There are writers to watch for, and then there are writers to watch out for. A sampling of the latter, for your safety:
10) Jack Hogue is a great guy, but if you listen to him for more than five minutes, you’ll believe the publishing world, if not the world itself, has come to an end. Do you know how much he made on his last collection? Negative seven thousand dollars, because he tore his ACL carrying around bags of his own books to conferences his publisher wouldn’t pay to send him to, and also our insurance system is broken. He’ll probably never write again, but at least he has tenure now, so he can pretty much just drink all day in his office. Here, let him buy you a gimlet. Follow him into the abyss.
9) Warby Graham is kind of shocked that you haven’t heard of all these incredibly important twenty-two-year-old writers who live in his building in Williamsburg, but then maybe that’s because you’re super old. No offense but aren’t you, like, thirty? Yeah, that’s probably why. They’re all into something called Metaflarf, which it’s amazing you haven’t been following, because it’s probably the most important literary movement since that thing where you make paper hats out of David Foster Wallace’s endpapers.
8) Denise Cuhaj has no boundaries. She will put your hand on her tattoo and make you feel it with your eyes closed. She’s a close-talker, which wouldn’t be so upsetting if she weren’t telling you how you were in her dream last night, carrying her around in a blanket. Continue Reading
We’re better at most things the second time around. Poaching eggs. Seventh grade. Guessing which hand the marble is in.
Writers might not be better at things by the second book, but at least we’re better prepared. (And I’m talking here about the publication process, the “your book is out in the world” thing. The writing doesn’t get any easier. Sorry, love.) If you’re not on your second book yet—if you’re not on your first, either—you have time to learn from my idiocy. Here are some of the things you think you know the first time around, and the things you know you know going into the second book.
Book #1: You think you pretty much know your book’s flaws. You can guess what the negative reviews will say.
Book #2: You understand that people will take issue with things you never dreamed could be issues. The setting shift you worried so much about will never come up; but the fact that your character neglects to feed his cat in chapter six—that will prompt someone to write a one-star review about how they can’t root for characters who are cruel to animals.
There are a lot of age-based lists of writers out there. A lot. Of. Lists. Here’s another one.
Jake Strand, 34, after twelve years in the corporate world, recently found the courage to apply to MFA programs. He didn’t think he’d get in, but he did. His writing is extraordinary. In six years, when his first novel, Lick the Toad, is published, it will tear your heart to little pieces. It will be your favorite book. Right now, he and his wife are figuring out if they can both afford to move to Iowa. If she stays behind to work, it would strain their marriage. He’s not sure this is worth it.
Gladys Hollinghurst, 82, was an English major until she met her husband. That was a different era, and although she’ll never regret the time she spent raising her children, she does wish she’d done something sooner with the novel manuscript she’s been writing and rewriting for the past few decades. Her husband would have been scandalized, of course. He died three years ago, and that’s when she decided to make a go of it. The publisher who finally took a chance on a debut by an eighty-two-year-old is, rather than hiding Josie’s age, making a bit of a fuss about it. She finds this slightly embarrassing.
Emma Lopez, 13, has just written her first poems, her first real poems, in purple pen in a Moleskine notebook, starting on the last page and working her way forward. She mostly writes in study hall. She will spend the next twelve years working on her craft, and will almost have a book-length manuscript ready before the MS diagnosis. Ten years later, she’ll be well enough to revisit the manuscript and submit it to a few contests. She will be runner-up in two of them. Her first collection will appear when she is 40 years old. It will, unfortunately, be her only collection. But my God, those poems.Continue Reading
A friend once asked if I’d based the guinea pig (mentioned, but offstage) in my first novel on his daughter’s imaginary friend (of whom I’d never heard tell). In his defense: they had the same, unusual name. In my defense: ?!@&?#*%?
Maybe people want novels to be true. Maybe they want to be in those novels. Or maybe they’re terrified of this same thing—of having their secrets exposed. But all authors get asked if we’ve “based the characters on real people”—something that in my experience is actually extremely rare. So what happens when friends and family convince themselves that they’re the ones you’ve written about? I asked a few friends to weigh in with their juiciest stories of supposed identity theft.
A book is a labor of love, and this novel would not have been possible without the help of several people, and several bottles of wine—the last of which I’m enjoying right now.
Infinite thanks to my editor, X, who talked me out of six bad titles, seven ill-advised plot twists, a really stupid dream sequence, and every shade of self-indulgence. You are the one thing standing between me and the abyss. I raise my glass to you. Wait. I refill my glass, and now I raise it to you.
Thanks also to my agent, Z, for not dropping me after I called her crying at four A.M. because the pages of my book were the wrong texture.
Needless to say, we will all dress like this
I’m in that small and shrinking group of writers who don’t have MFAs. Which I think makes me uniquely qualified to start my own MFA program. Haven’t most education reformers come from outside the system? My program will, for starters, involve napping and swimming pools. And the course offerings will be much more practical than “Problems in Modern Fiction.” We’ll cover the things you need to know. (The writing part you can figure out on your own.) I herewith present my 2015-2016 course catalog.Continue Reading
“I need to tell you something,” he said. He twirled his spaghetti around his fork.
She sipped her wine. “What is it?”
“Well.” He shoved the tangle of spaghetti in his mouth and chewed.
She fiddled with her spoon.
Suddenly, the waitress appeared. She had a grease stain on her apron. Her nametag read Renee. She symbolized harsh reality. “Can I get you somethin’ more, hon?”
He smiled and shook his head. He returned to his spaghetti. The waitress walked off, probably thinking about her ex-husband.
“What is it?” she asked him, tearing off a hunk of bread.
“I think,” he said, stirring his spaghetti in its blood-red sauce, “that we should stop perfunctorily setting fictional scenes in restaurants.”
You give a reading and only one person shows up. It is your ex.
You spend five years working on a novel about Marie Antoinette’s wigmaker. The day you finish your final revisions, Margaret Atwood publishes a novel about Marie Antoinette’s wigmaker.
Remember that guy whose poem you destroyed in your sophomore writing seminar? The one who went home and cried and decided he could never be a writer? Yeah, I didn’t think so. But he totally remembers you! And guess what: He’s a reviewer now!
Legend had it that a famous scholar of nineteenth century American literature visited my college to lecture, and someone asked him a question about Melville. He began his answer with “While I’ve never read Moby-Dick…”
At this remove, I still question the man’s scholarship and sanity—but I do admire his honesty. For writers, there’s a lot of pressure to read (or at least to have read) everything contemporary, everyone important or promising or underrated—and that’s on top of the classics we were supposed to have conquered years ago. I doubt I’m alone in sometimes feeling like a failure as a reader. I may have read Ulysses, but if I haven’t read The Goldfinch yet I can’t take part in the conversation. (People who aren’t writers always look so disappointed in me. I imagine the thought bubble as “You haven’t read The Goldfinch yet? But I thought you were a writer!”) I imagine it’s the same for English teachers and reviewers and booksellers and librarians and copy editors.
I think it’s time we follow the lead of that crackpot anti-Melville Americanist, and embrace our own reading failures. I have some I’d like to get off my chest. To wit:
- I have never read a word of Willa Cather. Although I could tell you a lot about it, I have not actually read “The Metamorphosis.” I have started, but never finished, a Pynchon novel.
- It takes me at least two minutes to remember the difference between Jacques Cousteau and Jean Cocteau. I think I’ve got it straight now that one of them was a red-hatted deep-sea explorer (or possibly some kind of pirate?) and the other was a poet who might have started a restaurant. But I could not tell you, right now, which is which.
There was once a time when we’d all sit around reading essays on how novels are dead. We’d gather in the parlor of an evening—mother, father, daughter, son—the Victrola softly playing in the background, and each read, in our own various evening papers, about the death of the book.
But in this modern era, with all our interneting and social networking and good things on TV, are we finally past the point where we care about this classic form? Sure, there are thousands of Death of the Novel essays written and published each year. But studies show that American children read, on average, only five Death of the Novel essays by the twelfth grade. In households where parents are more sanguine about novel health, the figures are even lower.