Lessons from Michael
The Writer’s Saddle - Calgary RWA’s Newsletter
Volume 5 Number 1, September 2008.
By Wenda Dottridge
I really like Michael Bublé’s new song, Everything. Whenever it comes on the radio I jack up the volume and groove along (figuratively, of course—I have teenagers in the car who do not want to see their mother bopping in public).
During my family’s recent epic drive to California (60 hours in the car return!!) I was worrying about what I would write for the CARWA newsletter when the song came on. Aha. I remembered an interview I’d seen with the internationally renowned singer and started writing this column in my head (it took three weeks to get it onto the computer).
Now, his meteoric rise as a platinum-standard performer seems self-evident. He’s got a great voice, is easy on the eyes and is retro-hip in a classic cool way. But for years he toiled at his craft playing hotel lounges his grandfather secured by bartering free plumbing in exchange for the gig. He put out independent albums of oldies that didn’t garner airplay or attention. He was told repeatedly that no one but old geezers (like his grandfather) was interested in crooner jazz.
And he says he may have given up if his Grandfather didn’t believe in him so strongly.
His break came when an associate of Brian Mulroney heard him perform at a private function. Brian Mulroney's friend bought a CD as a gift to the former Prime Minister and his wife, Mila, who then hired Bublé to perform at their daughter’s wedding. At the wedding, Bublé was introduced to Canadian music producing legend David Foster. The rest, as they say, is history.
As writers there are lessons we can draw from Bublé’s story.
The first is to find our voice and develop it. Bublé could have followed current music trends and tried to perform popular music, but he had an affinity for classic jazz and it fit his voice. Even on later albums produced with Foster, Bublé says they were careful to stick to songs within his range. Once he knew what he did best, he honed his craft to the point that no one can do the songs he performs better.
As writers we are all tempted to follow the trends. Westerns are hot, Regencies not, so we write a Western, or, Erotica is selling so we dip our pen in that well, so to speak. It is true that trends affect careers, but authors with drive and talent who know their voice weather the trends. Jo Beverly and Mary Balogh thrived as regency set authors while the Regency market died. While we may see some short-term gains by following a trend, if what we write doesn’t precisely fit our voice and reflect our passion we won’t build a career by following trends.
We also learn from Bublé the importance of fans, even if we only have one who cares as much as we do about our success. Many of us are fortunate to have someone at home who wants us to succeed as badly as we do, but lots of us don’t. We get passive support, but not full go-for-it-at-all-costs varroom. That is why writing groups are so important. At CARWA we get 100% support that is real. Fellow members serve our dream. They plan workshops, they host book signings, they critique our work, they share knowledge and insight and they continually line up gigs (contests) and encourage us to perform.
And lastly, we learn it’s possible to pursue our craft with or without getting a big break. Bublé would have continued to perform if he hadn’t met David Foster. Corporate entertainers don’t go hungry; they actually make pretty decent livings. But the big break wouldn’t have come if he’d become lazy or complacent as a performer. It didn’t hurt that the stars aligned and he met David Foster when he was 25 instead of 40.
Next time you sit down in front of the computer and pull up Michael’s Everything from your playlist keep these three lessons in mind: Find your voice, stick within your range and perfect your craft; listen to your biggest fan; and, keep working until you get your big break or you retire.
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