these four functions and Isabel Briggs Myers’ typological approach to personality.

For example, I took a quiz at humanmetrics.com, and discovered my personality is described as “INFJ,” which means I am a moderate introvert with a preference for intuiting over sensing, feeling over thinking, and judging over perceiving.

Then I went to www.Personalitypage.com, and was given lengthy description of exactly what that means, and an analysis of how this would play itself out in other areas of life, such as in relationships, career, and learning environments. For free.

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I also found out which Game of Thrones character I am 🙂

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There it is folks, your character outline, done. Just be mindful of how far you fall down that rabbit hole, because you can get lost for hours investigating this stuff! Best. Research. Ever. Which type are you?

Briana MacPerry is a creative arts therapist with ten years clinical experience working predominantly with traumatized women and children. Currently, she teaches personality development and thesis writing at Pratt Institute. When she isn’t corralling her five-year old son, she’s blogging, painting, drawing, or otherwise plugging away at passion’s pursuit. To learn more please visit her blog at www.yellowbrickscommunity.wordpress.com, or follow her on Twitter @macperrytweets.

 

#StarWars: A Jungian Analysis of Why Every Writer Should Watch These Movies

 

I have heard this question several times over the past few weeks, and am compelled to address it today:

“What is the big deal about Star Wars?”

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In short: Star Wars is perfect story telling!

George Lucas consulted with Joseph Campbell at length when devising the original script. Campbell is known for reviewing Carl Jung’s archetypal theory and then doing a cross-cultural analysis, discovering “The Heroes Journey,” which he wrote about in The Hero with a Thousand Faces, a book that has spawned pretty much every screenwriters textbook since, including Blake Snyder’s, Save The Cat, and Christopher Vogler’s, The Writer’s Journey.

On the whole, the series is about Anakin Skywalker, who becomes Darth Vader, and how his son, Luke Skywalker, saves him from “The Dark Side.” Anakin’s spiritual salvation and heroic journey has touched so many people, because Anakin is the symbolic embodiment of “the every man.”

From a Jungian perspective, Luke was a projection of Anakin’s original positive male identifications (Animus), and Luke’s twin sister, Leia, was Anakin’s feminine identifications (Amina). Luke’s mission to rescue and help Leia is a metaphor for the balancing of masculine and feminine “forces,” Anima and Animus, yin and yang, the Kali and the Asurgas, in all of us. If one or the other becomes too dominant, we become mechanized and spiritually dead. We become Darth Vader.

Murray Stein provides a helpful example for thinking about the masculine and feminine in all of us, and how they can fall out of balance.

A very feminine woman has a masculine soul but not a very refined one…she holds a distinctive and marked feminine attitude, which we describe as receptive, warm, nurturing and embracing. Within that person is a very different inner attitude: hard, critical, aggressive, domineering…a personality made of steel. The very masculine appearing man, who is hard driving, tough minded, detached, and aggressive contains an inner personality that is sentimental, touchy, easily wounded, and vulnerable. The macho man loves his mother, loves his daughter, loves his horse, but refrains from admitting it (even to himself), and in public he will shun those feelings, but in private he may give way occasionally and blubber in his beer.

In The Empire Strikes Back, when Luke faces the illusion of Darth Vader in the cave (under Yoda’s instruction), he battles Vader, struggling to dominate his fear of a depreciated (macho, “blubbering”) masculine self. But after he cuts off Vader’s head, Luke still sees his own face in the mask. What the heck does that mean?

This scene would be considered “the ordeal” and it illuminates the crux of the internal versus external conflict. In railing against something we hate, we become that thing. Like being mean to mean girls. Or being moved to violence in the face of violence (bullying bullies, or—dare I be political—bombing terrorists). Why? Because that which we hate is usually a mirrored reflection of something we have repressed. Bullies are not born, they are made. When a bully harasses someone at school, we must ask ourselves, “What is happening to that child at home?”

Behaving destructively out of fear is to become hyper-masculine. In this sense, we are using the word “masculine” to describe an extreme set of attributes, but women can do this too—we are not talking about sexuality or gender, we are talking about energy and ways of thinking and being. If all is working well and in balance, it’s like driving a gassed up car. The masculine energy provides the frame and steerage, while the feminine energy provides the gas, make and model. Without the frame or steerage, it’s just a pile of fuel and stuffing on the floor. Equally, with no gas or fleshed out interior, there is no place to sit and the car can’t run on empty.

To become hyper-masculine is to become one-dimensional, externally focused, egocentric, and internally vacuous (if we become hyper-feminine, the destructive result is more smothering or consuming). In other words, we lose our sense of self and start to feel like life is meaningless and futile. It’s one of life’s terribly annoying paradoxes: The more you try to exert control, the less control you will have.

Here’s an example from Kindlon and Thompson’s best selling book, Raising Cain, Protecting the Emotional Life of Boys:

In a radio interview Buddy Guy, one of America’s greatest living blues guitarists, told a story about the son he sired but didn’t raise. As the boy grew into young manhood, Buddy sought him out, hoping they could become closer. His son had also become a guitarist, but he was so full of bitterness at Buddy’s absence that he wanted nothing to do with him or his brand of music. He had his own more contemporary rock star idols, most notably, the singer formerly known as Prince. When the young many anonymously sought a teacher who could help him in his quest to emulate his idol, he was told that, if he wanted to sound like Prince, he needed to understand how to play like Jimi Hendrix, the musician Prince had sought to emulate. And in order to understand Jimi Hendrix, the teacher said, he needed to learn about Hendrix’s biggest musical influence: the guitarist Buddy Guy.

Luke’s mission to save his sister and collaborate with her to over throw the Emperor is the equivalent of embracing his feminine aspects to balance Vader’s macho male identification. This allows Luke to love his father, despite Darth Vader’s negativity (and Luke’s disappointment with it), which in turn helps him to achieve a more integrated male identification—become a better man than his father.

To elaborate, in The Return Of The Jedi, we see Luke confronted with the same scenario from “the ordeal” in the final battle scene with his father, now considered “The Black Moment” or “The Resurrection.” At first he fights, but then Luke ultimately throws away his light saber, and refuses to kill Vader.

Yay! Luke has learned his lesson. Luke’s acknowledgement of his father’s buried goodness is the only way it could claw to the surface. This is the only way Luke could become a whole man, and his OWN man. It is also the only way his father could finally become a whole man too. (And, incidentally, is the work of therapy.)

Luke has become both a projection and a “narcissistic arm” for Anakin. This is like when a father tries to relive his hay day by forcing his son to join the football team, or attend a particular college, or take a certain job, or join “The Dark Side.” Had Luke continued to fight his father, this ‘goodness’ would have been annihilated for both of them. In killing his own father he would have joined The Dark Side in one way or another, either as the Emperor’s right hand man, or in killing the Emperor and taking his place (a la Castro, or Stalin.) But instead, Luke lovingly accepts his father’s goodness without accepting his father’s way is the best way, even though it might mean his corporeal death.

Basically, Luke is saying, “Dad, you got a raw deal. I know now you did the best you could, and I love you for it. I see that goodness (the repressed, depreciated feminine) in you, and I know that means you are not all machine (not so destructively macho), you are still alive somewhere in there. But I found a better way (balance within myself), and I’m going to explore it with or without you. But boy, I’d really love your company.”

In other words, a real man—a whole man—is a loving man, who does not act out of fear. Because to fear death and loss is to cling to the ego and it’s need for power and control, which by its very nature makes giving and receiving love impossible. The lesson of love is to embrace the immortality of the soul, which Anakin ultimately does. And so we see him happy and content at the Ewok’S bonfire party with Yoda and Obi wan, at the end.

If we think of Luke’s Journey as a projection of Anakin’s intra-psychic struggle, we see the full six films are a journey from the external to the internal and back again. Thus growth is all about integration, and keeping “the force” in balance.

 

Second Chance Romance: Four Must-Haves In A Lovable Underdog

59b9257caacb84e83bc8668ba8442231Why do we love second chance romance? Because it’s darn American to root for the underdog. In a second chance romance, any tumultuous history between the hero and heroine only serves to intensify the emotional journey, because it elevates the heights to which the hero must climb. What makes for a lovable, sympathetic canine? Here are four must-haves in crafting the perfect comeback kid.


 

  1. Suffering

First of all, if your hero (or heroine) messed up royally, he better have suffered enormously for it—bad enough to tip the reader’s sentiment from, “he got what he deserved,” to, “awww, he deserves a second chance.” It’s a special bonus if you can get the reader to flip sides entirely, and feel anger towards the heroine for being so punitive. This is easier to do if you give him an even more tortured past, which basically explains how he blew it the first time. His suffering must also have taught him pride’s futility, as demonstrated through acts of humility.

 

  1. Extenuating Circumstances

A circumstance that renders the hero’s conduct less serious and thereby serves to reduce (emotional) damage to the heroine is considered “extenuating.” A tortured past could be an example of this. Or if the “bad behavior” that caused the initial rift was in someway protective towards a family member, friend, or otherwise redeemable character—perhaps unbeknownst to the heroine, at the time. Whatever they are, make the extenuating circumstances paint your blackened hero in a lighter shade of gray, intensifying his suffering while garnering the reader’s (and eventually the heroine’s) sympathy. Fear of commitment is a common flaw but won’t fire the embers in a same way because it is a self-centered, narcissistic fear. Make the original rift a shrouded act of self-sacrifice and the story will write itself.

  1. Impossible Choices

Damned if you do, and damned if you don’t—an impossible choice arises when there is no obvious solution, or all solutions have an unpalatable outcome; a “Catch 22.” Usually, these are at the crux of the hero’s inner and outer conflicts. Keeping the heroine in the dark about an extenuating circumstance could be the result of an impossible choice, for example. Even better, if the hero’s apparent rejection was to keep the heroine out of harms way, to his great emotional detriment. (Remember, he must be left feeling remorseful, longing, and suffering.) The second time around, however, the hero must shrug off the illusion of impossibility and find a way for them to be together, despite all odds (this is romance, after all).

  1. Heart

Sometimes good people do bad things. The hero of a second chance romance must convince us of this truth. Well, he must convince us of two truths: 1. The thing that he did in the first place wasn’t really so bad and 2. The hero still feels bad about the not-so-bad thing anyway, and will never do it again. His demonstration of Heart will make us believe him. Heart is taking pleasure in doing something meaningful for someone else’s benefit. Heroic Heart is summoning the courage—against great odds—to do so. Remorseful suffering, humble acts, and self-sacrificing choices are all examples of Heart. Another easy trick to achieving this is to throw in a rival that is superficially “perfect” but whom the readers well know is a snake in the grass. This sheds a favorable, comparative light on the hero, who wears his flaws on his sleeve. Suddenly, the second chance hero doesn’t seem flawed at all; he’s simply authentic. And authenticity = Heart.

So, there you have it. Now, go have fun re-writing history the American way. Gawd bless it.

5 Reasons Rejection Sucks Big Time and How to Fix That Broken Arm

This article first appeared in the October issue of the RWA/NYC Keynotes Newsletter, 2015.

200_sToday, I want to talk about rejection.  I have written four complete, unsellable paranormal novels, all of which have been rejected due to a “saturated” market. And I’ve been at this five years now. To me, it feels like a lot of rejection. More than some and less than others, but still, it cuts pretty darn deep. Actually, I find myself questioning my ability to do this writing thing at all.

Because we all know that sting, I think friends are inclined to respond with a message of resiliency: “It’s to be expected. Shake it off. Keep trying. It’s all in your head.” But I think we need to entertain the rejection. Nurse it. Soothe it. Pay homage to its power. Acknowledge that it’s a supremely crappy feeling. Imagine breaking an arm, and someone saying, “It’s to be expected. Shake it off. Keep trying. It’s all in your arm.”

So I thought I would share five facts about rejection, most of which were taken from psychologist Guy Winch’s book, EMOTIONAL FIRST AID: PRACTICAL STRATEGIES FOR TREATING FAILURE, REJECTION, GUILT, AND OTHER EVERYDAY PSYCHOLOGICAL INJURIES.

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5 Reasons Rejection Sucks Big Time

  1. Rejection piggybacks on physical pain pathways in the brain.  Studies show that the same areas of the brain become activated when we experience rejection as when we experience physical pain. Because of this, Tylenol can actually assuage the painful experience of rejection.
  1. Rejection stimulates our most primal need to belong.  When we lived in small nomadic groups, being ostracized from our tribes was akin to a death sentence. Those who experienced rejection as more painful were also more likely to correct their behavior and therefore more likely to survive and pass along their genes. Thus, the pain you feel does not mean you are needy or weak — it just means you’re wired that way.
  1. We can relive and re-experience social pain more vividly than we can physical pain. Try recalling an experience in which you felt significant physical pain and your brain pathways will respond, “Whatevs.” But recall a painful rejection and your brain, as well as your emotions, will respond much as it did at the time.
  1. Rejection temporarily lowers our IQ. Being asked to recall a recent rejection experience and relive the experience was enough to cause people to score significantly lower on subsequent IQ tests, tests of short-term memory, and tests of decision-making.
  1. Rejection does not respond to reason. Participants were put through an experiment in which they were rejected by strangers. Even being told that the strangers belonged to a group they despised, such as the KKK, did little to soothe people’s hurt feelings.

But, of course, being a romance writer at heart, I had to include five things to help conquer rejection as well.

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How to Fix That Broken Arm

  1. Release all the feels. If you feel rejected, savor it. Scream. Kick. Punch. Cry. Tear up your manuscript (once you’ve saved a digital copy). Holding onto hurt feelings and/or suppressing them is only going to cause problems later on.
  1. Reach out to friends and loved ones for support. This activates and assuages our “need to belong,” which dates back to our tribal roots.
  1. Revive your self worth. Rejection can elicit cyclical negative thoughts. There are supplements that can chemically cool that part of the brain (such as Gaba or St. John’s Wort), but you should also consider cognitive exercises that force you to identify the things you like about yourself. Like reciting self-affirming statements when you wake up every morning.
  1. Assess potential changes. Guy Winch, PhD talks about how he tried for 14 years to publish several fiction novels, but it wasn’t until a friend told him to write about what he knows (psychology) that he was published.
  1. Try Again. I made the commitment to myself that for every rejection I received, I would send out three more queries. This only multiplied the rejection exponentially. So, I am taking this tip as a suggestion to write something new, about what I know. 

So, if you’re a paranormal romance writer and a little worse for wear, please take this article as a soft pat on the back. I feel you, bae. You’re not alone.