Wednesday, August 26, 2015

Report from the Field: Joanne M. Lazar Glenn on HippoCamp CNF Conference


By Joanne M. Lozar Glenn

Gave myself a treat this month: I attended the inaugural HippoCamp writers conference on creative nonfiction in Lancaster, Pa. What a great job conference organizer Donna Talarico-Beerman and her team did in creating a positive and generous atmosphere in which to encounter and interact with other writers. Below, some nuggets from my notes. 

On craft:
Don't think: What's the point I want to make? Think cinema. Think, what's the story that will lead to that point?--Lee Gutkind, founder of Creative Nonfiction (journal)

 Collage essay is best used not to tell a story but to bring a bunch of ideas or touchpoints together. It pays attention to prosody rather than narrative.--Sarah Einstein, author, Mot: A Memoir 

I did not think about audience. I thought about how could I write a story that would make the audience feel as if they had lived that story. -- Amy Jo Burns, author, Cinderland 

To make your nonfiction more poetic, pay attention to harmony, beat, cadence, word sound and length, punctuation, assonance, and alliteration. --Viannah Duncan, poet and editor 

What is a flash memoir? A slice [of life], and then a smaller slice. -- Jenna McGuiggan, founder, The Word Cellar 

Lots of times writers have two stories written together. Determine the dominant vs. the supporting story line. -- Curtis Smith, essayist

On the business of writing:
Don't have cookie-cutter content across all social media. --Gale Martin, novelist and director of marcomm at Harcum College (Pa.) 

Submit a proposal [for your nonfiction book] because it shows you've really thought it through. --Nicole Frail, editor, Skyhorse Press 

Treat Twitter and Instagram as extensions of your brand ... but understand the distinction between public work and personal persona. --D. Watkins, author and Salon columnist 

Keep calm, write more. There is no one model, only your model. --Jane Friedman, writer and instructor, online writing and publishing, University of Virginia

On literary citizenship:
Put other stories before your own. Where can you help another writer get something s/he wants? -- Jennifer Hill, poet, playwright, arts educator, performer, Paper Kits Press and PA Council on the Arts 

Your success as a writer is not the same as your success as a human being.--Amy Jo Burns, author, Cinderland

 
Then consider giving yourself a gift and get on their mailing list for 2016.

*****

ABOUT JOANNE M. LOZAR GLENN


Joanne M. Lozar Glenn is an independent writer, editor, and educator based in Alexandria, Va., whose essays and poems have appeared in print and online literary magazines. She is a coauthor of the forthcoming Memoir Your Way: How to Use Quilts, Recipes, Scrapbooks, Writing, and More to Tell Your Story (Skyhorse Press, 2016) and leads destination writing retreats at the beach and in the mountains.  

Note: This article is reprinted with permission from Writers Write Newsletter.

Tuesday, August 18, 2015

Risking It All: An Interview with Julianna Baggott about HARRIET WOLF’S SEVENTH BOOK OF WONDERS


By Sara Kuhl

Julianna Baggott’s newest novel, Harriet Wolf’s Seventh Book of Wonders, is the kind of book that makes you look at your schedule for the day and figure out if you can get away with calling in sick.  (My advice is to call in sick. Work will always be there.)

Harriet captured me on the first page and Julianna’s unfurling of Harriet’s story along with those of her daughter, Eleanor, and her daughters, Ruthie and Tilton, are told with unique voices, divine details and characters that border on the magical.

Harriet is a writer whose six previous “Wonder” novels have drawn legions of fans, and rumors that a seventh novel exists persist even long after Harriet’s death. Readers are anxious for yet one more story from Harriet. But Harriet tells her story, in first person, to her daughter and granddaughters and you, the fortunate reader.  Along the way you’ll meet Harriet’s lov,e Eppitt, a villain, a mobster and a lion that rides in a motorcycle sidecar. This is a story will capture your imagine and your heart.

Julianna was gracious enough to respond to my questions on the afternoon prior to the book’s release on August 18.  Here are her responses:

Q -- At the risk of sounding like one of Harriet Wolf’s fans, I must tell you that it has been years since I’ve cried while reading a book. The love stories in this novel are filled with such intense loss. Even the mother and child love stories are shrouded in grief. And despite the suffering by all characters, the novel remains hopeful. Could you discuss how you found that balance between the deep emotional tug of this story without it becoming mawkish.

A -- I’ll risk too much emotion, mawkishness, sentimentality, nostalgia. I’ll risk all of it because I’m not interested in the stinginess of the novelists who don’t risk it at all, who fail for a lack of emotion, for stoicism in hopes of creating something more, what? Restrained? Don’t get me wrong. I’m not talking about the characters. I love the richness of a well-rendered emotionally bottled character. I’m talking about the writer. Life doesn’t feel very restrained in its manhandling of us so I won’t be restrained in my depiction of it.

Q -- I understand it took you eighteen years to write this novel but you obviously produced other works during that time. Were there extended periods that you left Harriet, Eleanor, Ruth and Tilton alone? And what was your process for turning to their stories?

A -- Yes. There were long stretches when I didn’t work on the book. But there were also vastly different versions that I abandoned. At one point, Eppitt was the main character. I went pretty far along with that draft. When I found Tilton, in this form – there’s an earlier screenplay version where she’s male – this draft took shape and I dug in and didn’t let up.

Q -- Your novel covers basically the entire 20th century. In that span of time, language changed, social norms altered, technology advanced and yet the story takes the reader seamlessly from era to another. What sort of research did you do to create the voices of Harriet and the others? And how did you make sure the language would remain engaging to the reader, but also true to the time period?

A -- Harriet’s sweeping timeline required a lot of research, which I love. Much of it I did pre-internet or pre-what we now think of as the internet; it was that long ago. I went to what was once The Maryland School for Feeble Minded Children and walked the grounds, as Harriet did with one of my kids in tow. I interviewed a couple who witnessed the plane crash over Elkton, Maryland when pregnant with my son who’s now eighteen. So, yes. A lot of research.  But language is about getting into character, much like an actor’s work. Once you drop in, you’re in. There’s no confusing Harriet for Eleanor, for me.

Q -- Tilton has a magical, almost fairy-like quality about her. As a reader I ached for her. She appears to have been sealed in childhood, even though her story is told from the perspective of a twenty-one-year-old. How did Tilton come to be?  

A -- Tilton comes from me – not in the particulars but in some emotional way. I was the youngest, left by my older siblings, and overprotected by my mother. I see the world in poetic terms – though not to the extent that Tilton does, and of course, I’m nothing like her, having made my own life. Still, my world can seem very small and yet also lush in its small details.

Q -- The Maryland School for Feeble Minded Children is pivotal to the story. In Chapter Four, Harriet writes, “But now the task at hand. How to make real the Maryland School for Feeble Minded Children itself? The galling notion of it might be so outdated that no one can believe it ever existed. You might think I’m being fictitious. Fair enough.”  What was your process for making this outdated place come alive?

A -- As I mentioned, I visited and, while there, photocopied the 1911 report. That gave me many details to work with and helped me recreate that way of growing up.

Q -- Willa Cather spoke to her characters each day.  Cather said that while she was writing “The Song of the Lark,” she felt as if Thea was always on her shoulder.  Did you carry on conversations with Harriet and Eppitt and all the others? And now that the novel is published, do you miss the interactions with the world you created?

A -- By the time a book actually comes out, my attachments are with new characters, which is actually a good protective device. I have to go public, allow them to be criticized, which isn’t their fault, but how I’ve failed them. It’s not easy, but hardest if you’re still with them. I try to divorce myself as early as I can. Tough to do sometimes.

Q -- Did you worry that the back and forth of the novel in time and place and character would be confusing to the reader, and that the foreshadowing of events and details might be lost? For instance, the reader knows that Harriet gave up public appearances early in her writing career, yet the reader doesn’t understand why that detail mattered until the second to last chapter.

My relationship isn’t with the individual reader. That’s too complicated. Some readers hold all details, see everything coming, and others are easily confused and caught off-guard by twists. My relationship is only with one reader per book. If I’m true to that reader – imagined or real – I’ve done my work.

That said, I was very worried that four first-person narratives were going to overwhelm and confuse the reader – which “I” is speaking now? The italics of Harriet’s sections and the very different way of speaking used by Tilton make them distinctive enough. I worried about Eleanor and Ruthie then and went back into the early pages of each, putting in little phrases and ways of speaking that were their own.

Q -- Harriet and Eppitt’s love story is haunting and beautiful and sad.  The reader knows this will be the case on page five. “You can’t have love without knowing sorrow; you can’t have miracles without desperation.” How did the story of Harriet and Eppitt develop? Was there a time when you tried to write their story with a happier conclusion or did you know from the start that their love story would be tragic and filled with missed opportunities?

A -- They have some really joyful years. I don’t know that anyone can ask for more. (No, I didn’t know the sum total of their relationship when I set out to write it.)

Q -- Pacts between the characters are vital to this novel. What is it about this idea of creating pacts that so intrigued you?

A -- Maybe it’s kind of Catholic of me. I’m not sure, but I love a good vow. We’d taken our four kids and our niece to Ireland. It seemed important that they make a pact to return one day – the five of them, plus as many other cousins as possible. So they all signed a pact. I like those kinds of things.

Q -- Eleanor is one tough woman. The idea of a mother telling her children a bedtime story each night that involves a plane crash and dismembered limbs is bizarre, and funny.  As a reader I never left the fictive dream. How did you strike that balance of developing memorable characters that are believable?

A -- My mother told me very vivid and disturbing family stories when I was little. She was bored – the older kids had grown up and left the nest – and she’d keep me home to play cards and do some banking. And she’d hand down the family lore – dark twisted Southern gothic stuff.  Most of it I’ve never written about. (Some of it is in THE MADAM, based on the life of my grandmother raised in a house of prostitution.) But the idea of stories – how a family can be defined by its own sacred mythology – is thematically central to HARRIET WOLF’S SEVENTH BOOK OF WONDERS, and it’s something that I believe in, that stories are transformative. This belief sustains me as a writer.


More about Julianna Baggott: http://juliannabaggott.com/

****

ABOUT SARA KUHL



Sara Kuhl is a recent fiction graduate from the Converse College low-residency MFA program. (A program she highly recommends for its brilliant faculty and excellent students.) Her personal goal is to introduce Willa Cather into as many literary discussions as possible. By day, she serves as the director of University Marketing and Media Relations at the University of Wisconsin-Whitewater. 


Harriet Wolf

Monday, August 17, 2015

Do You Need an MFA? (part 10,273)

People often ask me if they need an MFA to be a successful (defined as you please) writer. There is no one answer, which is why I like this piece by Lisa Hase-Jackson, one of the Converse MFA grads, offering thoughts about her journey to her poetry MFA.

...In the workshops I facilitated, I could perceive that my poems, unlike those of my MFA holding friends, lacked the kind of complexity and iridescence I longed for. The practical knowledge I was gaining, though worthwhile, differed from that which is available through a formal program, and the time I was committing to community involvement, I realized, could be better organized if I had a course of study to follow. Simultaneously, my applications for full-time teaching jobs and writing residencies were consistently passed over for candidates holding terminal degrees.... 


Sunday, August 16, 2015

A Literary Weekend in DC

 Looking to immerse yourself in the literary life in DC? Here’s an excellent guide to all things bookish in the city’s present and past, as posted on The Literary Hub:  

…2:00 PM, Capitol Hill Books: While still enjoying the capitol part of the Capitol city, head to this charming and rambling used bookstore. You can get lost in the stacks, but a knowledgeable bookseller will likely rescue you with good humor after you find yourself holding dozens of mysteries and wondering why you would ever leave this cozy place….


Friday, August 14, 2015

Doubleback Books Seeking Submissions of Out-of-Print Books for Reprint

I love this call for submissions, seeking for reprint small press books that have gone out of print:

Sundress Publications is now accepting submissions to be published through Doubleback Books. We believe that out of print should not mean out of mind. Although other publishers rescue works that have fallen into the public domain from obscurity, few reprint books from small, independent presses that have folded during the twenty-first century and (often through no fault of their own) left new, exciting books to go out of print before their time.  
 
If you are the author of a book that has recently gone out of print because the press closed, we want to read it. If you are the former editor of a recently closed press with books you believe deserve to return to print, we want to read them. If we love them, we want to give the world another chance to love them, too.  
 
Submission Guidelines 
 
Authors of works that have gone out of print due to the closure of the original press may submit full-length or short books, including novels, novellas, chapbooks, short story collections, poetry collections, essay collections, and memoirs. We will read manuscripts of any literary genre: fiction, nonfiction, poetry, none of the above, some of the above, or all of the above. Editors may also submit out-of-print manuscripts their presses published before closing. To be eligible, works must have been both published and out of print by no earlier than 2000.  
 
To submit, you may send your manuscript(s) in .PDF or .DOC format via email to doublebackATsundresspublicationsDOTcom. Simply include a brief cover letter in the body of the email telling us a little bit about your work and yourself.  

Accepted manuscripts will be turned into downloadable e-books available for free on the Sundress Publications website! Previous titles include Karyna McGlynn's Alabama Steve and Jehanne Dubrow's The Hardship Post.   

Along with your manuscript, please include the name of the manuscript's original publisher, as well as the name and contact information of the publisher's former editor-in-chief, if available. Be sure to note the genre of the manuscript in your cover letter.  
 


Monday, August 3, 2015

Tips on Writing Tics

I love this piece in the Washington Independent Review of Books by Tara Laskowski about writing tics, which offers helpful suggestions about how (and when) to focus your attention on them and work to eliminate them from your work:

Seven of the 13 stories in the original version of my manuscript Bystanders had characters named Jack.
 

And, I’ll humbly suggest that if you have writing tics (which we ALL do), you might look at the piece I wrote about ferreting them out that appeared in Snopes, the Shenandoah blog:

The reason I’m opposed to writing tics—with the exception of my fascination with characters eating—is that the tic is the familiar. It’s the first word/phrase/image our brain comes up with, so surely it’s the least interesting. It’s too easy. What would we discover if we forced ourselves to keep thinking? These tics of ours are bland and comfortable. While vigorous writing can appear easy on the page, I want my work to create discomfort in the reader and the writer. I want angles in my words and images, not soft, smooth edges. Or, to retreat into imagery I’m comfortable with: there’s only so much vanilla pudding a reader can spoon down before hoping for a plate of fiery, New Mexican red chile enchiladas.




Saturday, August 1, 2015

And the Winner Is...

….Allison F. of Durham, NC, who will be enjoying a year of the fabulous Gettysburg Review! Thank you to all who entered, and if you really, really, really had your heart set on reading the journal, well…here’s the link for subscriptions!

Work-in-Progress

DC-area author Leslie Pietrzyk explores the creative process and all things literary.