Fourth of July stack

I forgot to post my holiday mantel books. Here they are--and about to change for the orange of this steamy summer surrounding us. (Sorry...I couldn't resist.)

Harper Lee

In O, the Oprah Magazine, Harper Lee also writes for the first time in ... how many years? Since To Kill a Mockingbird. In her letter to Oprah, she says, "Now, 75 years later in an abundant society where people have laptops, cellphones, iPods and minds like empty rooms, I still plod along with books."

But where are the books? Ms. Lee, please ... we have been waiting.

Her letter to Oprah is short but I'm a Harper Lee fan and anything at all will do.

(I'd give you the link to the magazine, but the letter's not online; you have to buy it--or go to the newstand to read it. It's on page 151 of the July issue.)

They'll help you put your rejections behind you

A great use of your rejections letters. Toilet paper!

Are you sitting down?

We're on vacation, in the desert, and Brian is finally reading my book, one year and eight months since it was published. I can prove it. Here are photographs.

Lest you get the wrong idea, he read many pages, many chapters over the years I was working on it, but after it was published, he says he didn't read it because he felt like he had already read it. I think he didn't read it because he was afraid of what he would find. Friends of his bought it and told him what they'd learned about him from reading my book.

I just asked him why was he reading it now and he said, "I don't want to be on the Internet."

Travis said, "Put that quote in!"

Ah, but when you're married to a writer, well, you don't have much choice. You're wherever your writer chum puts you.

Vacation!

We're going away for a few days for sun, sand. No, not Hawaii. We'll be roasting in the California desert. Our annual after-school-is-out-get-out-of-town trip. It's become a tradition, one my son won't let us forget.

Actually, I'm glad he won't let us forget. I love that about him. I grew up with few traditions so now I welcome them.

After getting my computer back from Apple, it seems like it's been nothing but catch up on projects that should have been done weeks ago. And I'm still catching up. One big OY VEY on this end. So it'll be good to get away. Get some writing done, too.

Thanks so much to those of you who are promoting my book in airports and to friends everywhere. Every little bit helps, as you know. Harcourt seems happy with me and says the book continues to sell, with very few returns. My editor told me there's something like 40% returns!

If you want, I'm happy to send you a few postcards of the cover of the book for you to give out. Harcourt had a ton made and gave me a bunch. Email me (penonfire at earthlink.net) with your address and I'll send them to you, with a lil surprise of thanks.

License plate holder speaks

You know those license plate holders enclosing your license plate? Most of them say the name of the car dealer where you bought the car. Mine says "Pen on Fire" along the top, and along the bottom is says, "www.penonfire.com."

I bought it before my book came out with the hopes that it might have some effect.

Yesterday morning I pulled into Albertson's Market and parked. The white SUV behind me parked, too. I walked up the ramp to the store behind the woman from the SUV, who had damp hair and looked dressed for a corporate job, turned around and said, "What is pen on fire?"

I told her it was a book I had written and she said, "Is it a novel?"

"It's a quirky book about writing," I said.

She nodded and smiled.

In the checkout line, she was before me. As she picked up her bag to go, she turned to me and said, "I'm going to buy Pen on Fire."

I thanked her and wondered how many other people have wondered what "pen on fire" was and if it prompted them to visit my Web site or buy my book.

A license plate holder is space to be used. Don't let it be free advertising for a car dealer.

Heroes?

Have you seen Victor Infante's November 3rd online journal? The Summer 2006 Edition is up and I'm one of a handful of writers/poets taking part in a Q&A called "Nobody's Heroes." It's a fun read in which we talk about heroes in fiction.

Mystery writer Pat Guiver died

Pat Guiver, author of the Delilah Doolittle pet detective series that began in the late '90s, died a few days ago. She was from Surrey, England, and had a dry sense of humor and a great laugh. I was in a critique group (The Fictionaires) with her until a few years ago when I left the group. She was a wonderful critic and writer. I hadn't seen Pat in quite some time, but already I miss her presence on this earth. Here's a link to her obituary.

Mac is back

Apple is quick. I sent my laptop to Apple late last Thursday and it just arrived home. Impressive, the turnaround time.

Now, I have to load software and bring back all that lost data from the external hard drive. Hopefully that will all happen today.

So, y'all have been backing up your disks, right? What did you use?

The upside of my hard drive crash

It's 8:20 on a Friday morning. I'm in my 11-year-old's room, which is dark and cool in the morning (and glaringly hot in the afternoon when the sun switches places in the sky). He's at school (one week left in the 6th grade ... eeek!) and so I sit at his desk, which is an IKEA angular job that fits in the corner. The PC's monitor takes up a quarter of the desk space. I really must buy a flat screen for this computer, or get rid of it--when my iBook comes home and when I buy a back up Mac. I'm not complaining; at least I have a computer not so vintage that I can at least get online and work some.

One thing I love about being in this room and working at this computer is the lava lamp that sits to the left of the monitor. In the morning, when I come into this wonderfully dim space, I turn on the computer and I also switch on the lava lamp. As it begins to heat up, the purple globular mass begins to shift, and within an hour and a half transforms from looking like a brain to, well, looking like lava. That's a wonderful moment, when the wax or plastic or whatever it is in side the liquid becomes almost liquid itself.

Who ever has occasion to watch a lava lamp do what it does? I didn't--until my Mac crashed and I was forced to work on this computer again.

On this computer is where I wrote those early drafts of PEN ON FIRE (they're backed up on floppy disk--remember those?). I used to work in this room before Travis was born. Actually, I worked in here after he was born, too, because he slept in our room for a Long Time. Nursing...the family bed(a la Dr. Sears), etc..... I always liked it here.

I asked Travis if, when my Mac comes home, if I can use his desk to work. It will be summer. He'll have little occasion to use the desk. He said he'd rent it to me, then he went on to say that he'd be happy to move into the living room if I wanted his room.

That's doubtful, I said.

Wherever I end up working, the hard disk crash gave me the experience of remembering how I so liked to work in dark spaces facing the wall, how too much sun in a room, and too big a room, can cause my thoughts to become diffuse.

It was an expensive way to learn this simple fact. And to learn that wherever I work, I want a lava lamp with me, too.

C'est la vie

So now, $1680 later, the laptop has had its data recovered--something like 497,000 files--and I have a new external hard drive holding all that data, and laptoppie-poo is on its way to Apple for a new hard drive.

An expensive lesson, for sure. But with all the minor and major horrors going on all around us, I feel lucky that that's all it was. Odd reaction, maybe. But I'm not freaking out.

My back up plan for my new hard drive is in place, though.

More on backing up

It's going to cost $1580 to recover data from my iBook--more than the iBook cost. What a pain. But what is there to do? For a minute I felt the way I've heard people talk about feeling when they lose everything in a fire: They feel free. No more garage to clean out (because the hardest part of cleaning out a garage is making decisions about what to keep and what to get rid of).

So I felt free there for a minute. But then, like those fire victims, I remembered all the photos we have stored on iPhoto and berated myself for not printing them or storing them online and thought, that would be the worst part of losing all the data (along with a email and Word docs, of course).

So I approved the work and any second, transferred money, and any second I will be $1580 poorer and my computer will be on the so-called road to recovery.

The data recovery company will give me my data on a hard drive and I can then use that to back up. My friend, tech guru Elizabeth Crane (writes the Tech Talk column for the ASJA Monthly, which I edit and which can be read at www.asja.org) says she has software that is on her Mac and once a week backs up to a hard drive that is always connected.

As for photos, I've started uploading photos from 2001 from this vintage PC that I'm typing on right now that sits on my son's desk onto Kodak Gallery and I'll pay them something like 15 cents a print. When I get the iBook back, I'll do that as well.

Like so many things, you don't know what you got till it's gone.

Did I say, save-yourself-the-hassle, back-up-now, lately?

Don't put off backing up your hard drive

It's not the worst thing in the world, but for a writer, I suppose it's right up there with "among the worst things." The hard drive of my iBook crashed. My computer is now at a data recovery company. Cross your fingers for me. Say a novena.

I haven't backed up in a few months--well, it might be more like 6 months. Now, I've had blank CDs beside my laptop, and I meant to--just a few weeks ago. But I didn't. I plunked the CDs in my recycled paper briefcase from the Czech Republic to bring to my show.

Oy oy oy.

So I have a mantra I've been running through my mind. It's, "Don't sweat the small stuff. It's all small stuff." I wish I could remember who said that. It's an author who writes those little books...

UPS just delivered the empty box from Apple that I will use to return my iBook to them for a new hard drive. The laptop is under warranty, but still. All those pages and photos and emails on the hard drive that are irreplaceable. (Not to mention deadlines I will now have difficulty meeting because of what's on my hard drive that I need.) The box makes it real. The computer is only a little more than a year old, and I knew that a hard disk can fail at any time, regardless of age. Still. You think it won't happen to you. And then it does.

My advice to you? You know what it is. Finish reading this and then back up your hard drive.

No Snail Likes Stale Beer

Here's a chapter that didn't make it into Pen on Fire. I can no longer say why because I can't remember.

“I have never smuggled anything in my life. Why, then,
do I feel an uneasy sense of guilt on approaching a
customs barrier?” - John Steinbeck

No Snail Likes Flat Beer

In Southern California, slugs and snails are about as plentiful as cars on the freeways. Nurseries devote rows upon rows to shelves of snail bait, you'd think the gutsy gastropods were the plague. Actually, in my garden, they are. My poor polka dot plant, shredded all because of a slug. Red, ripe strawberries, now inedible because they were some snail's idea of a snack.

Still, I put off buying the bait. Call me superstitious; I didn’t want the word death on any product in my house. It’s hard enough having books with that word on them, though I do own a few: Death of a Salesman by Arthur Miller, Death in Slow Motion by Eleanor Cooney.

I heard that snails and slugs like beer, so I popped a can of Budweiser left over from a surprise party I threw for my husband, Brian. (Someone brought over a six-pack and Brian, a Coors man, relegated the Bud to the garage.) Then I robbed empty jars of their lids and strategically placed the lids about our teensy garden adjacent to the strawberries and tomatoes. I filled the lids with beer and hoped for the best. At least the slimy creatures would go on to the next level feeling no pain.

The following morning I went outside just as a slug was dragging itself out of the lid onto the dirt. Only one measly slug had drowned.

“You need deeper bowls,” a friend said, “so they can’t crawl back out.”

“Will everyday dishes do?” I said, “or do they only like China?”

That night, after my son went to bed, I crept outside. Holding the flashlight between my chin and neck, I crouched on the ground and peered through leaves, under plants. When I found a gastropod, I sprinkled salt on it and watched it shrivel up. Torturer! Once was enough.

I took to picking up the snails and tossing them into the street. That was no good either. The crunch of their shell on the pavement got to me.

I reverted to beer. Because that gave the snail or slug a choice. When Brian had a beer, I’d swipe the bottle when there was only an inch or so of flat beer left, and pour it into a little plastic container. But I caught no snails. And then it occurred to me: like most humans, no snail likes flat beer.

Three days ago I broke down and went to the nursery to buy snail and slug bait. After watching the pests decimate flowers and vegetable seedlings, I had to make a choice: the plants’ life or the snails'?

I still feel pangs of guilt.

There’s so much to feel guilt over. Not writing is right up there at the top of my list. If you’re trying to decide if you’re a writer, take a look at your guilt quotient. Do you feel bad when you don’t write? Do you ride yourself endlessly about how you should be writing more? When you do write, do you feel the burden lift? Do you breathe a sigh of relief, feeling good that you got something done?

Neal Shusterman has published more than 15 young adult novels, wins awards, and writes for TV and film. He's one of the most prolific writers I know. Yet, he feels guilty if he doesn't write, or doesn’t do something writing-related during his workday.

"I have a strong work ethic," he says, "and want to feel that writing full-time is a 'real' job. I keep track of the hours I spend writing--even if they're unproductive hours. Forty hours spent working through a writer’s block with no pages to show for it is still a full work week. I don't feel guilty about that, because I know I'll also have a week where in forty hours, I'll be on a roll and get two weeks of work done."

I can always count on novelist Jo-Ann Mapson to reduce things to their essence, including guilt. "I don't feel guilty when I don't write," she says. "I just feel as if someone cut off my hands. Incomplete. Inarticulate. And mopey."

Whether you’re published or not, feeling like you haven’t gotten anything done unless you’ve written even a paragraph is a good indication you are a writer. Snails can tell the difference between fresh and flat beer just as writers know the difference between meaningful creative work, and just work.

Set Your Timer

Most writers feel lousy and guilty when they don’t write. By now you know that if you make a commitment and goal, you'll feel guilty if you don't do what you say you're going to do. Everything in the universe is on a schedule. Those snails in my garden know that late at night, when it's dark and damp out, it's time for them to mosey about the plants. Nature's schedule is solid; there's a proper place in time for everything.

Working first thing is idea because you’ve at least put in your time. But do your work before you go to sleep if you must.

If you find that the actual time you sit down to write isn't working for you—and not writing anything is a good indication--then try another time and place.

Try locations outside the house, too: the cafe in the bookstore, the park, the mall, in a Denny's or Coco's or another restaurant by a freeway or turnpike exit where there’s interesting people-watching.

The main thing is to stop feeling guilty and the only way to do that is to correct the balance. When you're writing the right amount for you, guilt will cease to be.

Daily deadlines

So I stopped my whining and remembered how I like to finish things, and so daily, before I do other fun things (namely knit), I write. It helps having a reward.

I hit the 300-page mark the other day. I don't know if what I'm writing is good or is crap. It doesn't matter. What matters is getting the words on the page instead of letting them loiter in my brain. What matters is getting the first draft done. Without that, there's nothing to revise.

I make myself remember that Pen on Fire was revised a jillion times.

And while I like Pinot Grigio, Jordie, drinking and writing doesn't mix for me. I have a glass of wine and suddenly I feel too expansive, too relaxed. And I tend to write early in the day rather than later. When I keep my writing for later, it rolls over onto the next day. My nights are about hanging around with Travis--and Brian, if he doesn't have a gig or a rehearsal, and if I'm not teaching.

Mornings or afternoons work best. The other day I took the laptop, went into the bedroom, sat on the rocker in the corner of the room, and wrote.

I just dropped Travis off at school and am back and ready to go.

Hey, don't forget the show today: Dennis Palumbo, therapist to those at odds creatively, lit agent John Ware (5 p.m., www.kuci.org).

Signing off.....till later....

Funny....what my radio show does...for me

Here's basically what I wrote this afternoon to two writer friends who are are my critique group:

I am So unmotivated to work on my novel right. I have almost 300 pages, but I find my story boring and I'm not quite sure what to do right now. Or what to do with it.

I've tried thinking of what I would tell my students.

I would say, you've got almost 300 pages! Oy vey! Just finish!

Or I'd say, take a break. Maybe you need some time away from it.

Thing is, I Have been taking a break. I have been knitting. And reading (just read Aria by Susan Segal. I LOVE this novel. If you love opera, or even if you don't--if you love literary fiction, read it!).

What can you say to someone who feels like they have all the answers, who can rationalize up the Empire State Building and back down, and still have more reasons why?

I've written two unpublished novels, prior to Pen on Fire (which obviously did get published, after a million months and a ton of work and a ton of faith that it would. Does faith weigh anything?).

My two unpublished novels....thank God they never were. Now I would consider them embarrassments.

Oh, and I have one novel, 100 pages in, a mystery, that I stopped when I learned I was pregnant and was afraid of continuing because I feared I would scare my baby in utero. So I started and finished my 2nd complete but unpublished novel.

So now I'm 300 pages into a new novel and I think, so what? I think: But publishing is so harrrrrrrd.....

.......

Okay.

And then I left to do my radio show. I talked to Susan Segal, author of Aria, the novel I mentioned above that I like so much, and Diana Abu-Jabar, a talented novelist and memoirist whose work I also love, and who has such a great sense of humor--in person and in her writing.

And after my show I felt rejuvenated. And felt like I wanted to work on my novel some more. Strangely, I imagined I felt the way people feel who listen to my show, or to the podcasts of my show, and write to me and say how much they love listening.

Today I loved listening.

(The show will go up next Tuesday.)

I asked Diana what happens when you get bored with your own work and want to quit?

She laughed. She said I must have been in her office with her today.

.....

It's a great show. Do listen, esp. if you ever feel this way.

You just have to keep the publishing industry at bay and you have to write because you have to write. So simplistic. And so true. Writing is the antidote to all these crappy self-loathing feelings.

Literary agent John Ware

New York City literary agent John Ware has been on my show a couple of times (and is coming on, again, on June 1.) I did a print interview with him for my feature in The ASJA Monthly (July/Aug. 2005). Here it is:

Voices on Writing
"Boutique Agent John Ware"

John Ware is the agent I would want if I didn’t already have one. In fact, we first met five or so years ago when I queried him about an earlier incarnation of Pen on Fire. He turned it down; he wouldn’t know how to sell a writing book, he said, but he did say yes when I asked him to come on my radio show.

Since then, he’s been on my show three times, on an ASJA panel I moderated, in a couple of articles (for Poets & Writers and Pages) and I quoted him in my book. He’s one of the most articulate speakers I know; I was not surprised to learn that he has a poetry background (a poem of his came close at the New Yorker). And he has a range of eclectic interests: He has sung in a choir, studied Italian, is a baseball fan, goes to museums and racetracks. He also has an undergraduate degree in philosophy from Cornell and attended graduate school in English literature at Northwestern.

He started the John A.Ware Literary Agency in New York City in 1978 after eight years as an editor at Doubleday, seven of which he taught the industry-wide editorial workshop at NYU. He also spent a year as an agent with James Brown Associates/Curtis Brown Ltd.

BDB: How did you become an agent? What attracted you to the profession?

JW: I had been an editor at Doubleday for eight years and got this offer from my friend, James Brown, and it appealed to me because agencies are smaller than publishers and because there’s more autonomy in the decision-making. I also liked the fact that there were just plain fewer meetings, as funny as that may sound, and I liked dealing with two communities: writers and editors. I don’t mean it disrespectfully to the art department and others, but I didn’t want to be the hub of the wheel to all the other departments as editors must be. As an agent, there’s also a greater opportunity for financial gain because you have a part of the books. This is all speaking from the editorial position I was in [when I became an agent], not from a standing start.

BDB: What do you like to handle?

JW: That’s an easy one. My colleagues, I think, would give the same answer: We bring our private tastes to our work. I don’t think anyone pretends to be full service. We are all boutique operators—even editors in big houses. I have an odd amalgam of tastes: I handle investigative journalism and current affairs, history, biography, and then, a whole realm of the offbeat, to include memoir that has some larger purchase because it touches larger issues. In my opinion, unless you are a big name, your memoir must sell to the broader market, that is, your life must be in touch with issues that speak to the larger society. I like offbeat books that have some broader grab—I guess you could say pop culture of a kind. I do a small elite health and medicine corner. And a small corner of fiction, which I do it for my soul.

BDB: What do you mean by, “We are boutique operators”?

JW: When I talk with editors, I encounter very few who say, “Send me anything.” Nobody can be interested, let alone knowledgeable, in every single kind of book that’s published. I’m frankly suspicious when an editor says that to me, and then I refine it and say, “But what do you love, what really gets you going?” It’s the same as with any private reader: No one reads everything.

BDB: Do you pay any attention to trends?

JW: Absolutely none. I rate it book by book. For instance, my client, Jon Krakauer set off the outdoors genre, so I have categorical awareness, but it’s not something I ever give extra points to or take points away from if something is or isn’t one of a kind. If it’s the 24th biography of Bernard Shaw, and it’s great, there’s room. If you have the genuine article, even if it can be nailed generically, it doesn’t matter. We all love the original fresh ideas; I’m just saying, you can’t have that in every book. If you come across something in a familiar area, that’s not a plus or minus for me. I really encourage writers not to pay attention to trends in choosing how to spend their time and work. For ex, I’m getting so many queries now in the direction of the Da Vinci code, and I think that is completely dangerous. Just do what you want to do. But don’t write conscious of trends. It’s really important for writers to not give themselves over to writing trends.

BDB: Then, just how much attention should you pay to the marketplace?

JW: I don’t think you can. You have to write what you have to write. You can’t write for that angle. Some books last longer than others. You can’t choose your genre by that which has the greatest shelf life. That’s like writing for trends.

BDB: What if you’re published in one area, with one or many books, and you want to change focus. How do you do that?

JW: I just sold a novel today by a woman who’s sold two nonfiction books. We took a pay cut, and she is using her name. You do get pigeonholed. Some writers use another name for another genre. It’s difficult. Branding does happen and it’s not something that publishers engineer. I don’t think it’s anyone’s fault.

BDB: Do you seek out writers in journals and magazines?

JW: I don’t tend to. Frankly, I’ve gotten too busy—and my pleasure reading—the Atlantic, Harpers, the New Yorker—use writers who are taken anyway.

BDB: While query letters are usual the port of entry, when you’re seeking representation, they can be difficult for writer, in terms of capturing tone, the scope of the project. What’s your take on query letters?

JW: The goal of a query letter, first of all, is no selling, no hype, no advertising. Just a simple, succinct, one-page description. Those adjectives can be flavorful without being advertising. An enticing description of what the book is about. And a little bit about yourself, credits if any. Keep it to one page. The leaner, the more economical—while still being flavorful—the better. We can tell a lot about how a writer writes from a query letter. Novelists say that doesn’t apply to us, but you can tell with a fiction writer, too—style, flow of words—absolutely. I don’t like pages included. I will ask for anything else I want. I like the query to come in the mail with an SASE. And if a writer wants a reason why not to call, which is the worst thing to do, this is why: It’s not that the call is taking our time but that we work with the written word, not the spoken word. You can’t tell anything writerly from a phone call.

BDB: Is it important to take the long view, when you’re starting out as a new author? Do you talk about a new writer’s path when they’re starting out?

JW: I do. As much as they’re able to, writers should look at the long term.

BDB: How do you feel about someone who is thinking about switching from their current agent to you?

JW: I listen with incredible care to what they have to say to see if the complaints seem utterly fair or if I’m walking into work with someone who is difficult. More editors know agents than agents know agents. We don’t’ have large coteries within our own community. I do have some friends…Elaine Markson is one of my closest friends and if someone left Elaine, there’s no way I’d take him or her on. There are fair complaints about agents and there are unfair complaints.

BDB: Should they have ended their association with that agent first?

JW: It’s preferable. I will talk to them, if they are considering such a switch. But I won’t go much further than an introductory chat as a preamble. They have to make a decision first. I don’t want to be a factor in it. I don’t want a nice talk we might have to affect what they might do with that person. I’m an ethical person and I don’t’ want to be near a possibility of stealing a writer. I would never ever do that nor have I ever. I like a writer to have made up his or her mind that they’ve left so and so and now they want to talk.

BDB : How long should someone wait to hear from you after they’ve queried you?

JW: Two weeks.

BDB: Do you read everything?

JW: Everything. Every letter. That’s how important queries from the unknown are.

BDB: Where do your clients come from?

JW: A mixture of refererals and query letters. Writers’ conferences, some from acknowledgments in books. Some are old associations—I sold a book last year by a guy I went to high school with, a book for adults on the Pledge of Allegiance. We were on the student court together. I was chief justice and he was associate justice. I speak for every agent in this city: We read our mail, and the cream does rise to the top.

BDB: Speaking the cream rising to the top…..Does good work always make it to the bookshelves? Or are great books stuck in drawers and on shelves?

JW: We are such a small condensed community, the publishers’ heart being here in New York. The story about A Confederacy of Dunces is so rare; there is so much editorial talent in New York, it’s hard to believe that the literary community could miss a talent.

BDB: How important is chemistry when you’re deciding on an agent?

JW: It does add to your excitement. You still can hang in there with a project—and more than that, because you’re in love with a book and a book’s notion—but it sure helps if you like the writer and he or she likes you. It comes up in the long run; in that sense, it’s like a marriage. It’s not to say you can’t do excellent business on a number of books without a good feeling about each other, but it isn’t as good. And I do believe, somewhere down the road, after the first or 12th book, it will not last because of the lack of human chemistry. And it’s just not going to be as much fun. It just isn’t. And you can tell a lot on the telephone. People are far flung—they live all over the place. If you’re interviewing agents, you can tell a lot when you get off the phone and see how you feel. If someone wants to come to New York to meet me that’ fine, but most of the time they can tell from the phone if it clicks or it doesn’t.

BDB: Any last words?

JW: My injunction to writers to keep the faith. We are not a hostile, alien community. We are looking for them. Our lives are inextricably connected with their efforts. In the face of long odds and rejection letters, don’t give up. Readers around the country and world are counting on them and are waiting for them. Perfect your craft. Write what you want to write and do it as excellently as you can.

end

You can find more interviews like this one at www.asja.org. Click on The ASJA Monthly.

Maya Angelou and Mother's Day

Happy Mother's Day, to everyone who mothers....

Here's what I walked out this morning to find:



























Here's a wonderful Maya Angelou clip, celebrating mothers and reading a poem: Click here. Angelou is so elegant.

A new Q&A in Writers on the Rise

Writer Christina Katz did a Q&A with me for her online zine, Writers on the Rise. I continue to meet exceedingly lovely people since Pen on Fire came out a year and a half ago--one of the major perks in publishing, I have to say.

Publishing woes (whoa!)

A student, friend and talented writer, Marrie Stone, emailed me yesterday morning, concerned with something she heard talked about on a publishing panel she recently attended.

She said, “Basically, the message was that even if you write an amazing book, it's no longer enough. People are no longer buying or reading much literary fiction (or fiction in general). And when they do, they do so because there's a big name behind it or something compelling about the writer: the writer has a TV show or has otherwise marketed herself to a fair thee well. Of course, they said, there are exceptions. But unless a publisher thinks it will be a blockbuster book, they don't have the resources for the little guys anymore. There seem to be plenty of examples to the contrary, so I don't know how much weight to give it all. But it wasn't a feel-good panel. In fact, it so clouded my view of the weekend, that what usually is an inspiring and high energy event that makes me want to run home to my computer, really left me numb and depressed and caused me to leave the weekend early. I know these are the ups and downs of this business and it takes perseverance (which is certainly fine), but I was interested in your take on this and how much credibility to give the agents and publishers. If it is like they say, unless you're one in two million, you're wasting your time.”

I asked an agent I know about this, and she said: “Tell your student not to give it another moment's thought. It does help to have a platform, and that's not going to go away, but writing an amazing book still does get you somewhere. There aren't that many amazing books around.”

I also ran Marrie’s quandary by my editor at Harcourt, Andrea Schulz, who said, “During my entire early years in publishing, everyone said, ‘No one gets to be an editor. Go into sales and marketing.’ And they weren't wrong. But it’s what I wanted to do and I stuck with it until I did it. There are more novels written every year than there are people buying and reading them--all of us who've ever stepped into a bookstore know that's just a fact--but if you know the worst and still have the drive to bring your stories to readers then you've got the passion that will help make you stand out. No, publishers can't make your book a success without your help, you do have to be involved in marketing, but think of that as an opportunity--you can get to know your readers. Talk to clerks in bookstores. Ask them about themselves: Are they writers? What's the last best thing they read? Be interested in them. Remember their names. Write them notes. Be as passionate about reading other people's novels as you are about selling your own, then write to them to tell them how much you loved their work. It all pays off. I try not to think of the publishing industry as dire. All of us are still looking for the truly great book."

So, the publishing industry may seem as if it's in dire straits, but publishers are still buying books. The bar may be a bit higher than it used to be, but maybe that's a good thing. There are a ton of bad books that get published and you gotta wonder about that, but great books do find their way into the right hands. And it's like Andrea says, you've got to be passionate and driven to get your writing out there.

Aimee Bender Q&A

Aimee Bender's most recent book is Willful Creatures. She's been on my radio show; there's a show archived at http://writersonwriting.blogspot.com. Here's a short Q&A with Aimee:

BDB: Talk about how you create that fairy tale-like quality to your writing.

AB: It comes from an interest in words, in those words that are the building blocks of myth and fairy tales: castle, kingdom, moat, king, queen, dragon. I love those plain and vivid words and I'm always so delighted that I get to use them.

BDB: What were your favorite books as a kid, and what do you read now?

AB: I read a ton of fairy tales, and all the books, like The Phantom Tollbooth, Narnia, and L'Engle books, that were about another land, an alternate place. The adult versions of those books have been great to read too-- I read a wonderful book recently, by Edward Carey, Observatory Mansions, and Murakami's books are like that, and Isabel
Allende and GG Marquez create these shimmering, scary places that are real and magical at once.

BDB: You teach at University of Southern California. How do you teach writing?

AB: My main desire, as a teacher, is to push each writer more towards him/herself, to egg them towards particularity. I do think that's where the real juice is, and where a writer can tap into something that ends up feeling more expansive. What does that writer really want to write about? Not what they think will sound writerly, or fancy, but what are they actually interested in?

BDB: And how do you maintain your own writing schedule when you're busy with students' work?

AB: I work in the morning, two hours, that's the law.

BDB: What are you working on now--or are you hush-hush about works in progress for fear (like many of us) of letting air out of the project?

AB: I'm fairly hush-hush. I'm working on a novel-like thing -- how's that for vague??

BDB: What is the one thing you've done for yourself--and maybe continue to do--to keep yourself going as a writer?

AB: A regular routine. I'm a firm believer in structure, and that once a structure or a routine is set in place, then the creative part can loosen up.

May Day

Greetings from the East coast. I'm back in Pennsylvania, outside Philly, after a weekend in NYC at the ASJA annual conference. Travis is downstairs watching I Dream of Jeanie in my old friend Phyllis' lizard room (three cages with lizards) and we're waiting for the clothes to dry before we take off for our last day in Southeastern PA.

The conference was wonderful (as usual). Hope some of you can make it next year. I've agreed to be co-chair, along with Trish Riley. Am I a glutton for punishment? you may be thinking. Do I really need one more thing to do? I will admit, partially it was Trish, this year's co-chair, who wooed me. She's a wonderful person and writer from Florida who asked and eventually got me to say yes. (It will be on the 3rd weekend of April, 2007; check out www.asja.org for eventual details. There you can order tapes from this year's conference, if you want to see what it's all about.)

I put together, and moderated, a panel about making books into movies. Karen Quinn, who wrote The Ivy Chronicles, which is being made into a movie with Catherine Zeta-Jones; Stephen Morrison, editor-in-chief and publisher of Penguin books; and literary agent Bill Contardi, were my panelists. It was standing room only--a great panel with a ton of information on how books (fiction and nonfiction) are made into movies.

NYC was fun, as usual, too. We stayed at the Grand Hyatt, where the conference takes place, which is right over Grand Central Station, making it easy to get around. My friend from high school, Carol Polite Sanford, came in (and spent Sat. afternoon with Travis; they went to the Central Park Zoo). Friday night we walked to Times Square and Saturday night we took the subway to Little Italy and ate at a little Italian restaurant.

We'll be recapping the conference in The ASJA Monthly in coming months (read it at www.asja.org) and I'll be reviewing tapes of panels.

Back to California tomorrow.

(Thanks, Bellakarma, for prompting me to post something about the trip!)

Easter Day

The black books on the mantel have been replaced by pink and green. One thing I learned: There are not many pink books in print, unless you read chick lit. When James Frey came on my show to talk about My Friend Leonard, he said he liked the pink cover because it played against the prison/bad guy motif (at http://writersonwriting.blogspot.com, you can listen to that show). Diane Leslie wasn't happy with her second book's cover Fleur de Leigh in Exile because she said it gave the wrong idea about the book, which is a mainstream/literary novel. It goes well here, though, doesn't it?

Four questions

My friend Amy sent me these questions a long time ago. Okay, here goes...

1. If you could live anywhere in the world, where would it be? And
what's stopping you?

I want to live so many places--Italy, Paris, the Northwest, Vermont, Virginia, New Mexico, Canada, Iceland, Scotland, the English countryside. The trouble is, I can't decide where! Also stopping me is we have an 11-year-old son and my husband is a musician and has lots of gigs and students here in Southern Cal., which took years to build to the point that they're at. So I'm--uh--stuck. Ew...I hate how that sounds: stuck.

2. If you could get free plastic surgery and change anything about
your appearance, what would it be? What changes do you think it would
make that would really make that much of a difference in your life?

I've always been kind of down on plastic surgery, as anyone who knows me knows. I doubt I'd get it, even if it were free. But if I could change anything without going under the knife, it would be my face. I'd have it tightened just a bit so I wouldn't look so serious all the time.

3. If you could change anything that happened in your past, what
would it be? And if it makes you who you are today, would you still
want to?

In my mother's later years and when she was becoming ill, I wasn't there enough for her. She lived on the East Coast, I'm on the west and had a baby, then a young son and just wasn't as involved as I now wish I had been. I'm not sure how it makes me who I am now, except for a little more sad than I used to be, and I wouldn't mind some of that sadness going away. A day doesn't go by that I don't think about it.

4. If you found out that you were going to die tomorrow, what would
you do before shuffling off? And why haven't you done it already?

I would burn my old journals and a bunch of old pictures that my son doesn't have to see. I haven't done it already because I have a hard time letting go (a writer, burning journals and pictures??) and because there are other things during the day I'd rather do and have to do.

Copy the questions and answer them, too....

Sigh...

A friend e-mailed me and said that a week ago Thursday, when she listened to the show (Stefan Fatsis and Susan Straight were guests), she noticed that I was sighing a lot. She hoped everything was okay.

Oh, dear!

I didn't mean to sigh so much. But it points to the fact that I need a lil break. Starting in May, for a couple of months, my guest host Debbie Keith said she'd take over some shows--maybe half, if it's okay with the station.

So when I am there, hopefully I won't sigh so much.

If there's anyone you'd love to hear on the show, let me know. I'm open to suggestions (if they fall within the range of the types of guests I like to have on: literary and mainstream, suspense, poets, narrative nonfiction, agents).

Sigh...

A Very Well Known Writer Flakes

A Very Well Known Writer was scheduled to come on my show. Her publicist contacted me, we went back and forth regarding dates, and settled on one. This was a couple months ago. The other day the publicist contacts me and says this Very Well Known Writer's tour has changed and she can't make it and can I reschedule?

I really did want to talk to this author; I've been a fan for years. But I told the publicist that unless she could promise that it wouldn't happen again, I wouldn't reschedule. I said I had sent releases out to the papers and that it makes me look incredibly flakey when someone cancels. Flaked on once because something better comes along, are you going to make a date again? Not without a ton of trepidation.

The publicist couldn't promise. So she's not coming on. But the publicist was profusely sorry, she said. Uh-huh.

This all is coming out because a friend and former student emailed me. Did you see Very Famous Writer on the ____ _____ Show the other night? he said.

No! I said. What were you going to tell me--that she was witty and charming? I said. If you were, it's an act. She's a flake.

I was going to ask you if you saw her shoes, he said.

I didn't ask him about her shoes. Even though I am curious what it was about her shoes that interested him so. He doesn't seem like one to notice a woman's shoes.

Keeping track of the goings-on in my novel

I am not an outliner. I've said this before. But I want to tell you about a way I've found that helps me keep track of where I am in my novel that's been in progress for a while now.

Joseph Wambaugh gave me the idea. He lines the walls of his office with butcher paper and goes around the room writing down what goes on in his novel (I'm not sure he does this for nonfiction, though I could be wrong).

I no longer work in a room of my own, (which is fine with me--I don't miss it. Actually, the silence was distracting!) so I can't line my walls with butcher paper.

What I did was take one of those big rollers of newsprint that my son used to draw on--and occasionally still does--and I went through my book through chapter 17 or so, and sketched out each chapter and the major occurrences within that chapter. I use a device of photographs throughout the book and I wrote those in red, so I can keep track of where the photos are. I wrote down when characters enter the story. Things that are so easy to lose track of when you're writing a novel.

It's not exactly an outline because it comes after the point. But it helps me to keep track.

Other writers--Anne Lamott for one--use 3x5 cards (I believe she strings hers up on a clothesline in her office).

Organization of your material has got to be one of the most difficult things in writing a novel. How do you keep track? I'm all ears.

Rediscovering old novels

I just started listening to Richard Ford's Independence Day and before that, listened to Barbara Kingsolver's Prodigal Summer, which I also loved. (She reads it on CD, too.)

I read new books for my show but if I can, I listen to older books while I'm driving, washing dishes, knitting, walking, and I love it.

Anyone else read any older books that you love?

(Rosie, our younger cat, loves books, too....)

Bring on the commas

Kate Braverman was on my show the other day talking about her new book of essays, Frantic Transmissions to and from Los Angeles. She had something interesting to say about letting loose with your writing: Use commas. Whenever you feel like using a period, use a comma instead. Commas, she said, start a kind of alchemy and create magic in your writing.

(I'm going to post that show this week. The one up there now is Kate when she was on a couple of years ago.)

I love that, though: Commas.....! Reminded me of what I occasionally ask my students to do--and what they often lament--during a freewriting: Write all one sentence. Then I set the timer for ten or 15 minutes. It's a great technique. It helps to break down the internal critic, to send that critic hobbling up the street for a coffee so you can be left alone to create.

Fiction frenzy

I have been in a fiction frenzy of late. When it comes to writing, all I want to do is work on my fiction. Being a teacher of writing and the author of a book on writing, and a coach, too, who advises writers on ways to get through blocks and make headway on projects, I'm examining why it is that now I'm in a fiction frenzy as regards my novel.

I've been working on it for a long time. I did freewriting for a year and when I came to about page 270 of 300 pages of freewriting, I discovered my story. The rest, as it turns out, was backstory.

So a year ago January I started on the draft. Now I'm on page 251 of the first draft. Well, it's not really the first draft. I do a draft and then I go back and tweak a little and then move on, go back a little, tweak, move on. Kind of a one step back, three steps forward dealybob.

I've passed the midpoint of the book--at page 251, one would hope I've passed the midpoint. And now my various subplots--and plot--seem to be coming into focus. The hardest part of the writing, for me, is figuring out what happens. I'm not an outliner or plotter. I tried once. I spent so much time on the outline and character biographies that when I was done, I no longer wanted to write the book. So I don't do that anymore.

But now, all the pieces of the story are in motion and when I sit down to write, I can pick from a handful of plots/subplots/characters and begin with them, and progress the story.

Doesn't hurt that the scenes I have been writing take place in Pennsylvania in the winter. In my book, it is snowing. Snow in winter is my favorite weather, so while I can't have that here, by the beach in Orange County, California, I can have that when I work on my book. The other night on my show Kathryn Davis, author of The Thin Place (she was also an influential writing instructor of mine), said place is everything for her in her books. Without place, she's unrooted, cannot go on. Now I see why. (By the way, that show will be podcast any day now--maybe even today. Go to http://writersonwriting.blogspot.com/ for updates.)

I had a deadline of April 1 but yeah, it's not going to happen. Maybe I should have picked a day other than April Fool's.

So, the point to all of this is, when you're into a draft and find yourself dragging your feet, just keep going. Know that there will come a point when you will feel excited again, as you did when you were first starting your book, and you will feel as if you are flying. It's like driving cross-country from coast to coast. If you've ever done this, you'll know what I mean. You are just about to Kansas and you think, I can't do this anymore. It's too far. But you've come such a distance to turn back now. You've got to keep going forward. What's the alternative? You've got to keep moving toward your destination, and soon the landscape picks up, there are mountains and interesting things to do and to look at. And then you are there.

It surely is about the journey, but you do want to get to your destination, too; to see your journey realized.

Valerie Takahama on Orange County writers and writing in the Orange County Register

A nice piece in the Orange County Register that mentions my show, among other writerly-related happenings in the O.C.

Click here.

And a piece on E.L. Doctorow in Time, pointed out to me by the illustrious Jordan Finkler.

Fat Tuesday

We're all Catholics around here and tomorrow is the first day of Lent, which will find us on a soup diet (except for Travis; he can eat all he wants) and no more sweets (or alcohol for me and Brian). Actually, Travis is giving up candy and soda but not all desserts. Lo que sea...... tonight, we're partying! Circus animal cookies, jelly beans, Milk Duds, white chocolate, and lots of Mardi Gras beads, wooo-hooo!

The books on the mantle have changed, too. From red (for Valentine's Day) to black, for the time of contemplation and quiet.

On the sun, snow and being tagged

Before I address the fact that I've been tagged, let me show you what I saw yesterday morning, our last day at Mammoth in the high Sierras. The rising sun streaked the wall of the guest room pink. Here, in Corona del Mar, architecture obscures the rising sun, oh woe.

So bleary-eyed, I pulled myself out of bed, found the camera on the nightstand, and pulled open the sliding door. The deck was icy cold. My eyes were drawn to the light on snow (the title to one of my favorite novels by Anita Shreve).

Now... about being tagged ....

Fellow ASJA member and blogger Candy Harrington (http://barrierfreetravels.com) tagged me this morning. What this means is I need to answer the questions below, or not play. Of course I'll play. Here goes:

Four Jobs in My Life
Parts runner for a Volvo dealer
Countergirl at Dunkin' Donuts
Avon lady (at 17)
Baker (first job in San Francisco)

Four Films I Could Watch Over and Over
Out of Towners (the original, with Jack Lemmon and Sandy Dennis)
Some Like it Hot (Jack Lemmon, again)
The Odd Couple
Bladerunner
Dead Calm
(whoops...that's five)

Four Places I Have Lived
Plainfield, Vermont
San Francisco
Altoona, Pennsylvania
Corona del Mar, California

Four TV Series I Like
I pretty much don't watch TV, but my 11-year-old son and I will watch...
The old Dick Van Dyke show
Turner Classic Movie Channel
Knitty Gritty on DIY Network
Unwrapped on the Food Network

Four Places I've Been on Vacation
Rajasthan, India
Palm Springs, CA
the outback of Maine (camping)
Singapore

Four Foods I love
Hot fudge sundaes (which I stay away from but find greatly compelling)
Tofu turkey (homemade)
Butterfingers
Risotto

Four Websites I Visit Daily
asja.org (The American Society of Journalists and Authors' forum)
writingclasses.com (Gotham Writers' Workshop (online; one place I teach)
knittersreview.com/forum (knitting forum; yes...I'm obsessed!)
laobserved.com (LAObserved: Los Angeles media, news, sense of place)

Four Places I'd Rather Be Right Now
As I answer this question, I am at one of the four places I'd rather be (if I were home): Mammoth Lakes, CA, in the Sierras
Italy
Somewhere in Vermont where the snow grows deep
New Zealand

Four Bloggers Who Should Play
Victor Infante (http://ocvictor.livejournal.com)
Joshua Berman (http://blog.stonegrooves.net)
Anne Elliott (http://assbackwords.blogspot.com)
Bookish Wendy (http://thebookishgirl.blogspot.com)

The most important part of a writer's anatomy

Ayelet Waldman, author of Love and Other Impossible Pursuits, and wife of Michael Chabon, was on my show yesterday. At the end of my show, I usually ask my guests for advice for the writers out there.

Ayelet talked about the girls in prison that she teaches and that she asked them what was the most important part of a writer's anatomy. (What do you think it is? Before you read on, guess.... I asked my own students last night and they said, "The eyes," "the brain," "the heart." Her students gave similar answers. Yes, they are all important but that's not it.)

"Your butt!" she said. Because if your butt's not in the chair, nothins' gonna happen. No writing is going to get done.

Yep. A writer's butt reigns supreme.

Valentine's Day, book cover blurbs and more

Holidays are always festive around here. Brian should hold a class for men: How to do a holiday right.



From the bedroom to the living room and dining room, it's about four steps. But there were paper hearts, pink and red, strewn across the hardwood floor leading to the dining room table clotted with Valentine's Day gifts (Chet Baker CD, knitting books, journal, tank top, Jelly Belly candies) and more hearts and balloons. This is where I work, a foot away from the roses, transcribing my free writes from my Moleskine into the computer.

Travis is in holiday mode, just like his dad. A "you are the best mom" card and cut out hearts, too.

Of course after my protein smoothie I scarfed a ton of raspberry and blackberry candies. It's Valentine's Day, right?

Here's a piece from yesterday's New York Times about being careful which blurbs you wish for.

Fiction's compelling nature

My friend Allison directed me to this essay on fiction in The New York Times by Julia Glass who wrote Three Junes.

No lawyers?

Lawyers are ubiquitous, right? Not so in Frey's case. (I know, I know, I'm still writing about this. Forgive me!) It seems everyone wants to place blame on Sean McDonald or Nan Talese or James Frey. And while all of them are somewhat to blame, I suppose, the publishing house's in-house lawyer should be the one focused on, don't you think?

What about the laywer?? Prior to Pen on Fire being published, I had a long talk with Harcourt's lawyer. My book was being vetted--a writing book!

Didn't Frey's book go through a thorough vetting? So easy to place blame after the fact, isn't it?

Frey's editor wouldn't have been the one to ask all those questions. This is what lawyer's do--they ask those legal questions. Or should.

Just my humble three cents.

Oprah pregnant with Frey's baby???

Could it be? Click here for more.

Fiction or nonfiction? Who cares!

I keep going back to that Eleanor Roosevelt quote I like so well--one of my favorite quotes, really.

She said, "The reason fiction is more interesting than any other form of literature to those of us who really like to study people is that, in fiction, the author can tell the whole truth without hurting anyone--or humiliating himself--too much."

I don't get that memoir or nonfiction sells better than fiction. I read fiction for the essential truth. We all know that a lot of fiction writers embellish what happened with made up stuff. That's the fun of it. And certainly we know that memoirs--and not just Big Jim's--are replete with made up stuff. That's not so fun.

What about Hemingway's best book (in my opinion), A Moveable Feast, or Kerouac's On the Road? Are they fiction? Are they nonfiction? Who cares!

Mostly I care about the quality of writing and whether it moves me in some way--mostly whether it moves me to keep reading.

Right now I'm listening to Jennifer Weiner's Good in Bed, which, by the way, is not what it seems. I really wish she had given this first book of hers a different title. So I'm lying down at my acupuncturist's this morning listening to it on CD and he comes in to check the needles and he asks what I'm listening to. I couldn't say, "Oh, it's Good in Bed. It sounds like some sort of porno dealybob. So I say, "Oh, it's a book by Jennifer Weiner. Her movie, In Her Shoes, just came out on DVD," as if this has anything to do with what I'm listening to.

Anyway, getting back to my point--I think I had a point.... Oh! Yes! It is that so much of Weiner's book seems autobiographical--the main character is an overweight woman, she's a writer in college and afterward--and I think, This must be from Weiner's life. But so much else obviously is made up, and I like that about the book, and about fiction--that you can embellish what did happen with what didn't.

This is what I love about writing fiction, too: I can tell the truth in fiction in ways I could never do in nonfiction.

I think I'm feeling a little sorry for Frey about now. He obviously had a story that entranced so very many. Would they have been less involved if he'd sold it as fiction? Wouldn't it be nice to drop categories and focus more on good stories, good writing?

Five favorite books?

Quick! If you had to name five must-read novels, what would they be? What comes to mind immediately?

One of my Gotham students asked me to name just five. Impossible! But I tried.

I said:

Underworld by Don DeLillo

Henderson the Rain King by Saul Bellow

Good Grief by Lolly Winston

Little Earthquakes by Jennifer Weiner

Then I said, Light on Snow by Anita Shreve comes before Good Grief

Jane Eyre by Charlotte Bronte (Then I think I changed it to Anna Karenina by Leo Tolstoy)

And now I can think of dozens more that are favorites.

So, name the first five favorite books that come to mind.

Thus spoke Evashevski

Frey's agent goes on record in Publishers Weekly.com.

Astrology's take

I'm sorry--I just had to post this. My resolve wasn't that strong, I guess...

Here's an astrological take on the latest literary fiasco in Beliefnet.com.

Heart? Intuition? Fun?

Okay, so Blogger straightened some things out. My main headline is now black instead of hot pink. This is good. I don't like the brown headings, though, at the start of each post. Do you?

My friend Sara suggests I do my own blog and she says she'll show me how so I can just link it to my Web site and not be so reliant on Blogger. Did I tell you Sara is an angel? (Sara, if you check in here, post your blog URL under comments if you're okay with that so everyone can visit).

So it's Saturday morning and I read an email from an author friend whose book came out last year and has done respectably. He was working on another proposal that his agent thought would sell--sort of a sequel. He says he woke up, shaking in his PJs, afraid that it was the wrong thing to be working on, and told his agent he changed his mind and was going to go in another direction. His heart just wasn't in it, not like the first book which was straight from the heart.

I wrote back to him, said his email raised an important question: How do you know when what your agent has in mind for you is the right thing, or not? In this wooly world of publishing, whose advice do you take? It's hard even listening to your own heart, your own intuition amid the din of what's selling.

Does it come down to having fun? What do you enjoy working on? If you enjoy it, then that's what you should be working on, and if you don't, scrap it?

Let's hear your comments....

These heading colors are driving me nuts...

...and depending what browser you use, formatting is off. Frustrating! No matter which template I choose for this blog, the headings remain hot pink and brown. Ergh. I've written to Blogger. No reply. Anyone know how to fix this?

Regarding other things in the news (I said I wasn't going to write about you-know-who anymore), I liked what Michael Wolff said (I think it was him) on Larry King Live last night, that we'd stay focused on the current debacle until another one takes its place. That's how we are, isn't it? Gotta have drama in our lives, the bigger, the better.

Being one who so easily can see both sides of a situation, and who hates conflict, I say, Publishers: Learn from this. Writers: Learn from this. Readers: Learn from this.

And let's move on.

Something's funky here

Sorry--Blogger.com has made some changes and caused my blog to look tres funky! Don't blame me.....! Hopefully it will change back soon.

Okay, one last post: Frey on Oprah tomorrow

From Publishers Weekly.com:

Frey Live on 'Oprah'
Our earlier report of James Frey's rumored appearance on the Oprah Winfrey show has been confirmed by a release from Harpo Productions. The author of A Million Little Pieces will break his post-Larry King silence to appear on a live hour-long show that will air tomorrow (Thursday, Jan. 26). Other guests will include publisher Nan Talese and "some of the country's leading journalists"--to address the headlines and controversy surrounding his memoir. No word on whether the Smoking Gun's William Bastone will be among them.

I am so sick of Frey's name in the news

This is from Publishers Weekly.com:

Frey Headed to Oprah?
With James Frey continuing to be the subject of intense media scrutiny, the author of A Million Little Pieces is reportedly headed to the Oprah Winfrey Show. Two separate sources said that Frey will be in Winfrey's studio tomorrow (Thursday), though it was unclear if the appearance will be live or taped for a future date. No one at Random House/Doubleday was available for comment at press time.

.......

I want to say that after this post right here and now, I will not post anymore about Frey. (Some people are obsessed with Jessica Simpson; I seem to be obsessed with the Frey debacle.) If you want to read about him, you'll have to Google his name, sign up for a news alert, and every time his name hits the paper, you'll be notified. More and more I just see him as a creep, like my friend Amy said. Sorry--I liked him when he was no my show but the worm has turned.

What is memoir, anyway?

An ASJA colleague's piece in the Christian Science Monitor.

Now the drug rehab folks are mad: More (still) on Frey

Have you seen this one in The New York Times?

A cat in dog's clothing

Does our cat think she's a dog ... or does she simply like to play fetch?

Rosie, our seven-month-old kitty, has a little white mouse toy she will bring to me or my son, drop, and wait for one of us to throw it. She'll fetch it, bring it back, drop it and do this a number of times before she tires. As we play, I say to Travis, "Does Rosie think she's a dog? Or does she just like fetch?"

Travis says, "I think she thinks she's a dog."

And when I call her in a high sort of voice, trilling, "Rosita!" she comes running.

A cat in dog's clothing?

I was telling this story to my friend Elle and we got into, What makes us what we are? Are we who we are because we believe that's who we are? Are we who've we been told we are? Or do we explode stereotypes, move beyond who we think we are, because something else calls?

Rosie doesn't know that cats don't play fetch or come when called. Our other cat doesn't play fetch, doesn't come when called. He might grace us with a glance in his ever so aloof way, but that's about it.

All of us have roles that take hold, that seem to be more important: how we make a living, our obligations to our partners and children and pets. But what about our obligation to ourselves, to keeping the spark of creativity alive? It may mean writing, drawing, baking, playing music, lo que sea. Whatever it is we are drawn to do, whatever it is we think about daily, shouldn't we be doing it?

We've all seen people in which the spark has gone out. Their eyes look dull, lifeless. The spark has been extinguished. They have forgotten about the need to blow on the spark to stir it into a blaze. Or they have decided to worship the money god or the god of beauty, and forgot about their precious creativity that isn't quantitative, isn't showy.

Rosie does remember she's a cat. She remembers to huddle when she eats her meals on the floor under the old porcelain and wood island that reminds me of my grandmother's kitchen, remembers to laze in the sun on her bed in the front window where she also watches the great outdoors. And she remembers to lie on Travis' chest in the morning to urge him up. But she also knows there are other things she enjoys that are beyond cat-dom.

More on Frey in the Chicago Tribune

If you're not sick of the Frey fiasco yet (and obviously I'm not), read this.

Frey's publisher on Frey

Interesting. Glad Nan Talese put it back on Frey's shoulders.

In it, a quote by Tom Wolfe:

“Let me tell you something—George Orwell, probably back in the 1950’s, wrote that autobiography is the most outrageous form of fiction. It always has been, and probably always will be, and usually there’s no blogger to catch them,” said Mr. Wolfe. “It has nothing to do with the New Journalism.

“I mean, if it’s gonna be called ‘nonfiction,’ I don’t think there should be any doubt about it,” he added.

Here's the piece in The Observer.

More on typewriters

I think what I like most about this new (old) Hermes 2000 typewriter is that my son Loves It Loves It Loves It. He's never written so much. Because it's a gadget? I don't know--he's never written that much on the computer. Partly it's unusual and odd, I'm sure. And he, like me, loves the sound of the keys tapping away.

I wrote a little last night on it, and it was fun--and a little annoying. The apostrophe is not where it is on the computer; it shares the 8 key. And there's no "1" key; you have to use a lower case "L." Only time will tell if I'll get much writing done on it; it does Slowwwww things way down. But it's gorgeous and again, that sound: so much richer than the sound of tapping plastic iBook keys (much as I adore my laptop...).

Tools are so much a part of the writing experience. Liking--no, loving--our tools makes the experience of writing so much richer. I can move so much faster on my laptop. I type so fast my fingers keep up with my brain (thank you Mr. Ribble and Mrs. Fitzgerald, for those typing classes in high school).

I need to work on my fiction now, but can't decide: the typewriter or the computer? Maybe I'll just go check e-mail and some of my favorite blogs while I'm deciding. Ha!

My newest find: a Hermes 2000 typewriter

Isn't it lovely? I love it!!!

I did a piece on the Beat Hotel, in Desert Hot Springs (www.dhsbeathotel.com) where there's a manual typewriter in every room and I began salivating for a manual. It's been years.

I love the sound, the look, everything. Of course it's slower, it's rustic, but that could be a good thing.

When Shelby Foote said he used a dip pen because it slowed him down, that resonated with me. I love fountain pens, too.

And last night, on the Golden Globe Awards, thanks to Elle Brooks (I wasn't watching; she was), I learned that Larry McMurtry thanked his Hermes 3000 for 30 years of words. (McMurtry only uses typewriters.)

Travis also loves the typewriter and has been writing up a storm since I got it two days ago.

He says, "I like it more than a computer because ... I don't know... you press the keys harder than a computer. I really don't know why. It's just more fun."

Free audio downloads

Check out this site for audio books you can download for free.

A few million dollars or the respect of fellow writers?

Personally, I'd take the respect of fellow writers over the money. Then again, I've never been that driven by acquiring money--obviously--and what's money going to do for you when your writing community thinks you stink?

Okay, so he tried to sell it as fiction but the publisher said, Well, you say this is a memoir with a bit of embellishing? Let's make it a memoir, then--it'll sell better, so he does, he takes their advice, which is not always the best, admittedly, he gets sucked in, and then lookit.

At some point, you just have to stand your ground. Just say no, right?

But he's sold more books as a result of this fiasco, which I find repugnant. It figures. Our culture is currently so very celebrity-driven. Designer cars, designer clothes, designer books.

Eek!

Scathing piece in the L.A. Times

"...which makes him a dealer in the literary equivalent of laetrile." You're right, Amy .... ouch...!

Click here to read "Desire for fact lies in a million pieces" by Tim Rutten.

Yes, I'm interested. Isn't everyone?

Some anonymous someone wrote and said that he/her (said person didn't want to reveal who they were) found it interesting that I've spent the week writing about people I don't care about.

I found that really interesting--and odd.

Aren't all writers interested in matters of ethics in publishing? Aren't you interested in whether what Frey did was considered unethical by the folks in publishing? By readers and other writers? And aren't you interested and curious at the power that Oprah wields?

I am.

And so I write about it. I care about ethics in publishing and I care about how all this will shake down.

The other day I asked a friend--a well-published author, in fact--if she'd been following the Frey fiasco. She said she really hadn't been but from what she ascertained, The Smoking Gun was just trying to start trouble. This was her opinion after reading headlines.

Headlines. We read headlines and we skim.

I suppose I'll hear from that anonymous someone who will tell me again how curious they are that I'm still writing about this topic I care nothing about. I just hope he/her/it says who they are this time, so we can have a dialogue. This is part of the problem, you know--so many of us are afraid to say who we are, express our opinions.

It's easier to remain silent, to not make waves.

Okay, now I must retrieve the L.A. Times from the sidewalk. SFAmylou emailed and said there's an article about Frey. Talk to you later...

Oprah determines what you read?

I have never ever read a book because Oprah recommended it. Of course all authors want to be on Oprah, but do authors read what she recommends? I doubt it. Matter of fact, I was attracted to Franzen's The Corrections when he declined being an Oprah pick. That intrigued me, and I loved the book.

But what is that, reading a book because Oprah picked it for her book club? What happened to wandering the bookstore looking for a book, or reading reviews, or listening to your friends talking about their books? Now, if you have no friends that read, then you're going to need Oprah. Or if you don't read reviews or you don't wander the bookstore.

She says if a book resonates, that makes it true? Oh Dear. Now we have to define the word "true."

Publishers Weekly on Frey

Here's what Publishers Weekly and others have to say about Frey. (On Maud Newton's blog, scan down a bit. She has lots of links.

And please, somebody, tell me: Why does everyone care so very much what Oprah thinks and why does she have such influence over what people read? I mean, I know why authors love her, but the reading public, why???

And more about the memoir form and Frey

Edward Wyatt, in today's New York Times says, "Memoir is a personal history whose aim is to illuminate, by way of example, events and issues of broader social consequence," said a statement issued by Doubleday and Anchor Books, the divisions of Random House Inc. that published the book in hardcover and paperback, respectively. "By definition, it is highly personal. In the case of Mr. Frey, we decided A Million Little Pieces was his story, told in his own way, and he represented to us that his version of events was true to his recollections. "Recent accusations against him notwithstanding, the power of the overall reading experience is such that the book remains a deeply inspiring and redemptive story for millions of readers." As far as the charges, which were made by the Smoking Gun Web site, "This is not a matter that we deem necessary for us to investigate," said Alison Rich, a spokeswoman for Doubleday and Anchor Books.

***
Publisher's Lunch reports: "Consumers posting on Oprah Winfrey's Book Club message board indicate that Random House is providing refunds to buyers of A MILLION LITTLE PIECES who call their customer service line to complain in the wake of the unanswered charges made by The Smoking Gun earlier this week. One correspondent posts: 'Tell them you wanted fact not fiction.... They are very nice and will tell you how to return the book for a full refund...'

***
Frey's publisher has made more money on this book than perhaps any book ever. I wonder what their position would be if the book had been minor, had there been no Oprah involved. Any guesses? Or am I just being a tad cynical? And how will this effect the memoir form, writers are wondering.

And more....

Well, that rumor isn't true; Random House says they won't refund your money for the book. You should return it to your bookstore and they'll do it.

Still....

If you liked the book, why wouldn't you just keep it?

Did you see James on Larry King? Maybe he just got caught up. Kind of like a freewriting, when you do all one sentence, how the sentence starts carrying you along with it, picking up speed, and you're letting it rip, letting the words pour out and you don't even know where they came from.

Maybe that's what happened.

As he said to Larry, it's only a few pages--something like 20 out of 400-something--that are in question. Should those 20 pages serve to ream the guy? Would anyone want to ream him if his book were failing instead of wildly succeeding? Was he being whiny, talking out of the side of his mouth? Once a lying addict, always a lying addict??

I dunno....

Larry did seem to go pretty soft on the guy. Barbara Walters would have made him cry. (Does she even still do interviews?)

Here's a transcript of the show. Oprah called in. Scan to almost the end of the transcript.

You're all so quiet out there. What do you think?

More on James Frey

Here's more in the The New York Times on James Frey.

And if you want to listen to my interview with James, click here.

Is memoir different from journalism? Do you get to make things up in memoir? These are the questions, among others, that I hear these days.

In memoir, it's agreed that you can make some things up: dialogue you didn't actually write down but sort of remember, or want to approximate. Summary--instead of listing event after event. In other words, if you've had five marriages you might sum them up instead of reeling out each one. Didn't Mary Karr in The Liar's Club embellish beyond the beyond? When I heard that, I didn't want to read her book even more. I want to know that a memoir is basically true. Embellishments are okay. Lies aren't. Fabrications aren't.

And if someone says, "Is this all true?" and you say yes, it had better be true. Otherwise, you say, "I embellished, for the sake of the writing." If someone says, "Were you in jail for such and such?" you had better have been in jail for such and such. And don't say you expunged records, for whatever reason.

If you have a thought on all this, let it rip.

James Frey

Oh, dear. Right now I'd hate to be in James Frey's shoes. It will be interesting to see how this pans out. The man is bright, though. When he was on my show, he was smart and witty and compassionate. He sounded honest. Wouldn't he figure that any lies would be uncovered at some point? I don't get it. Oy vey.

When the power goes out in Southern California....

....if you have a laptop, or a notebook, you can still write.

We're in the squall here, a few blocks from the beach in Orange County, and when the power went out, the laptop stayed on and I kept working. But then Travis got up and I heard sirens and decided I should shower and get dressed, just in case. In case of what, I don't know. So I did. Made some calls to find out info about the outage. There was none, except for across town Debra's power came back on. Waited some more. No power. So I went outside with a flat pillow on my head to prevent my hair from soaking (of course the umbrellas are in Bry's car and Travis' poncho went bye-bye long ago--no rain, who needs a poncho!). So I'm out there with a flat pillow designed in browns and oranges and blues, and yellow rubber gloves, and I'm moving wood that's still dry from our woodpile that's--where else?--in the rain to a place under the eaves that's not getting rained on, and I'm out there for 15 minutes, doing this, feeling like we'll at least have heat for a while if the power stays off. I come in, wash my hands, and a few minutes later the power comes back on. Of course!

Hope you're staying dry and safe, wherever you are.

Keeping track, having fun

A writer who read my Writer's Digest article wrote to me with questions. I thought some of you might benefit, as well, from the answers.

How do you keep track of all the notes and pieces of paper and such? she asked.

Keeping track...well, I used to just have a box I threw everything in, all the notes and pieces of paper and cocktail napkins. Then I started carrying notebooks with me wherever I went—the Moleskines I so lovingly discuss and a reporter’s notebook—and now I make notes in them, instead of on shards of paper. That helps. I have filing systems I never refer to, that I really should purge (it being the new year, and all).

I'm paid to write, but it doesn't often feel like fun. How do you keep it fun?

Fun. Freewriting makes it fun for me, and if I have a bit of that in my life, then I’m okay. And writing fiction makes it fun. Something to look forward to. I love writing in my Moleskines (they cast a spell, I swear) and if I can mix up fun with work, I’m okay. I, too, labor over deadlines. I have two deadlines right now for articles for PAGES magazine. Freewriting in my Moleskines keeps the spark alive. In the past, when my interest has flagged, inspirational writing books helped get that spark going again.

How do you know when you have an idea that will sustain you for 200 pages and keep the reader turning the page?

As for ideas that keep nipping at your heels and how to make them long, well, some ideas are teensy and some aren’t. For me, I ponder: Will I be interested in this topic years from now? Since that’s how long it can take to write a book. There are some projects I began as book proposals that I thought I would stay with, and then didn’t. Others—like my book, PEN ON FIRE—kept me long after I thought they would. I've written novels that I later abandoned because I just wasn't interested enough in to revise and do what it takes to sell them. If you’re fascinated with your idea, that’s the main thing, and the main way to keep readers turning the page. The author Chris Bohjalian said when he's involved in a book project, he will abandon it even at page 150 if he's bored with it, because if he’s bored, his readers will be bored.

Platform: when do you know if your platform is big enough?

Good question! I can say that a regional platform can be appealing, and if you’re writing a book that connects to your regional platform, it may be enough. Yet, if your platform is, say, cooking, and you’re doing a book on connecting with adoptive parents, I would think your platform will mean little. If you know an agent, I’d ask her/him. If you don’t know any, I’d find a conference (of which there are a ton—the ASJA conference is in April in NYC—www.asja.org--and is great at making contacts with editors and agents. Take a meeting and ask them. They are great at being blunt and will tell you how it is.

....
Now, visuals help writing,help break up long blocks of text, yes? So here is what I saw one day high on the wall adjacent to where I work. The sun through the window created such gorgeous shadows.


Have a great New Year, full of creative energy, great ideas and lots of stamina to keep your butt in the chair!

Poetry

I'm writing my poetry lecture for my Gotham online class and came across this page on Pulitzer prize winning poet Gwendolyn Brooks. I admire Brooks so much.

Pet peeves

Does anyone else have pet peeves and hate to discuss them? Right now I've got two, and I've just got to discuss them because They Are Everywhere.

The first is cell phones in cars. Now, okay, driving down the freeway or on a street not absolutely clogged with cars and people, and you're bored, and you gotta talk to someone, so you make a call. I try to avoid it, personally. If I'm alone, I'd rather listen to a book on tape or CD (right now I'm listening to The Namesake by Jhumpa Lahiri) than hang on the phone in the car. If my son is in the car, or my husband, hanging on the phone is just plain rude and I wouldn't do it.

But on the skinny streets of my town, when I see women and men in Mercedes and trucks or SUVs, especially, hogging up the street, turning corners, or backing up--yes! backing up or making u-eees--I want to scream. Sometimes I do, in fact, scream.

The other thing that's been driving me a little nuts is e-mailed Christmas cards. Now, sometimes, it's someone's birthday and you've forgotten to send them a card or you don't have their address and you e-mail a card. I've done it. Sure, why not? But when I receive an e-mailed Christmas card, I'm sorry but I tend to hit delete. (The exception this season was the one I received from Kim Dower, the sweetest book publicist ever. Her artist-husband created a cute cartoon and I printed it out.) And when I'm one on a list of about a million who've also been mailed said e-mailed card, I'm offended. It's almost worst than no card at all.

Technology can be a wonderful thing, but it can also bring out the obnoxiousness that we've all got buried within us, don't you think?

Thanks for letting me rant.

All you need is one yes to send you on your way

Here's the online link to my article in the January 2006 issue of Writer's Digest on getting Pen on Fire published.

Lest anyone think they are too old to publish....

...this just in from Publisher's Lunch:

Fifty-nine-year-old Paul Torday's debut Salmon Fishing in the Yemen, the story of a middle-aged scientist and his involvement with what initially looks like an impossible project: to introduce salmon into the Yemen, to Helen Garnons-Williams at Weidenfeld & Nicolson, at auction, for publication in February 2007, in a two-book deal, by Mark Stanton at Jenny Brown Associates (world).
katie.white@orionbooks.co.uk

It is interesting why Torday's age was printed. Maybe meant as an encouraging word?

Visit www.publisherslunch.com

In love with Anita Shreve

There are a few authors whose books I pretty much love, without question. Everything they write, I love. I'm promiscuous that way. Chris Bohjalian (not a surprise to anyone who has read my book. T. Jefferson Parker. Now I've a new one: Anita Shreve.

I just finished Fortune's Rocks, an astounding book with much complexity (sounds like something she'd say, or something the judges would say on Iron Chef).

Prior to that, I read Seaglass, which I also loved, and prior to that, The Pilot's Wife. Yes, I loved that too.

When I started Seaglass, I learned that Shreve intended it to be one of three books in a trilogy, but not your usual trilogy. What all three books have in common is the house the main character lives in, a wonderful, rambling beach cottage in New Hampshire. They were written out of order, too.

And now I'm reading A Wedding in December. I just love Shreve's writing.

Are there authors whose work you pretty much love, no matter what they write?

San Francisco in Jello

I don't eat Jello--haven't for 20-some years--but I love this use of Jello.

Hooray for notebooks and candles

After I delivered Travis and Alex to their birthday party gig in Redondo Beach--yes, the Green Room, Trav's classic rock band, had their second paying gig yesterday; today they play at Gina's Pizza at the Corona del Mar Christmas walk (for tips)--and on the way home stopped at Pudgy Beads in Long Beach (a glorious vintage bead store with wonderful owners), bought a few things, then drove home, cleaned up a bit (always cleaning up a bit, it seems), lighted the candles I had bought at Ikea on the way to Redondo, and sat on the sofa with my Clairefontaine notebook and Waterman fountain pen (indigo ink).

My iBook G4, which I love, tends to make me a little too perfectionistic, when it comes to first drafts of fiction. It's so easy to delete. With the notebook, I just write. I don't care about being perfect. I can cross out, but I can't delete, and for me, this is a good thing. So I set the timer and sat and wrote and by the time I was done, the room was dark, lit only by candlelight.

This morning at 6:15, Rosie, our six-month-old cat, jumped on the bed and woke me. I tried, for a minute, to go back to sleep, but the house was quiet, bamboo wind chimes by the front door were clacking tastily, so I got up, straightened up a bit (see ... always straightening.....) and sat down with the notebook and pen and wrote a couple pages.

This got me thinking about tools, again. I still love sitting with paper and pen, getting comfortable, and writing. The laptop is good for nonfiction first drafts, though not fiction. Wish I'd remember that when I'm trying to write at the laptop and nothing's coming out.

Squid and the Whale

Debra and Michelle and I went to see this movie tonight. Jeff Daniels is a pompous, no longer successful novelist. His wife is more successful than he. It's downhill from there. An intense movie. And an anti-divorce film, if there ever was one. If you and your spouse are on the fence about splitting up and you have kids, see this film. You will decide you are being whiny and work a little harder to stay together, for the kids, anyway. Laura Linney was great; what else has she been in? I can't place her.

Thursday

It's going to rain. The sky is overcast, damp. I like rain. But I want it to pour and then be done with--at least until after Sunday when my 11-year-old's band plays at Gina's Pizza at the Corona del Mar Christmas walk. That's the one day a year this town is like New York. The streets are packed. There's one long traffic jam. I'm a back East girl at heart, still, and I love it.

But I don't feel like writing.

Still, I work on The ASJA Monthly, which I edit. But I don't feel like writing--doing my own writing, that is. So I pull on my purple boots, wrap my clapotis around my shoulders and head out with the list for Mother's Market.

I go to the library and check out a book on CD (The Bean Trees by Barbara Kingsolver, which I read years and years ago, and loved). I am so addicted to books on tape or CD. You can listen when you walk, when you clean, when you knit. They help me have more patience with books. If the book starts slow, I don't mind so much. But I do find that certain readers are irritating. I checked out Don DeLillo's Underworld, which I only got to page 400 in (it's an 800-page book) and figured I'd listen to the rest on tape, but the narrator sounded like that digitalized voice you hear when the library calls you to leave a message that your book has come in and is on hold (my friend, Allison, does a perfect rendition of the voice), so I couldn't listen. And the narrator for Middlesex wasn't right either--not for me, so I turned the book in. I did love the narrator for Little Earthquakes, though, and loved the book, too.

Then I go to Mother's Market and down a wheatgrass juice and a Brain Power smoothie, figuring the combo should turbo charge my bloodstream, shop a little, and on the way home, stop at a little store, Paris to the Moon, where I read there was a section entirely devoted to Mother Mary, one of my idols. The store is all glittery and small. There's a pink area, a black and white area, a kids' nook with tin crowns from Mexico, and lots of vintage Christmas tree ornaments and snowglobes.

Onward to home, with goods and groceries. I clean up a little. Swiffer. Iron a red and white vintage tablecloth and spread it out on the table, in preparation for tonight, for Writers Block Party, my every other week group of talented students. Actually, all of people in my private groups, those current and departed, are talented, and it's a pleasure reading their work. My class at UC-Extension is a group of stellar women, bright and funny.

I still don't want to write, though, so I eat lunch: rice with soymilk and maple syrup. I know, I know... But I'm a vegetarian and Italian and like to eat a little differently.

I check in on my Gotham online class. Post a message on the blackboard.

Soon I will go pick Travis up at school. I have to prepare for my show, and my class. Maybe stop by Barnes & Noble and buy a new Moleskine notebook.

I don't think this will be a writing day for me.