How I Am Keeping Organized This Year

February 10, 2020 |

I’ve written before about my low-key bullet journaling style twice. Over the last year and a half, though, I’ve found bullet journaling to not be sufficient anymore for my needs and I took to finding a new system of keeping myself organized, motivated, and reflective of what it is I’m doing with my time every day.

The bullet journal stopped working for me because, as much as it was useful for assessing task importance, it didn’t give me a way to delegate my time during the day nor plan further ahead. I slowly began to shift over to a digital task management system, then realized that alone wouldn’t be enough for me.

Every Day Organization

Enter: Day Designer.

As I noted in the Instagram post above, whenever I lug this thing around — and lug is the right term, given how substantial it is — I get asked about it. The Day Designer is exactly what it promises to be: a way to design your day around time blocks. Every single day has its own page, except for Saturdays and Sundays which are on the same page, and the days are broken down into hours from 5 AM to 9 PM.

In addition to the time breakdown, though, each page offers a ton of other ways to track what’s important that day. There’s space for a top three of the day, for notes, as well as a space for that day’s to-do list. I don’t use the gratitude space in the planner, since I leave that in another place, but there is room for those who want to see that when they open up their planner.

I get up at 4:30 every morning. Having the chance to start planning my day at 5 AM is a game-changer. So many planners start much later, but I do need to get started early. Sure, “reading” and “meditation,” are things I’d likely do automatically, but the act of slotting those into time boxes prioritizes them and is a reminder of what exactly I did with my time on any given day.

I don’t write down every single thing I want to get done on the to-do list each day because I also use a digital task management system. Things is the one I prefer, as I can set up recurring tasks, can reschedule things easily, and I can keep a running list of “future ideas.”

Under “Today” on Things, you get a check list and can just mark things off as you go. You get a nice view of upcoming tasks like that seen above, and you can keep track of ideas in the “Someday” folder. This is where I often brainstorm post ideas or take notes about trends or topics I want to remember to go back to but that don’t necessarily have any due date associated with them. Often, one of the recurring tasks in Things ends up on the Top 3 priorities in the Day Designer, just because it is. I know I’ll do it, but it’s the most important thing to get done, no matter what else pops up during the course of a day.

The to-do list in my paper planner becomes a bit of a dumping ground for things that are small but need to get done: packages to take to the post office, appointments to make, emails to send or follow up with. When I collect those administrative-like tasks together in that space, I’m able to get an idea of how much time I need to allot in my day to complete them. Will it be an hour? Two hours? Or do I move those to another day and schedule a longer period of time to knock out a lot of things at once?

My last tool is one that isn’t updated daily. I have a monthly calendar planner that has just each month of the year. In it, I write down my planned blog posts, newsletter topics, and other regular writing when it’s scheduled. It’s an old-school content calendar and allows me to see what I’ve got cooking so I don’t repeat myself or find myself being bored by writing the same kinds of things all the time. It also ensures I don’t forget to do something.

Goal Setting and Reflection

In addition to the organization system for my day-to-day life, I keep a similarly-large planner for my goal setting. After reading numerous rave reviews of the PowerSheets system, I decided to splurge on one this year. I’m so glad I did!

The PowerSheets ask for a lot of upfront work, but it’s all good upfront work. You reflect on things going well in your life, then think about what it is you really want to get out of the next year of time. Those are distilled into no more than eight goals for the year, which are then broken down even further. Those micro-steps are transformed into tasks you tend to, either over the course of a month, each week, or every day.

Image from https://cultivatewhatmatters.com/.

Every week, I review my tending sheet a couple of times and update it. What did I get done from the month’s tasks, the week’s goals, and the daily tasks? It’s a reminder to refocus and also to allow myself space to deviate — an example is that I make it a daily goal not to turn on my laptop until 7 am and use that time to read and meditate. But sometimes things come up and my morning gets compressed and I need to turn on my laptop for some work. When I look at the daily goals and see that 10 out of the last 11 days have been successful in no turning on the laptop, I do not feel an ounce of guilt for doing it once because I can see how good I am at maintaining the goal overall.

I’ve taken this a step further, too, in that I have been creating themes around my goals by month. February, for example, is “renew,” and it’s when I’m trying to take care of overdue tasks. I went and got my Real ID at the DMV, I ordered new glasses, and I am in the midst of figuring out what to do with my hair. I made myself a massage appointment and will be taking my car in for some overdue repairs I’ve put off. Spending time at the start of the month to put all of those things down and look at them in conjunction with my big goals, I see how each of those moves me closer to the bigger picture in some way. It’s incredibly motivating.

Each month’s tending is paired with a reflection page about what went well and what didn’t that month, which is so helpful and grounding.

I don’t stop at the PowerSheets though. The other tool I use for dreaming and goal setting is the Start Today journal. I’ve written before about my complex relationship with Rachel Hollis, in that I see where she has weaknesses but also that there are a lot of things she talks about and shares that are extremely helpful to me (and frankly, I think a lot of the feedback she’s seen has made her a lot more aware of those shortcomings, as I’m finding myself liking her more and more because it’s clear she’s working and is indeed complex and flawed and sees that!).

Start Today is her methodology, and it requires on fancy journals. I do have one, though, that she sells because I grabbed it on discount. The premise is extremely simple: every day, you write down 5 things you’re grateful for, then 10 dreams — written as if they’ve already happened, so it doesn’t read like a to-do list, and then the ONE goal you’re going to achieve first. This fits in SO neatly with the PowerSheets and gives me a roadmap to success in the grander scheme of things while also inviting me to not only dream, but find gratitude every day.

Journaling

The last tool in my daily regimen for staying organized and grounded is a simple journaling technique I learned from a fellow student while doing my Yoga Life Coach certification.

While all of the above tools are extremely useful, they’re not the best for looking backward. They’re all set in the now or in the future. And while those aren’t bad things, there’s tremendous value in also reflecting and recalling what it is you did in a day.

I use a journal I’ve had at home and answer these four questions every single day:

What brought me joy?
What am I grateful for? (Yes, I repeat something from the Start Today list)
What is it I can let go of?
What am I most proud of?

On days when I am working, I add a fifth question:

What did I work on today?

This gives me the chance to reflect on the highs of a day, the things I’m glad I did, and gives me a reminder of what the heck I am doing with my time, so that when I look back on the week, I can acknowledge that I wrote 4 newsletters for work and recorded two podcasts, had a number of phone calls, wrote a couple of posts, and so forth. It’s the “Ta-Done” list, if you will, and writing it out, as opposed to simply checking it off my planner or task list solidifies accomplishment.

So How Long Does It Take You?

Honestly, half an hour on a slow day. After I get up, I make myself a cup of tea, and while it’s brewing, I generally journal from the previous day or work on the Start Today page. By the time my water is hot, I can enjoy my cup of tea while doing the other, and as soon as that finishes, I often still have most of my tea.

That’s when I crack open the Day Designer and plot out my time for the day. I prioritize things that are on my Things task list, as well as things on my Tending list for the month or week. When I see there’s time in a day, I will get cracking either on the tasks on the Day Designer list or poke through my tending list and make some progress.

That half hour is more than worth it weight in gold, especially when I see each way those tiny steps adds up to a much bigger picture and forward movement toward those big, juicy goals and dreams.

CLICK, CLICK, SEE: Revisioning the Verse Novel as a Genre, a Guest Post from Author Cordelia Jensen

March 26, 2018 |

I’m really excited to share this fascinating and insightful piece from YA (and middle grade!) author Cordelia Jensen. Jensen’s debut novel, Skyscraping is one I adored, and when I heard she had another verse novel coming, I couldn’t wait to read it.

Earlier this month, you might remember poet Amanda Lovelace sharing some of her favorite YA novels in verse. This essay digs into how those verse novels are structured, and offers up a wealth of additional verse novels for your reading needs. It will also pique your interest about The Way The Light Bends, out tomorrow, March 27.

But without further ado, Cordelia!

There is a wide debate about what makes a verse novel a verse novel. Generally, verse novels incorporate some conventions of poetry while telling a story. The most common poetic conventions used are: an increased use of white space and line breaks, an emphasis on imagery and on a playfulness with words, for instance by using repetition, alliteration or rhyme. However, something freeing about the verse novel is that each author essentially gets to decide how much poetic convention they might incorporate into their book. For example, some verse novelists tell a story in individual poems like in Melanie Crowder’s Audacity, whereas others use more of a stream-of-consciousness format such as Martine Leavitt’s My Book of Life By Angel, which is broken up only with lines from Milton’s Paradise Lost. How do these poetic choices then come to inform their story construction? What do verse novels have to do to make a story work? What do they get to bypass? How do the poetry conventions actually work to reveal story and lend themselves to creating a stronger novel?

For Skyscraping’s debut I wrote a post on imagery construction for E. Kristin Anderson’s blog Write All the Words! The post outlines the way Thanhaa Lai uses the image of the papaya to reflect the emotional growth of Hà in Inside Out & Back Again. I did my graduate work at Vermont College of Fine Arts on how authors can use imagery to reflect the psychosocial developmental stage and changing identity of the main character. Verse novels, because of their hybrid nature, have the ability to do this more than poetry or story. Skyscraping uses celestial imagery throughout the book because Mira, the main character, is studying astronomy and this pursuit helps her reflect upon the changing constellation of her family. In The Way the Light Bends, Linc is a photographer and, therefore, photography is used as the lens through which she sees the world and ultimately fuels her emotional growth. When writing verse novels, it is important to ground your image system in the reality of the main character. For example, in Home of the Brave, Kek’s emotional state is reflected in the weather since there is such a stark contrast between the weather where he lived in the Sudan versus the weather in Minnesota. The imagery makes sense because it describes what is on that character’s mind. This is often not true in poetry itself—a poet may skip from image connection to image connection because poetry does not need to be grounded in context or character. In fact, it is often purposefully not. However, in verse novels, imagery construction is as much reliant on poetic convention as it is on story convention.

As a verse novelist, having the ability to play with white space freely is great fun. In The Way the Light Bends, the main character is a gifted artist and this allowed me to play more with white space—to see myself as a sculptor—more so than I ever had before. Sometimes the play was just about the word itself, such as the word “up” being up a line from the word that precedes it. But, often, the interplay with white space doubled in meaning because of the story. So, for example, in the beginning of the book Linc sees herself as alone and as the rest of the world partnered around her, therefore she describes herself this way:

Here, the white space is used in a poetic way but it is a testament again to character and context that gives the lines their emotional depth. If this poem was read without the rest of the story you may not understand why Linc is feeling isolated. Read in context, you not only understand this but there is also a story promise set up that Linc will find a sense of belonging.

There are a few aspects of verse novels that make storytelling different than writing a conventional novel. The first is less emphasis on, and more creative freedom with regards to, dialogue. For example, in Skyscraping, I used recorded conversations between the main character and her father to give readers more access to the father’s voice. But no matter what, there will be less dialogue in a verse novel than a conventional novel because of the poetic form. This often presents a challenge to the author: How do you create fully fleshed out secondary characters with minimal dialogue? Even more challenging, how do you do this without having the lengthy narrative description you might in a novel? There are a number of ways verse novelists deal with this. The first might be to use multiple points of view that are stylistically different. This is something I explored in Every Shiny Thing, the co-authored Middle Grade book I have coming out in April. In this story, my character’s point of view is in verse, whereas my co-author, Laurie Morrison’s, character is in prose. Often, she was able to round out characters in her sections—through dialogue and description—that I, writing in verse, could not. There are other verse novels that span the thoughts of many characters, such as The Last Fifth Grade at Emerson Elementary by Laura Shovan, which incorporates eighteen points of view. But what about in a singular point-of-view verse novel? Can you show a secondary character’s emotional growth without including their point of view?

The answer is yes, but it is harder. One way to do this is to go back to a poetry device—imagery. In Caminar by Skila Brown, Carlos describes animal spirits as a way for us to see people in his life. And this comparison allows for the reader to see people as “proud” roosters or “smooth and fast” jaguars, giving us a deeper vision of that character. Another way to give more information about a secondary character can be if this character takes up a lot of room in the main character’s head. If so, the character will often speak to the point of view of this character in their minds, and, if there is a great sense of longing, come back in flashbacks, as in Jacqueline Woodson’s Locomotion.

Another storytelling difference in verse novels is the fact that you don’t need to transition the reader from scene to scene as much as you might in a novel. So, for example, you might begin a poem “the next day…” without having to write a whole paragraph about what happened between one day and the next. While this can sometimes feel jarring to the reader, linking imagery from one poem to the next, or keeping the tone of the poems similar, may help build connective tissue throughout and establish a more fluid and continuous narrative. Of course, it’s all a matter of personal preference, and some readers say the white space itself makes a verse novel more readable because it offers time to breathe, time to transition.

When I am writing verse novels, I often think of poems not as scenes but as moments or snapshots. In fact, one “scene” might be comprised of 3-4 overlapping poems or, just as often, one “scene” might be just one poem. Regardless, each of these “scenes” needs to bring your reader somewhere new. And, in addition, each scene must use white space, and incorporate some poetic language while developing character and story. That is quite a lot to do.

There are some poets and some novelists who look down on the verse novel form as something that doesn’t match the standards of their genre. I believe verse novels are their own genre and ought to be seen as both defying and incorporating the “rules” of poetry and the “rules” of storytelling. In an article for the ALAN review entitled “Verse Novels and the Question of Genre,” author Michael Cadden shows the verse novel in the center with its genre influences around it: novel, poetry and drama. He argues the drama genre is also an influence over the genre in as much as the verse itself can be seen as a sort of inner-monologue. Cadden argues that the modern verse novel is a great starting point to teach all three of these traditional genres plus teaching students about the creative strengths of the verse novel itself. Cadden says: “What the verse novel lacks in description and extended narration, it makes up for in its insistence that the reader provide those things on his or her own, both demanding and enabling the reader to imagine appropriate and personally satisfying images that match the context of the soliloquy and/or dialogue-driven narrative. By using the verse novel as touchstone text to learn more about three distinct genres, we would be learning how the verse novel itself is its own thing rather than a failed version of something else.”

Maybe more useful than thinking about what a verse novel isn’t, we might think about what it is: a highly-readable, emotional journey of a character(s) undergoing life-changing events as shown in a series of image-driven moments.

As photographer, Linc in The Way the Light Bends would say, we might envision the experience of reading or writing a verse novel this way: “Click/Click/See.”

***

Cordelia Jensen holds an MFA from Vermont College of Fine Arts and teaches creative writing in Philadelphia, where she lives with her husband and children. She is also the author of Skyscraping. Follow her on Twitter @cordeliajensen.

About The Way The Light Bends

A powerful novel in verse about fitting in, standing out, defining your own self-worth, and what it takes to keep a fracturing family whole.

Virtual twins Linc and Holly were once extremely close. But while artistic, creative Linc is her parents’ daughter biologically, it’s smart, popular Holly, adopted from Ghana as a baby, who exemplifies the family’s high-achieving model of academic success.

Linc is desperate to pursue photography, to find a place of belonging, and for her family to accept her for who she is, despite her surgeon mother’s constant disapproval and her growing distance from Holly. So when she comes up with a plan to use her photography interests and skills to do better in school–via a project based on Seneca Village, a long-gone village in the space that now holds Central Park, where all inhabitants, regardless of race, lived together harmoniously–Linc is excited and determined to prove that her differences are assets, that she has what it takes to make her mother proud. But when a long-buried family secret comes to light, Linc must decide whether her mother’s love is worth obtaining.

A novel in verse that challenges the way we think about family and belonging.

Refilling The Well

September 12, 2016 |

I’ve been having a hard time reading this year. I know my perception of “hard time reading” and “not reading much” differs from the average person — I did just finish my 70th book, so I’m clocking about two a week — but it’s weird when you’re used to reading more than 100 or 150 books at this point in the year and you’re just not.

But my reading this year has been so much more satisfying than in previous years. Not necessarily because the books are better. Rather, it’s because I’ve let myself refill the well over and over, and I’ve listened to my instinct far more on what I’m choosing to pick up and what I’m choosing to put down.

Last week, I went on vacation with my husband to one of our top dream places: Marfa, Texas. We’d lived in Texas for a few years, but we never made the 6.5 hour drive out to west Texas. This time, we made the intentional decision to do it; we’d fly into Austin, then make the drive out to the desert.

Earlier in the summer, the two of us took a half a week trip out to the Denver area to see some friends, so this was our second couple trip together in the last couple of months. And one thing I figured out pretty quickly in that first trip was something I applied to this one: I don’t read.

I used to love the whole process of picking my vacation reads. I’d spend days debating which books make the cut and which ones would stay behind. But the truth of it was, I rarely read on these trips. I’d pack 4 or 5 books, and then I’d pick at a couple of pages while waiting at the airport and quickly discard it in favor of pacing the airport itself. When I get on the plane, I’m one of those lucky people who falls asleep nearly instantly. Then when I reach the destination, I’m conscious of leaving everything behind and living right in the moment.

What I did pack for both trips was my Nook. Out in Colorado, I did read. I woke up before anyone else did, since I’m a morning person, and I’d use the time to read a few chapters. I finished Kali VanBaale’s The Good Divide during one of those morning reading sessions, and I updated my husband on the story when he’d wake up. I loved the book, and I loved the slow, deliberate reading sessions, knowing that I was being intentional of when I was reading and I was fully aware of the moment I was in while reading (on an air mattress, in the home of good friends). The story and the setting coalesced into a wonderful experience.

I loaded up my Nook before this trip, but I wasn’t particularly excited about any of the titles on there. A couple of books I’d wanted to read expired, and given that this was a Dream Trip, my excitement was a bit dispersed.

Then we hit travel snags, and I suddenly needed a book to read. Right now. Something that would distract me from hours and hours of sitting at an airport.

I hit the O’Hare bookstore (note, this wasn’t the airport we originally had tickets to fly out of) and hemmed and hawed about what book to read. I picked up and put down tons of them. I left without a book. Then I went back and picked up more options, then put them down. O’Hare’s bookstore had some of those beautiful classics, including a cover for The Metamorphosis I hadn’t seen before (I was tempted). I ended up choosing the mass market edition of The Girl on the Train, which I hadn’t yet read. I picked up Mary Roach’s Packing for Mars for my husband.

And then I didn’t read.

For many more hours, I wandered O’Hare. And then when the flight finally came to be, I fell asleep, my dreams peppered with images of bowls of queso and margaritas.

I was disappointed about the delays. The trip was to begin with grabbing lunch with Kimberly, who I haven’t seen in a few years. My disappointment meant my concentration wasn’t there. Which meant my reading mind wasn’t there. There was some comfort in buying a book, but there was no response in reading it.

The morning after our flight, my husband and I tag teamed the drive out to Marfa. When we drive, I do not read. We have an understanding that when we drive like this, neither of us gets to read or sleep — we’re the second set of eyes. With driving such a huge expanse of Texas, it was hard not to keep looking out. It was beautiful and breath taking and there was so much to take in about the beauty of the land around us.

It hit me on the drive I wanted nothing more than to read a book about living in west Texas. About homesteading. About how you don’t feel like an insignificant speck in a part of the country where there is one person per square mile (a nifty fact gleaned at a rest stop Google session — one of my favorite parts of driving, the looking up of the things you see and know nothing about).

Marfa is a tiny artist town close to the Mexican border. But they have a pretty nifty bookstore, and as we discovered on the first evening there, a beautiful library with a lovely note to the community on the outside. I didn’t get a chance to go in, but I loved the love letter to the town. We did hit up the bookstore, located inside one of the new hotels downtown (…most of Marfa is downtown, I guess). It was a lovely specialty shop, filled with books about the artists who played a huge role in the community, as well as an extensive selection of Cormac McCarthy books — No Country For Old Men was filmed in places around town. Nothing caught my eye or scratched the itch of the kind of book I needed to be reading.

I didn’t read while on the trip. Instead, I explored. I saw the mystery lights. My husband and I and the other people who were out there watching the show that evening shared stories and theories; we learned one guy brought his family to this space ten different times and this was the first time they’d ever seen the lights. We wandered the campsite we stayed at, pet the dogs of other people staying there, and we even ran into another Wisconsinite, with whom we shared stories of travel, of how unbelievable the sky out in this space was. Even when I grabbed my book to read in the hammocks around the campsite, I put it down and instead watched the vast sky around me, felt the breeze, listened to the utter quiet of being in the desert.

One of the best parts of the trip, though, was stopping into the visitor centered. The woman running it was wildly enthusiastic about Marfa, and she told us about all of the places we needed to see, as well as the stories behind them. Our immediate trip after that was to the Chinati Foundation, where we wandered out into the land to see the famous Judd concrete sculptures. The Foundation is built on decommissioned military land that served as a German POW camp during the second World War. The sculptures, as well as the surrounding buildings filled with art, were the response to getting the land and making it mean something completely different.

Between the trip through the concrete sculptures, as well as our drive out to see the Prada Marfa installation, my husband and I had stories and theories to tell one another, as well as things to look up and read to one another. What did these things mean? How did they change over time?

Our reading wasn’t books. It wasn’t what we picked up or packed. It was what we were living right then.

One of the last stops on our last night in Marfa was one of the big hotel gift shops, and it was here I found the book I was looking for: a story about a girl whose grandparents made a homestead out in west Texas in the 1950s and 60s and what it was like for them to live in such a desolate place: A Stake in West Texas by Rebecca D. Henderson.

It’s a book that scratches all of my itches, and it’s one I cannot wait to read for the story, as well as the story behind where I got it, what it means to me, and what the longing I had to learn about this place meant to me before and during the travels. It is, as I type this, lost in transit with our clothes, our toiletries, our toothbrushes, our shoes, jars of honey, bottles of beer, and a number of other things. I’m eager to be reunited.

When we got back to Austin, our first stop was Book People, my all-time favorite bookstore. It was a sanctuary for me for the time I was living in that city by myself. On Saturday mornings when I wasn’t working in someone’s garage archive, I’d hop on a bus, then another one, then spend a few hours wandering the two-story store.

Remember when I said I didn’t pack anything but my nook?

That was in part because I knew I’d pick up a few things at Book People. And $125 later, I’m pleased to say I bought myself two books — including one that had expired from my Nook — and one for my husband.

We flew back to Milwaukee and when I got on the plane, everything changed. I needed to unpack the trip, the stories we heard and the ones we told, and the best way for me to do that was to read.

I pulled The Girl on the Train out of my bag and flew through 300 pages as we were in the air. Then the moment we got home, I tore through the remainder of the book. It was precisely what I needed when I needed it: a quick thriller which made me keep turning pages and put me back into my own space and turf. As soon as I finished that, I picked up another book, which I’m elbow deep in now, less than 24 hours after returning home.

There is a weird pressure to keep reading, to pick up the next book, to do more, more, more, when you make your life about books. When you identify as A Reader. You feel guilt when you’re asked if you’ve read something and you say no, you haven’t. Or worse, when you’re told about a book and you’ve literally never heard of it (the friend we stayed with in Texas asked me about a book by a UT Alumna, wherein I had to look it up and add it to my to-read ASAP).

The truth is, though, reading and one’s reading life is entirely personal. And sometimes being a “reader” means that you’re listening to stories in ways that aren’t about printed or electronic pages. Sometimes, it’s about experiencing stories in the moment, of asking people to share their stories, of reading those plaques on the side of the road, of paging through art books in a tiny collection, of enjoying the beautiful libraries in the middle of the desert.

Those are moments of refilling the well. Of remembering why it is you love to read.

Taking this break and leaning into it, rather than pushing to fix it, meant stopping and pausing. It meant finding momentum again upon return. It meant finding the hunger and passion again for stories, no matter how they’re told.

____________________

All photos above are mine. I started taking photography classes earlier this year, and it’s been another piece of my refilling the well. The stories you can tell visually, through little more than the lens of your phone, continues to impress and inspire me.

The V-Word: Cover Reveal!

July 16, 2015 |

Remember when I talked about The V-Word anthology many moons ago (or last year early in the year)?

Now I have loads more I can share about it.

First, the cover, which you can click to make much bigger:

I really like how it looks so mature, without looking off-putting. It’s enticing and appealing and will easily catch the eyes of teen girls — the target market.

Here’s the official blurb for the anthology:

THE V-WORD: True Stories about First-Time Sex

An anthology edited by Amber J. Keyser

HAVING SEX FOR THE FIRST TIME IS A BIG UNKNOWN. LOTS OF PEOPLE WILL TELL YOU WHAT TO DO, BUT IS ANYONE TELLING YOU WHAT IT’S REALLY LIKE?

The V-Word pulls back the sheets on sex. Queer and straight. Relished and regretted. Funny and exhilarating. The seventeen women in this book (including Christa Desir, Justina Ireland, Sara Ryan, Carrie Mesrobian, Erica Lorraine Scheidt, and Jamia Wilson) write about first-time sex—hot, meaningful, cringe-worthy, gross, forgettable, magnificent, empowering, and transformative.

Whether you’re diving in or whether you’re waiting, we hope these stories will help you chart your own course.

Beyond Words/Simon & Schuster
Released date: February 2, 2016
Simultaneous hardcover and paperback release.

ISBN: 978-1-58270-521-7 (TP) / 978-1-58270-522-4 (HC)

Along with a bio of Amber, who edited it:

Amber J. Keyser believes in the power of sharing our experiences. She’s the author of the young adult novel THE WAY BACK FROM BROKEN (Carolrhoda Lab, 2015) and numerous nonfiction titles. Connect at www.amberjkeyser.com.

The full contributor list:

Molly Bloom
Kiersi Burkhart
Chelsey Clammer
Christa Desir
Kate Gray
Justina Ireland
Laurel Isaac
Karen Jensen
Kelly Jensen
Sidney Joaquin-Vetromile
Amber J. Keyser
Alex Meeks
Carrie Mesrobian
Sarah Mirk
Sara Ryan
Erica Lorraine Scheidt
Jamia Wilson

Readers will also find a Q&A with teen librarian Kelly Jensen on how teen sex is portrayed in the media, resources for teens who want to learn more, guidelines for safer sex practices, support for girls wanting to delay sexual activity, and even a resource section for parents on how to approach this topic with their teenager.

I’m so thrilled — and completely scared — to be a part of this incredible and important anthology. I have both an essay and the Q&A included. Writing this essay was one of the most terrifying things I’ve ever written. It meant digging from a well of feelings I didn’t know that I had. But I am really pleased with my piece, am excited to know teen girls will find it and (maybe!) relate to it, and I’m eager to see how this entire anthology comes together from start to finish. Amber has done tremendous work building a great and vital collection.

Working through the Q&A portion meant devoting weeks to reading and thinking about depictions of sexuality in YA. I wrote a bit about that here, but the book features a much longer series of thoughts and insights into what YA is doing great and what could be improved.
That cover again, though, just for good measure:

Getting Things Done with Bullet Journaling

April 30, 2015 |

Taking a day away from talking about books and reading to instead talk about the art and science behind how I get organized and stay productive. Part of it is being inspired by folks like Jane from Dear Author who talked about this at the start of the year, and part of it is that I’ve really taken to bullet journaling and have had a number of people talk about how they want to get into it and don’t understand how it works.

I’ve always been a list keeper. I have notebooks upon notebooks of to-do lists, stretching back to college and earlier. They’re still sitting in boxes and in closets around the house, in the event I need to do something like see where I was in wedding planning back in 2006. Just incase, I guess. I’ve kept a notebook of every book I’ve finished reading since 2000, which sits on the book case in my living room.

When I worked outside of the house, I kept numerous notebooks for lists. Some were for work. Some were for inspiration. Some were for random note taking. For a few years — recent ones — my list keeping and note taking got out of control. I not only had numerous notebooks going, but I also became an unabashed post-it note user. The great thing about post-its is how easy they are to move around, put into notebooks, rearrange, and, as it turns out, throw away. Where I cannot get rid of a notebook with lists, tossing a post-it of tasks I’ve completed away felt like an accomplishment. I enjoyed that.

The downside to throwing out post-its, though? Not being able to see at a glance what sorts of productivity I can achieve within a certain time frame. Am I getting ten things done a day? Three things done a week? What sort of long-term projects require weeks, instead of an hour? Quantifying productivity with post-its and numerous journals just doesn’t work for me.

Enter bullet journal.

If you’re not familiar with the bullet journal, take the three minutes to watch the video which gives an overview of the theory and system:

After watching this, I had more questions than answers. It felt overcomplicated for my own needs while also feeling too simple. Can I really keep numerous lists in one place? Why do I need multiple calendars within the journal? Do I need the journal AND a calendar? Will it make sense to mix up my work-related tasks with my personal tasks? Blog tasks? How will I make sense of all the little symbols and notations?

In short, I watched the video and felt like it was a lot to take in. But I wanted to try it anyway.

A little bit of backstory here: I noted being a journal and note book nerd, but I didn’t mention the level to which this exists. Back in the glory days of Livejournal, I was a member of numerous notebook and journaling communities, and even after, I connected with many folks who were into that, too. Is there something more nerdy than talking about how you journal or stay productive? About what kinds of pens you prefer? About where to score really great notebooks (…and yes, I have preferences on the note books I use and for what purpose)? I knew there’d be people out there showing off how they bullet journal, and while there are some great examples on Tumblr, I knew where the gold mine would be: Pinterest.

Here’s a quick and dirty set of search results for “bullet journal” on Pinterest. While many follow the formula of the original, many diverge. If you spend some time digging around through people’s posts, you’ll find so many variations on the standard bullet journal, and it was through a few hours of time, I was able to cobble together a system that absolutely, positively works for me.

Yes, I am 100% analog in my tasking and I foresee this being the case for a long time. I am better at remembering things when I write them down than I am keeping them in my head or on a digital calendar or document. I have no more post-it notes in my life, and I keep only two notebooks now. One is for almost everything I do (that’s the bullet journal), while the second is my notebook for keeping track of work scheduling of social media, meeting notes, and generally uncategorizeable note taking. I use a large Moleskine with a grid format for the journal, while I use a Chronicle journal for my note taking (this one right now). I am very, very committed and devoted to both of those products for those very specific reasons. It’s partially about size, portability, and quality. Likewise, they sit together neatly on a shelf when I am finished with them, which is important, since I refer back to many of the note-taking notebooks frequently.

This is how I organize my bullet journal, and as the year has progressed and my projects and work have shifted and grown, you’ll see my methods have evolved, too.

I began like the video does, by numbering my pages and creating an index at the front of the journal. This method lasted for approximately 15 pages and two days of January. I don’t care about being that organized. If I do, I can go back later and fill in those gaps. I did end up making a yearly calendar at the beginning of the journal, month by month, with key dates highlighted and marked. I haven’t referred back to this much since creating it, so it’s stayed blank. I’d probably ditch this in future iterations.

At the beginning of each month, I write out a rough events calendar:

This is nothing more than the dates of the month on the left, along with events or important things I ned to remember beside it. On dates with more than one event, I just separate them but put them all on the same line.

On the next page, I keep a single-page monthly task list. This is a list of things I need to do during the month that don’t necessarily have a due date or need to be done by a certain point. I refer back to this every day when I’m working on my daily task lists (getting there in a minute) in order to build those daily to-dos.

Following those pages, I like to make myself a place to track my monthly workouts. Some people do things like Fit Bit or Polar Vortex (which isn’t the real name, but that’s what I call my husband’s fancy tracker). I think I’ve made it clear I’m a paper person.

Following those three key pages, I then flip to the following page for a two-page spread which becomes a place where I keep track of two things during the month: blog post ideas, as well as books I’ve read and books I’d like to read that month. I don’t get to everything on the “to read” list, but that’s become a way for me to keep up with what I’ve been thinking about or wanting to read so when I do finish something and wonder what next, I have a place to turn.

After that, I give myself 3-5 pages which I’ve so creatively titled “miscellaneous.” This is where all of my monthly catch-all to-dos, lists, and other things I can’t forget or want to refer back to end up. Sometimes it’s literally a note about something I need to mention in an email or it’s an address. Something I don’t want to lose or misplace and would want to maybe refer back to at some point. I didn’t include pictures because all of those pages have personal stuff on them, but the important part for me is they exist and they’re there before the daily task lists.

One of the key features of bullet journaling per the video is that people can use a special key to track their events and tasks. This…does not work for me. Instead, I make a running agenda for every single day and mark things off as I go. For important things, like an appointment or call I have to attend to, I usually put a star to note that to myself. Otherwise, it’s a straight list, and I keep the daily task lists to half of a page. That’s all I can reasonably do in a day. Or rather, it’s all I expect myself to try to accomplish in a day that needs to get written down. Some things are so routine, I don’t need to mark them.

Generally, I write out a week of dates at a time. Sometimes I’ll go further. I don’t usually put the day of the week beside the date, but I have done that to keep track periodically. What’s been key for me here is this: I list things I need to do, or a memory cue for them (like “Pinterest” and “Goodreads,” which are things I do for Book Riot) and I mark them off as I accomplish them. When I see there are things being unmarked and unaccomplished, I move them to the next day.

Some people believe in very specific tasks being written. I alternate between specific tasks (“Write a Tumblr post for work about this event doing this”) and cues (“Goodreads,” which simply means do a few things on Goodreads that need to be done that day). It works for me because some things require specific information and other things do not.

If things don’t get done within a week or so — depending on what the task or memory cue is — I reevaluate the task. Do I need to do it? Will I do it? Or is it taking up unnecessary space in my life and it’s time to let go? If something isn’t on my monthly task list and has just been taking up space on my calendar, it’s time to either do the task (like go to the post office, which is a notorious one I hold over) or get rid of it and not think about it again.

By keeping my daily task lists to a week or so planned out, I force myself to make these decisions regularly. I don’t have time to waste writing things down again and again if I’m really not going to do them or if it’s a thing I just need to do and finish.

I keep all of my to-do list in one space. I do not separate out work tasks from personal tasks. I am very good at budgeting my time and energy during the day, so I know how to proceed with those multiple sides to my daily life. I practice energy management as opposed to time management, which I know is a touchy-feely way of getting things done, but it works for me. And since I work from home with an unconventional schedule, I find this method of taking care of things every day really works for me. Basically, I don’t plot things out in time chunks. I plot them out by energy. I know I am more likely to get certain things done in the morning and other things done mid-day. So I look at my lists every day and go from there. (This also tends to be why I am generally very fast at responding to emails or messages I get: as soon as I have the energy for it, I’m tackling it, rather than planning to go at it in one period of time.)

And that’s all.

I don’t do anything else with my bullet journal. I have no fancy secrets or knobs or gadgets. I use the same black ink Pilot pen on every single page. I reevaluate the monthly task lists as I go, and sometimes things get knocked off when they’re accomplished or I know it’s not going to happen.

I’m sold on this method of tracking my life because it’s analog and because I love having both the feeling of accomplishment that comes with marking things off and seeing how much can and cannot get done. More, I have a lot of opportunities to make choices with my time more regularly now that I see how my energy works with me, rather than against me. As a person who has to have control in her life, this is the biggest benefit. I know when and how I can get things done when I see it like this.

Keeping a record of books read, workouts finished, and blog post ideas keeps me motivated. I like seeing those pages full visually. And it’s always nice to know there’s a pile of blog post ideas sitting in line when I feel like I have nothing to work with when I sit down to write.

My bullet journaling came from trial and error, looking at what other people were doing and what would work for my own life. If it’s something that appeals to you but feels overwhelming, I cannot emphasize looking around at how others adapt them and then doing the same for yourself. I started with some idealistic notions on what I’d do with this, but then I let them die away as I realized the key component of bullet journaling for me, aside from organization, was decision making. Where do I invest my time and where do I let things go?

Other resources for getting started in bullet journaling:

Maureen wrote about her own personal methods of bullet journaling earlier this year. As you’ll see we all have methods that work for us. The beauty of bullet journaling is the adaptability of the format.

There’s also a Facebook group for bullet journaling. You can hop in and show off, ask questions, and get ideas for how other people use their journals here.

Bullet journal ideas and examples from Pinterest to get you started.