books


30
Dec 09

I Am Thwarted

Just now I was curled up on my side in the bathtub, crying and repeating “I am thwarted. I am thwarted. I am thwarted. I am thwarted.”

For maybe five minutes: “I am thwarted.”

I needed to relax after getting all worked up over this article about how you should be male if you want to publish literary fiction. Stuff I knew from personal experience, but this stirred up my fear and seemed to confirm my experience:

Playwright Julia Jordan pointed me toward a recent study about perceptions of male and female playwrights that showed that plays with female protagonists were the most devalued in blind readings. “The exact same play that had a female protagonist was rated far higher when the readers thought it had a male author,” Jordan said. “In fact, one of the questions on the blind survey was about the characters ‘likability,’and the exact same female character, same lines, same pagination, when written by a man was exceeding likable, when written by a woman was deemed extremely unlikable.”

I try to be careful about what I think about and talk about repetitively. My friend points out if you say something over and over, it becomes a mantra. I believe in the magic of daily life. I believe we create the world around us. I believe there’s power in our spells.

I fear the danger in giving in to this kind of grief: indulge in grief, and you create a world in which you are grieved.

Let yourself break down in the bathtub — let yourself say out loud those terrible, magic words — I am thwarted — and you feel relieved in the moment. It’s a catharsis, an emotional release, an acknowledgement that you exist and you matter and your reality deserves to be stated, or repeated over and over in a dramatic manner. But the fear is that if you indulge this way — or God forbid make a habit of it, let this become a way of life — the grief, the acknowledgement becomes your reality –

I am thwarted.

Did the words come first? Did I have “I am thwarted” inside me — did I believe in that mantra and then use my internal magic to create “I am thwarted” in my life? This is the question that keeps me up at night — the question that scares me. Because if I can’t tell, how can I keep it from happening again?

What’s worse — having these terrible words inside me and not giving voice to them, or having them inside me and giving voice to them and seeing them become reality? Is there a way to not have them inside me at all?

Perhaps they’re not even true. I know the truth is not only am I not thwarted, I am thriving. Many people are thwarted. I don’t want to diminish their suffering by taking it on as if it were my own.

What brought on the sobbing and the volley of “I am thwarted” was this — I posted about the article on Twitter. I don’t talk about this stuff very often in public because I’m afraid of how I’ll look — in the male dominated industry I work in, I am afraid of looking bitter or difficult or man-hating or whatever stigma might apply to outspoken feminists. But –how we live shows up in our writing, and how we write shows up in our lives. To protect my writing, I have to be honest, present, and emotional.

We live in the future, but women writers work in the past. It’s true that some women writers succeed, but shouldn’t the successful be more successful? Where are all the women showrunners, directors, working screenwriters? Pointing to fields where women get ahead like chick lit, rom-coms, and their TV equivalents as evidence of us succeeding reminds me of the women who were allowed to be film editors because it was a lot like sewing.

I don’t know the stats on women getting literary fiction published, but the male-exclusive lists and prizes certainly tell a story. And my experience tells a story: people loved my first novel. They should, because it’s good. And all the editors raved about how good it was — but said the main character was too unlikable. Or it was too original and Barnes & Noble wouldn’t know how to market it.

Many women writers don’t talk about this for fear — consciously or subconsciously — that talking about it will affect our ability to get work. I think women in Hollywood have Stockholm Syndrome. We know who we need to please to get ahead, so we pretend sexism isn’t as significant a force as it is — subconsciously, we identify with our captors. Our captors are not men, it’s thousands of years of bio/cultural forces that makes women and men feel like a woman cannot create A Great Work of Art. She can run a studio because that job seems like a glorified assistant — it’s less mythic. But there’s something so epic about making art that at a gut level most of us still feel like women can’t do it.

I have been afraid to speak about this publicly because I don’t want to drive away people who can hire me. The fact is — as a young woman trying to get writing jobs in Hollywood, I feel less afraid to write publicly about sucking the dick of some married Hollywood guy years ago than I do about my fears surrounding this industry’s sexism. I know I’m sticking my neck out here. But that’s my job. I stick my neck out, then I stick it out further.

When I get raw and emotional and vulnerable and honest, this is me practicing in public what I do when I face the script.

I am thwarted.

So when my friend on Twitter said that female authors sell much better than literary fiction authors do — and when I pointed out that I AM A FEMALE AUTHOR AND I WRITE LITERARY FICTION — he amended to say he meant pop versus literary fiction — and I responded — My point is that as a woman, I’m allowed to write pop books. I’m not allowed to write literature. I am an artist. I am thwarted.

Saying it in public is what sent me to the bathtub. It felt dangerous — like by saying it out loud, I was making it true. Conjuring the mantra. And waving a flag to the world — this is who I am. I am thwarted. But it felt good too. I felt recognized, I recognized myself. Because I matter, and my reality matters. I deserve to tell the world what my world looks like. And I think that’s why it came out over and over in a flood — it felt so good to say it publicly, I couldn’t stop saying it.

I am thwarted. I feel thwarted.

I hope I’m neither. But if that’s what I turn out to be, you’re gonna fucking hear about it.

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2
Sep 09

Literary Fiction Sucks Up To Genre Like A Hot Girl At Comic-Con

Lev Grossman is the book critic for Time and the author of “The Magicians”, a novel. In this great piece in the WSJ, he writes about the “plot against plot”–the abandonment of story in 20th century literary fiction–and the new trend in fiction to embrace story again.

I’m a huge lover of modern and postmodern fiction. But I do think we as novelists owe as much to our readers as we do to art. The current pendulum swing back towards hybridizing literary fiction with genre fiction to make the former readable is good for writers and good for readers. It only makes what we write that much more relevant, because what use is the most artfully written novel if it interests no one? Novelists have a lot to learn from the challenge of being entertaining.

n.b.: I had jumped on the bandwagon without even realizing it–my new novel is literary fiction inspired by graphic novels. ‘Cause I’m trendy like that I guess.

The novel is getting entertaining again. Writers like Michael Chabon, Jonathan Lethem, Donna Tartt, Kelly Link, Audrey Niffenegger, Richard Price, Kate Atkinson, Neil Gaiman, and Susanna Clarke, to name just a few, are busily grafting the sophisticated, intensely aware literary language of Modernism onto the sturdy narrative roots of genre fiction: fantasy, science fiction, detective fiction, romance. They’re forging connections between literary spheres that have been hermetically sealed off from one another for a century. Look at Cormac McCarthy, who for years appeared to be the oldest living Modernist in captivity, but who has inaugurated his late period with a serial-killer novel followed by a work of apocalyptic science fiction. Look at Thomas Pynchon—in “Inherent Vice” he has swapped his usual cumbersome verbal calisthenics for the more maneuverable chassis of a hard-boiled detective novel.

This is the future of fiction. The novel is finally waking up from its 100-year carbonite nap. Old hierarchies of taste are collapsing. Genres are hybridizing. The balance of power is swinging from the writer back to the reader, and compromises with the public taste are being struck all over the place. Lyricism is on the wane, and suspense and humor and pacing are shedding their stigmas and taking their place as the core literary technologies of the 21st century.

via Good Novels Don’t Have to Be Hard Work – WSJ.com.

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14
Aug 09

Thomas Guide

Wired has put together a super cool google map of Thomas Pynchon’s Los Angeles. It’s like seeing my city annotated with a complete map of the conspiracy.

Little known fact: Thomas Pynchon, the paranoid poet of the information age, is LA’s greatest writer. To be sure, Los Angeles—whose aerial view he likened to a printed circuit board—has always been central to the elusive writer’s weird weltanschauung, his hallucinogenic stir-fry of Cold War hysteria, high tech anxiety, and low-brow pop-culture references. But did you know he actually lived there in the ’60s and early ’70s, while writing Gravity’s Rainbow, the Moby-Dick of rocket-science novels? His latest effort, Inherent Vice, is an homage to those bygone days, plus something no one expected from the notoriously private author: a semiautobiographical romp.

via The Unofficial Thomas Pynchon Guide to Los Angeles .

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30
Jul 09

Imperial Prose: The Book Bench : The New Yorker

This is simply magnificent:

In this week’s New York magazine, Sam Anderson opens his review of William T. Vollmann’s latest novel, “Imperial,” rather hilariously:

“Imperial is like Robert Caro’s The Power Broker with the attitude of Mike Davis’s City of Quartz, if Robert Caro had been raised in an abandoned grain silo by a band of feral raccoons, and if Mike Davis were the communications director of a heavily armed libertarian survivalist cult, and if the two of them had somehow managed to stitch John McPhee’s cortex onto the brain of a Gila monster, which they then sent to the Mexican border to conduct ten years of immersive research, and also if they wrote the entire manuscript on dried banana leaves with a toucan beak dipped in hobo blood, and then the book was line-edited during a 36-hour peyote séance by the ghosts of John Steinbeck, Jack London, and Sinclair Lewis, with 200 pages of endnotes faxed over by Henry David Thoreau’s great-great-great-great grandson from a concrete bunker under a toxic pond behind a maquiladora, and if at the last minute Herman Melville threw up all over the manuscript, rendering it illegible, so it had to be re-created from memory by a community-theater actor doing his best impression of Jack Kerouac. With photographs by Dorothea Lange.”

via Imperial Prose: The Book Bench : The New Yorker.

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22
Jul 09

Agents & Editors: A Q&A With Jonathan Galassi | Poets & Writers

Legendary Publisher and Editor of Farrar, Straus & Giroux (FSG) Jonathan Galassi answers some questions for Poets & Writers. His life is like a history of publishing of the last quarter of a century:

What were the hardest lessons for you to learn when you were a younger editor?

One of the really hard lessons was realizing how much of a crapshoot publishing is—how you can love something and do everything you can for it, and yet fail at connecting it to an audience. Maybe you misjudged it. Maybe it didn’t get the right breaks. One of the hardest things to come to grips with is how important the breaks are. There’s luck in publishing, just like in any human activity. And if you don’t get the right luck—if Mitchi [Michiko Kakutani of the New York Times] writes an uncomprehending review, or if you don’t get the right reviews, or if books aren’t in stores when the reviews come, or whatever the hell it is—it may not happen. That was one of the hardest lessons: how difficult it is to actually be effective.

Another really hard thing is that, as a young editor, each book is like your baby. I remember wanting to publish Peter Schjeldahl’s biography of Frank O’Hara so desperately. I lost it to some other editor who paid more money, and I was melancholy about it for months. Of course the book ended up never being written. [Laughter.] But at the time I felt like a piece of me had somehow been sawn off. I wanted to pour myself into that project so much, and it takes time for that sense of wanting, and identification—which is what publishers live on, really—to relax a little. I see my young editors going through that and I empathize so much. But you have to learn to let go of things. That was a very painful lesson.

But when I was young I had so much reverence for writing. Elizabeth Bishop was my teacher in college—she was my favorite teacher, and I revered her work, and I loved her as a person very, very much—and I remember that when she would invite us over for dinner I would get almost physically ill. It was this combination of conflicting feelings: excitement, discomfort, a sense of unworthiness. It mattered so deeply that it made me almost physically ill. Caring that much was painful. I don’t know if that’s a lesson but it was certainly something where the intensity of my devotion was overwhelming.

via Agents & Editors: A Q&A With Jonathan Galassi | Poets & Writers.

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17
Jul 09

Pulling Back the Curtain on New York Times Book Reviews : Selling Books

Most people who write books have two dreams: to go on Oprah and to get reviewed (favorably, ‘course!) by The New York Times Book Review. Following is an expose on how that happens. (N.B. It don’t look good for first-novelists. It never does.)

The process of deciding what gets reviewed and what doesn’t is quite demanding work. “It begins with the clerk who goes through the pile of 750 to 1000 advance manuscripts that the office receives each week,” says Gewen. However, don’t expect your self-help book, reference guide or travel manual to get any attention in the initial review by the clerk. Those books are “tossed.”

Then, the rest of the manuscripts are taken to Tanenhaus’s office where the senior editor and deputy editor divide them up and get rid of more.

This leaves the six preview editors with about 25 books to look through. Keep in mind this winnowing process has just cut upwards of 750 or more books! Gewen said he spends at least a half hour on each book and chooses four or five, then rejects the others. Reasons most often cited for exclusion, “too narrow for us” or “workmanlike.”

In an interview with Tanenhaus by Michael Orbach of “Knight News, ”If a writer is not bringing something new to the conversation or is not very well-established with a following, long-awaited book, or has really superb narrative or analytical skills, there’s a good chance the book won’t get reviewed.”

In another article that tries to depict the workings of The New York Times Book Review, “The Book Review: Who Critiques Whom- and Why?” by Times Editor Byron Calame, Tanenhaus continued to say that books often get rejected because they “lack originality” or are “packaged assemblages of smaller pieces.”

And for those of you authors who want your first novels to be reviewed, Tanenhaus said, “It has to be strikingly good.”

via Pulling Back the Curtain on New York Times Book Reviews : Selling Books.

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10
Jul 09

Writing and Rambling – What Keeps Readers–and Agents–Reading

Literary Agent Nephele Tempest of The Knight Agency gives a great basic checklist for what will keep agents, editors–and God forbid, readers– reading your novel:

“1. A strong opening that not only captures my attention but introduces me to the world and to the characters. Who are the people, where are they, what are they doing, and why should I care? All too often I get manuscripts with openings that jump directly into the action and I have no idea whose side I’m on, or why the confrontation/argument/battle etc. is happening. In medias res is all very well and good, and appears to be all the rage these days, but I still want to know who the protagonist is pretty quickly, and what about him/her makes them the center of this story.

2. A good idea. I know this is vague, but the truth is you need some sort of driving concept behind your story. What makes this book different, and why are you the one to write it? This is just as true of fiction as of nonfiction. The idea needs to be intriguing, whatever the genre you’re writing, and it needs to be developed so that it progresses with every chapter, starting at the very beginning.

3. Pacing needs to build, with some quiet moments thrown in, but in general working toward the climax in an upward movement, like climbing stairs.

4. Strong conflict. Is this real? If I get a hint that everything hangs on a misunderstanding that could be solved with a phone call or a simple conversation, I’m done. So make sure there’s some real meat here.

5. Real characters. I mentioned this above. Watch out for protagonists who are too perfect, as well as villains who are all evil. These are stereotypes, and they’re BORING. Flawed characters are much more real and interesting, and they also get themselves into much more entertaining situations, often without you trying very hard.

6. Voice. Agents talk about this all the time, and it covers a lot of territory for me. Mostly it’s about what your narrator sounds like in my head. Vocabulary, chattiness, thoughtfulness, etc. Are they intellectual, sarcastic, uneducated but smart, somewhat slow, ethnic–and this is more about word choice than anything, so please don’t try to get elaborate about writing accents phonetically–young, old, etc.? Whatever it is, it should be distinctive to the story and the character. It should fit, there should be a reason for it, and it should be consistent.”

via Writing and Rambling – What Keeps Readers–and Agents–Reading.

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8
Jul 09

The Book-Club Hustlers

To be successful, most book writers now have to peddle their books door-to-door at book clubs:

“The focus on book clubs has spurred the evolution of a new breed: the author-hustler, the writer who succeeds in large part because of door-to-door salesmanship. After the writing comes a new challenge, one of industriousness, perseverance, and charm. Since 2000, Adriana Trigiani has averaged two to three book clubs a week by phone, and this past April, she led “The World’s Biggest Book Club,” a 300-person event run out of New York’s Convent of the Sacred Heart High School (the very set of Paris Hilton and Lady Gaga’s [mis]education). Chris Bohjalian, whose book Midwives was an Oprah selection in October 1998, began phoning into groups after he was forced to cancel his book tour in the wake of the 9/11 attacks. Requests keep increasing, and this year he anticipates talking to 120 groups. As soon as The Divorce Party came out, Laura Dave was reaching out to book clubs at the suggestion of her editor and publicist, both of whom recognized her book’s potential appeal to the middle-aged woman. “Every time I speak to a book group,” Dave says, “almost without exception that book club refers me to another book club that emails.” Dave has done over 100 discussions in person, by phone, and on Skype. She says that Gwyn, the middle-aged narrator of her second novel, is a composite of some of the women she’s met in groups.

The average book club tends to want neither an airplane novel, nor Proust, but something in between: a novel relevant to the members’ lives but also with enough texture for a good discussion. And so reaching out to book clubs is becoming a marketing strategy for more literary works. “I think it’s a rare writer I know who hasn’t done any,” says Henkin. “A lot of people like me, literary writers, whose reputation was to sit back and be snobby, well, it’s really changing.” Khaled Hosseini, author of the The Kite Runner, allegedly took a year off and went to every book group he could. Despite being a bestselling author, Robert Alexander, whose historical fiction trilogy is based on the Russian Romanov family, continues to schedule chats. As does Dara Horn, who has a Ph.D. in comparative literature from Harvard and has taught courses in Jewish literature and Israeli history at Harvard and at Sarah Lawrence College. Even the notoriously shy Jhumpa Lahiri will awkwardly sit through a discussion of her own book—at least when that discussion is attended by Ellen Silva, one of NPR’s senior editors. (In that case, Lahiri’s publisher paid for her to get there.)”

via The Book-Club Hustlers – Page 1 – The Daily Beast .

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