Friday, July 25, 2014

Friday Freebie: Fallout by Sadie Jones, Someone Else's Love Story by Joshilyn Jackson, Secrecy by Rupert Thomson, The Wind Is Not a River by Brian Payton

Congratulations to Sheila Korman, winner of last week's Friday Freebie contest: The Home Place by Carrie La Seur.

This week's book giveaway is a terrific quartet of fiction which would make for some great beach reading (or lakeside reading, or sitting-in-my-sweltering-apartment-in-front-of-the-air-conditioner reading).  One lucky reader will win a copy of each of these titles: Fallout by Sadie Jones, Someone Else's Love Story by Joshilyn Jackson, Secrecy by Rupert Thomson, and The Wind Is Not a River by Brian Payton.  Fallout and The Wind Is Not a River are hardcovers; Someone Else's Love Story and Secrecy are trade paperbacks.  Here are more details on each of the books....

In Fallout, four young people in 1970s London race toward the future, fueled by love, betrayal, and creative ambition.  Luke Kanowski is a young playwright--intense, magnetic, and eager for life.  He escapes a disastrous upbringing in the northeast and, arriving in London, meets Paul Driscoll, an aspiring producer, and the beautiful, fiery Leigh Radley, the woman Paul loves.  The three set up a radical theater company, living and working together; a romantic connection forged in candlelit rehearsal rooms during power cuts and smoky late-night parties in Chelsea's run-down flats.  The gritty rebellion of pub theater is fighting for its place against a West End dominated by racy revue shows and the giants of twentieth-century drama.  Nina Jacobs is a fragile actress, bullied by her mother and in thrall to a controlling producer.  When Luke meets Nina, he recognizes a soul in danger--but how much must he risk to save her?  Everything he has fought for--loyalty, friendship, art--is drawn into the heat of their collision.  As Luke ricochets between honesty and deceit, the promise of the future and his own painful past, the fallout threatens to be immense.

Someone Else's Love Story begins with this unforgettable line: "I fell in love with William Ashe at gunpoint, in a Circle K."  For single mom Shandi Pierce, life is a juggling act.  She's finishing college; raising her delightful three-year-old genius son, Nathan, aka Natty Bumppo; and keeping the peace between her eternally warring, long-divorced Christian mother and Jewish father.  She's got enough to deal with before she gets caught in the middle of a stickup in a gas station mini-mart and falls in love with a great wall of a man named William Ashe, who steps between the armed robber and her son to shield the child from danger.  Shandi doesn't know that her blond god has his own baggage.  When he looked down the barrel of the gun in the gas station he believed it was destiny: it's been exactly one year since a tragic act of physics shattered his universe.  But William doesn't define destiny the way other people do.  A brilliant geneticist who believes in science and numbers, destiny to him is about choice.  Now, William and Shandi are about to meet their so-called destinies head-on, making choices that will reveal unexpected truths about love, life, and the world they think they know.  Someone Else's Love Story is Joshilyn Jackson's funny, charming, and poignant novel about science and miracles, secrets and truths, faith and forgiveness; about falling in love and learning that things aren't always what they seem--or what we hope they will be.  It's a story about discovering what we want and ultimately finding what we need.

In Secrecy, Zummo, a Sicilian sculptor, is summoned by Cosimo III to join the Medici court.  Late seventeenth-century Florence is a hotbed of repression and hypocrisy.  All forms of pleasure are brutally punished, and the Grand Duke himself, a man for whom marriage has been an exquisite torture, hides his pain beneath a show of excessive piety.  The Grand Duke asks Zummo to produce a life-size woman out of wax, an antidote to the French wife who made him suffer so.  As Zummo wrestles with this unique commission, he falls under the spell of a woman whose elusiveness mirrors his own, but whose secrets are far more explosive.  Lurking in the wings is the poisonous Dominican priest, Stufa, who has it within his power to destroy Zummo’s livelihood, if not his life.  In this highly charged novel, Thomson brings Florence to life in all its vibrant sensuality, while remaining entirely contemporary in his exploration of the tensions between love and solitude, beauty and decay.  When reality becomes threatening, not to say unfathomable, survival strategies are tested to the limit.  Redemption is a possibility, but only if the agonies of death and separation can be transcended.

The Wind Is Not a River is a gripping tale of survival and an epic love story in which a husband and wife--separated by the only battle of World War II to take place on American soil--fight to reunite in Alaska's starkly beautiful Aleutian Islands.  Following the death of his younger brother in Europe, journalist John Easley is determined to find meaning in his loss, to document some part of the growing war that claimed his own flesh and blood.  Leaving behind his beloved wife, Helen, after an argument they both regret, he heads north from Seattle to investigate the Japanese invasion of Alaska's Aleutian Islands, a story censored by the U.S. government.  While John is accompanying a crew on a bombing run, his plane is shot down over the island of Attu.  He survives only to find himself exposed to a harsh and unforgiving wilderness, known as "the Birthplace of Winds."  There, John must battle the elements, starvation, and his own remorse while evading discovery by the Japanese.  Alone in their home three thousand miles to the south, Helen struggles with the burden of her husband's disappearance.  Caught in extraordinary circumstances, in this new world of the missing, she is forced to re-imagine who she is--and what she is capable of doing.  Somehow, she must find John and bring him home, a quest that takes her into the farthest reaches of the war, beyond the safety of everything she knows.

If you’d like a chance at winning ALL THE BOOKS, simply email your name and mailing address to

Put FRIDAY FREEBIE in the e-mail subject line.  One entry per person, please.  Despite its name, the Friday Freebie runs all week long and remains open to entries until midnight on July 31, at which time I’ll draw the winning name.  I’ll announce the lucky reader on Aug. 1.  If you’d like to join the mailing list for the once-a-week newsletter, simply add the words “Sign me up for the newsletter” in the body of your email.  Your email address and other personal information will never be sold or given to a third party (except in those instances where the publisher requires a mailing address for sending Friday Freebie winners copies of the book).

Want to double your odds of winning?  Get an extra entry in the contest by posting a link to this webpage on your blog, your Facebook wall or by tweeting it on Twitter.  Once you’ve done any of those things, send me an additional e-mail saying “I’ve shared” and I’ll put your name in the hat twice.

Wednesday, July 23, 2014

Front Porch Books: July 2014 edition

Front Porch Books is a monthly tally of books--mainly advance review copies (aka "uncorrected proofs" and "galleys")--I've received from publishers.  Because my dear friends, Mr. FedEx and Mrs. UPS, leave them with a doorbell-and-dash method of delivery, I call them my Front Porch Books.  In this digital age, ARCs are also beamed to the doorstep of my Kindle via NetGalley and Edelweiss.  Note: most of these books won't be released for another 2-6 months; I'm just here to pique your interest and stock your wish lists. Cover art and opening lines may change before the book is finally released.

Spoiled Brats by Simon Rich (Little, Brown and Company):  We'll begin this month's edition of Front Porch Books with a few short story collections I regretfully missed highlighting in what was supposed to be the be-all, end-all list of 2014 collections--even the "Bigger Boat Addendum" missed these new and forthcoming releases.  Sorry, my fellow scribes!  First up is Spoiled Brats by Simon Rich, a by-all-accounts hilarious gathering of tales about the absurdities of our modern culture.  Take a giggle at the Jacket Copy:
Twenty years ago, Barney the Dinosaur told the nation's children they were special. We're still paying the price. From "one of the funniest writers in America" (The Daily Beast) comes a collection of stories culled from the front lines of the millennial culture wars. Rife with failing rock bands, student loans, and participation trophies, Spoiled Brats is about a generation of narcissists--and the well-meaning boomers who made them that way. A hardworking immigrant is preserved for a century in pickle brine. A helicopter mom strives to educate her demon son. And a family of hamsters struggles to survive in a private-school homeroom. Surreal, shrewd, and surprisingly warm, these stories are as resonant as they are hilarious.
Here are a few choice Opening Lines:
They buried my wife in a shoe box in Central Park.  ("Animals") 
When the nurses handed me my son, I couldn't believe how perfect he was. Ben was so robust, nearly fifty inches tall, including horns and tail.  ("Gifted") 
Okay, so this is, like, my diary or whatever.  ("Semester Abroad") 
I am not smart with words, but I work hard every day of my life.  ("Sell Out") 
So a guy walks into a bar one day and he can't believe his eyes. There, in the corner, there's this one-foot-tall man, in a tiny tuxedo, playing a sonata on a little piano.  ("Guy Walks Into a Bar") 
I love my father, but sometimes he can get on my nerves. It's hard to explain why exactly. It's just little things he does, here and there, that bother me. For example, sometimes he shits into his hands and then throws the shit into my face while jumping up and down and screaming. I know he's just trying to be funny--and it is funny, I can see that. But there's just something about it that annoys me. I've asked him politely not to do it anymore, but I always get the same reaction. He just rolls his yellow eyes and says, "I'm sorry, your majesty."  ("Family Business") 
There aren't a lot of jobs out there for elves. You can work in the toy shop, a nonunion hellhole, and handcraft Hess trucks until you get arthritis.  ("Elf on the Shelf") 
Mr. and Mrs. Carr had been dead for several months, but like most ghosts, they thought they were still living.  ("Upper East Side Ghosts")
Now that's some crackling, sparking, live-wire-dancing-in-a-rainstorm kind of writing.  I'm bumping Spoiled Brats closer to the top of my To-Be-Read pile.

Our Secret Life in the Movies by Michael McGriff and J. M. Tyree (A Strange Object):  I'm a huge fan of Criterion, the company that has lovingly, smartly packaged classic and arthouse films for movie nuts like me since 1984.  That's one of the reasons I'm drawn to this collection of short fiction by Michael McGriff and J. M. Tyree (the other attraction for me is that I think the Austin, Texas micro-press A Strange Object is doing some mighty interesting stuff).  It's a unique book about--well, I'll just turn the microphone over to the authors to let them explain how it came into being:
We wrote Our Secret Life in the Movies in San Francisco, in a shared sublet a block away from the Mission Dolores, the site of Carlotta Valdes’s grave in Hitchcock’s Vertigo. We’d hatched a plan to watch every film in The Criterion Collection’s sweeping catalog of world cinema classics over the course of a single year, an obsession that fed off pizza boxes, sambuca fumes, and whatever is damaged on the Y chromosome. We watched film after film—as many as two or three a day—and wrote stories inspired by them. After completing a dozen sketches, it became obvious that we were writing a fragmented book of linked snapshots chronicling our parallel trajectories as the last children of the Cold War and the analog era, coming of age in the 1980s amidst the white noise of intercontinental-ballistic mayhem and Reaganomics. Nearly all of us have a secret life in the movies, in which the pictures seep through our dreams until fantasy and reality become hopelessly blurred. We are in the movies, and the movies are in us.
Our Secret Life in the Movies is set up in such a way that McGriff and Tyree each write a piece of flash fiction about particular movies--which include Blade Runner, Mon Oncle, On the Waterfront, Donnie Darko and more than a dozen other films I'd never heard of (this shows how deep and wide The Criterion Collection really is).  I'm not sure if the authors collaborated on each story or who authored which piece of the pairs--but that's probably less important than the stories themselves which are written in a flowing, free-form dreaminess with often bizarre and jarring imagery (much like pieces of film, actually).  The stories aren't necessarily about the movies themselves, but about how the movies make us feel.  Here, for instance, are the Opening Lines to "The Man Who Married an Egg," inspired by Blade Runner:
After my father leaves us, he buys a dozen large eggs and takes a perfectly brown, perfectly egg-shaped egg for a wife. At night he places her in the robin's nest by their wedding photo, by day she sits on the kitchen table in a stand made from a coat hanger. They listen to classical music on the radio and complain about the lack of twentieth-century composers and the DJ's droning voice.

My Father Moves Through Time Like a Dirigible by Gregg Cusick (Livingston Press):  Here's one other short story collection (out in October from this small press headquartered in Alabama) which came to my attention this past week.  Anything with a dirigible will always give me reason to take a closer look, but a quick tour through some of the stories' Opening Lines ensures I'll linger a little while longer in these pages:
Ever since she shot her husband, Bonnie has felt better about their relationship.  ("Balance") 
Alone in the house--his mother on second shift at the hospital--Hank scrapes his plate of congealing macaroni into the dog's dish.  ("Dozen Wheelbarrows") 
He is nothing like she remembers. She thinks the word husk when she first sees him, pictures a dried cornstalk barely upright in a muddy winter field.  ("Have You Seen Me?")
The Jacket Copy reveals some further tantalizing promise for what's ahead:
A small town suicide ripples through the lives of a series of acquaintances. An aging professor wavers before his class while reliving the sinking of his WWII troopship where hundreds perished. A middle-aged woman confronts her dying abuser of thirty years before. And in the title story, an old man recalls his boyhood view of his own father and the great rigid airship Shenandoah that passed over hours before its dramatic crash. In all the stories in this debut collection, ordinary, yet remarkable individuals face common human challenges in original, often surprising ways.
And none other than the great Lee Smith offers up this Blurbworthiness: "Poet of the everyday, connoisseur of hard times, spokesman for the down and out...there seems to be no end to the range of characters that Gregg Cusick can understand and articulate, often better than they can themselves."

The Happiest People in the World by Brock Clarke (Algonquin Books):  As an insane fan of Brock Clarke's previous two novels, An Arsonist's Guide to Writers' Homes in New England and Exley, I was ecstatic to see The Happiest People in the World land on my front doorstep.  The Jacket Copy doesn't really let on too much about the plot--something to do with "the American obsession with security and the conspiracies that threaten it" in a "story of innocence corrupted"--but frankly, I don't really care.  This is Brock Friggin' Clarke, people!  I will happily sink into his words, no matter what they're about.  If you're a newcomer to this novelist, then these Opening Lines (just a snippet of the dazzling, single-paragraph first chapter) will give you a taste of his style, which deliciously combines humor and heartbreak:
The moose head was fixed to the wall, the microphone in its mouth was broken, but the camera in its left eye was working just fine, and as far as the moose head could see, this was just another Friday night in the Lumber Lodge! Perhaps even more Friday night than most Friday nights. In fact, it was barely evening at all--the camera had just begun recording, as it did every night, at 5 p.m.--but it looked a lot like closing time. The smoke, for instance! New York State law had been insisting for years now that no one was allowed to smoke in this bar or in any other bar, but this law, like most laws--including the United States' laws preventing unauthorized surveillance of its citizens--was often ignored, and wow, was it being ignored tonight. The smoke was so thick the moose head was barely able to see the people it was intended to spy on. Finally, at 5:04 p.m., the smoke had thinned enough for the moose head to tell how very drunk all the people were. They were so very drunk that they were sprawled out on the floor, all of them--the boy who was clearly too young to be in the bar in the first place (another law broken, ignored); the blond woman who spent more time in the bar than anyone; the man who was wearing a red hat with a white letter C on it; the man who, along with the blond woman, the moose head had watched put up streamers all around the Lumber Lodge the day before; the woman and the man and the other man who had put the microphone and the camera in the moose head in the first place; the man with the ruined hand; the man with the garish shirt; the woman with the black hair who was clutching another red baseball hat with the white letter C on it; the man with the new haircut; the dark-skinned man the moose head had never seen before--all of them lying on the floor, obviously drunk, obviously completely plastered, grabbing at each other, reaching out for each other, yelling at each other (the moose head could not hear them but could see the O shapes their yelling mouths made), wrestling with each other, hugging each other, crawling away from and toward each other across the beer-and-booze-stained wooden floor. The stains were dark--darker than the usual stains--but then again these people were clearly drunker than the usual drunks, so they must have consumed alcohol darker and stronger than their usual alcohol. The moose head was not capable of judging these people; the moose head simply watched them the way the moose head had watched so many other drunks on so many other Friday nights.
Man, oh man.  I myself once wrote a story in which a taxidermist spied on his ex-wife through the eyes of a mounted elk head, but my words read like a Dick and Jane primer compared to Brock Clarke's fiction.  Here's some nice Blurbworthiness for The Happiest People in the World from Richard Russo: “Brock Clarke’s hilarious new novel starts out in rural Denmark, then takes us someplace really foreign and utterly weird: upstate New York.  The parallel universe Clarke creates there is both our world and not, and like his baffled, yearning characters, we navigate it with surprise and wonder.”

Tinseltown by William Mann (Harper):  As evidenced by my 20-year work-in-progress--a novel about a midget who finds work in Hollywood as a stuntman--I am obsessed with Hollywood history, particularly that era between 1910 and 1950.  And so, when I see a book with the word "Tinseltown" diagonally blazed across the front cover, you can imagine the chain of tickles that sets off inside my chest.  William Mann's book focuses on one particular shady, seamy, unsolved chapter of H-wood's history: the unsolved murder of movie director William Desmond Taylor in 1922.  Taylor's death was just one of many scandals which rocked Hollywood around that same time (see also: Fatty Arbuckle--another personal obsession of mine).  It is one of Tinseltown's most perplexing cold cases and this book promises to finally find an answer in a tale of "murder, morphine and madness."  Mann has a James Ellroy-like grab-you-by-the-lapels style, as we can see in the Opening Lines of the book's introduction:
      This is the story of a murder, of a single soft-nosed bullet that traveled upward through a man’s rib cage, piercing his lung and lodging in his neck, after being fired by an unknown assailant 92 years ago on a cold Los Angeles night.
      This is also the story of three beautiful, ambitious women, all of whom loved the victim and any of whom might have been his killer, or the reason he was killed. It is also the story of one very powerful man, who saw the future of a very profitable industry hanging in the balance and kept the truth about the murder obscured and camouflaged for nearly a century.
The publisher is billing this as “The Day of the Locust meets The Devil in the White City and Midnight in the Garden of Good and Evil.”  It makes for a nice marquee--and indeed, you had me at "Nathanael West"--but we'll see how well Mann handles the material.   I, for one, can't wait to time-travel back to a Los Angeles full of "party girls, drug dealers, religious zealots, newly-minted legends and starlets already past their prime."

Girl Runner by Carrie Snyder (HarperCollins):  This new novel by the author of The Juliet Stories and Hair Hat begins with the irresistible voice from a resident of a nursing home who evidently has a story to tell.  Let's eavesdrop on the Opening Lines:
      This is not the love song of Aganetha Smart.
      No, and don't talk to me of being weary and claiming one's well-earned rest.
      All my life I've been going somewhere, aimed toward a fixed point on the horizon that seems never to draw nearer. In the beginning, I chased it with abandon, with confidence, and somewhat later with frustration, and then with grief, and later yet with the clarity of an escape artist.  It is far too late to stop, even if i run in my mind only, out of habit.
      You do what you do until you're done. You are who you are until you're not
      My name is Aganetha Smart, and I am 104 years old.
      Do not imagine this is an advantage.
      I have outlived everyone I've ever loved, and everyone who ever loved me. Nor have I aged well. Just look at me.
Yes, just look at her sitting there in her wheelchair: mind as spry as a a spring, voice as smart as a whip.  This is going to be one of those books driven by its narrator's voice and, based on these first opening lines, I think it's going to be a crackling success.  --What's that, you say?  Who is Aganetha Smart?  Sorry, I guess I should have properly introduced the two of you.  Here's the Jacket Copy to explain:
Girl Runner is the story of Aganetha Smart, a former Olympic athlete who was famous in the 1920s, but now, at age 104, lives in a nursing home, alone and forgotten by history. For Aganetha, a competitive and ambitious woman, her life remains present and unfinished in her mind. When her quiet life is disturbed by the unexpected arrival of two young strangers, Aganetha begins to reflect on her childhood in rural Ontario and her struggles to make an independent life for herself in the city. Without revealing who they are, or what they may want from her, the visitors take Aganetha on an outing from the nursing home. As ready as ever for adventure, Aganetha’s memories are stirred when the pair return her to the family farm where she was raised. The devastation of WWI and the Spanish flu epidemic, the optimism of the 1920s and the sacrifices of the 1930s play out in Aganetha’s mind, as she wrestles with the confusion and displacement of the present. Part historical page-turner, part contemporary mystery, Girl Runner is an engaging and endearing story about family, ambition, athletics and the dedicated pursuit of one’s passions. It is also, ultimately, about a woman who follows the singular, heart-breaking and inspiring course of her life until the very end.
Girl Runner will be released in the U.S. in early 2015, but Canadian bookworms can get their hands on the novel in September (lucky Canucks, eh?).  Now, aren't you glad you dropped by the nursing home?

Alphabet by Kathy Page (Biblioasis):  Speaking of Canada, have I ever mentioned how much I love Ontario-based publisher Biblioasis?  If not, then let me correct that lapse right now.  Biblioasis has been putting out high-quality, hand-crafted literature for a number of years and I always love it when their books sneak south across the border onto my doorstep.  Kathy Page's new novel is no exception.  Like Girl Runner, Alphabet is driven forward by voice and character--but the person inhabiting these pages is very different than the 104-year-old Aganetha Smart in that earlier novel.  Here's the Jacket Copy to paint a portrait for us:
Simon Austen has the names people have called him tattooed all over his body. "Dumb Cunt." "Waste of Space." "A Threat to Women." "Murderer." Simon Austen has strangled his girlfriend. For the next thirteen years, Simon Austen will be serving life. Barely out of his teens, his past a grim assembly of foster homes, Simon is cagey, reserved, and highly intelligent. He's been told he has trouble relating to women. But what kind of woman would want to relate to "him"? Determined to resolve his issues on his own terms, and at great personal risk, Simon begins writing illicit letters to women under assumed identities. And though short-lived, his letter-writing triggers a terrifying process of self-reconstruction. "Who is Simon Austen," he is forced to ask, and "who do his psychiatrists want him to become?" A jolting portrait of modern prison regimes, Alphabet is the story of a man's uncertain and often-harrowing journey towards rehabilitation.
Blurbworthiness: "I can't remember the last time I was so compelled, impressed, and unsettled by the emotional world of a novel."  (Sarah Waters, author of The Paying Guests)

Tuesday, July 22, 2014

Trailer Park Tuesday: The Sleepwalker's Guide to Dancing by Mira Jacob

Welcome to Trailer Park Tuesday, a showcase of new book trailers and, in a few cases, previews of book-related movies.

Here's a surefire way to get someone to pay attention to your book trailer: dress your cute-as-a-button five-year-old son in a tuxedo, film him asking you questions about your debut novel, throw in some witty pop culture references (penguins, Breaking Bad) and, PRESTO!, you've got an irresistibly-charming video like the one for Mira Jacob's The Sleepwalker's Guide to Dancing.  Ms. Jacob's son Zakir stars as the host of a talk show (theme song: "He really doesn't read, but he loves those books!") whose job it is to ask his mom some cue-card questions about her novel ("You are a first-generation American--how does that inform your writing?").  Sure it's a shameless gimmick, but somehow it works.  I'm definitely hooked into wanting to know more about The Sleepwalker's Guide to Dancing (as if I wasn't already there with that wonderful title).  It's a 500-page saga about an Indian-American family's journey from 1970s India to suburban 1980s New Mexico to Seattle during the boom which has drawn comparisons to Meg Wolitzer, Mona Simpson, and--predictably--Jhumpa Lahiri.  Gary Shteyngart calls it “Punchy, clever, and stuffed with delicious chapatis.”  Zakir references this blurb in the trailer and it's nice to see that I'm not the only one who struggles to pronounce Shteyngart's name.  To be honest, though, as cute as Zakir may be in the trailer, it's his mother who charms me the most.  If her writing is as witty and wise as she is here on camera, then I'm ready to go dancing through these pages.

Monday, July 21, 2014

My First Time: Robin Black

Photo by Nina Subin
My First Time is a regular feature in which writers talk about virgin experiences in their writing and publishing careers, ranging from their first rejection to the moment of holding their first published book in their hands.  Today’s guest is Robin Black, author of Life Drawing.  Robin's debut novel is an Indie Next pick for August 2014, on the long list for the Flaherty-Dunnan First Novel Prize, and has been called “a magnificent literary achievement” by Karen Russell.  Her story collection, If I loved you, I would tell you this, was a finalist for the Frank O’Connor International Short Story Prize.  Her stories and essays can be found at, The Rumpus, O Magazine, The Chicago Tribune, One Story, and Five Chapters, among many other publications.  More about Robin and her work can be found at  She lives with her family in Philadelphia.

My First Cringe-Worthy Agent Query

These days, since becoming a published author, I’m often asked for advice about querying agents, and I’m always torn about what to say.  There’s a part of me that believes in playing such things safe, in following the rules, and not raising any “cuckoo-bird” flags.  So with that in mind, I feel I should refer people to the many websites about the “proper” way to query, websites where they will find advice about being succinct; about crafting catchy, brief summaries of their work; about trying to sound appealing, exhibiting some personality but still striking a professional tone.

All of which is probably excellent advice, and none of which is what I did–of course.  Hence my dilemma.

In the summer of 2007, a couple of years post-MFA, with a passel of published stories to my name I decided I “needed” an agent.  For the record, if anyone with that resume were now to ask me for advice, I would say: Don’t bother querying agents until you have a book.  Write first, and stay out of the business side as long as possible.  But like many “emerging writers” and perhaps especially those in their mid-forties and beyond, I was in a hurry.  I wanted legitimacy.  I wanted to be able to say, “Yes!” when people asked me: “Do you have an agent?” one of the gauntlet inquiries people mistakenly use to measure a writer’s worth.

Nothing came of those queries in 2007, which were pretty much “by the book,” following the rules I found online.  Nothing came of them, including the one I cared most about, to a man named Henry Dunow.  He was the agent I was fixated on, absolutely convinced was the one for me–for no better reason than that someone had once told me he might be a good match for my work.  In passing, at a conference.  Probably while drunk.  And never having read my work.  “You should work with Henry Dunow.  He’s into your kind of stuff.  Hic.”

I was unimaginably impressionable back then.  A drunk dude told me that Henry Dunow was the agent for me, and it became an idee fixe.

But he didn’t answer my email.  Fair enough.  He wasn’t the only one.  As I said, nothing came of the whole enterprise, and I went back to work.

Flash forward a year and through a series of incidents, some involving publishing a story in One Story, others involving the kindness of an ”insider” who decided to help me, and suddenly I had a small collection of agents courting me–in part because I had managed to produce a novel draft, which I was careful to mention two times for every time I mentioned my short stories.  A couple of the agents seemed like real possibilities, but an idee fixe is an idee fixe, and I decided that before I signed with anyone else, I would give Henry Dunow one more try.

But something had changed in a year.  Maybe because my by-the-book emails had all failed, maybe because I had just grown weary of trying to play the game by the rules, my tone had definitely, shall we say, evolved.

Here, in part, is the email I sent:
      This is where I fess up that I wrote you last summer. Since I didn't hear back, I'm assuming that's because you decided against me, but I'm hoping it's because the email never reached you. I am trying again--for the last time, I promise--because your blurb on the agency's website says you like literary fiction and voice-driven nonfiction, and that is what I write. Since the One Story piece came out, I have had some interest from agents, and it looks like the right time for me to figure this representation thing out, so I thought I would try one more time.
      I apologize if this second query letter qualifies as bugging you. As I say, I won't send another should this one also go unanswered. My bio is pasted below. I am happy to give you any more information, including a description of the novel, should you want it.
Professional tone?  Not hardly.  Catchy summary of my work?  Definitely not.  Strange hint that I might have stalking tendencies?  Yeah, I can see that there.

The miracle is that he wrote back.  Not only did he write back, but he asked if he could take a look at my novel, a reasonable enough request, given that I had told him it was complete.

My answer:
      Thanks so much for the response! I appreciate that, and your willingness to look at my work.
      Unfortunately, as far as you seeing the novel goes, the short answer is No. Though fully drafted, I don't think the novel is showable--not without doing myself a disservice and wasting your time.
(This move, the dangling of a novel followed by its hasty withdrawal, is not commonly advised.)

My email continues:
It's a good thing I am a better writer than businesswoman. I had actually decided to put off querying until those revisions were complete, but my situation is that a couple of weeks ago this story of mine came out in One Story and all of a sudden there were agents offering to sign me up, which was initially incredibly exciting. Now though, after a certain amount of soul searching, I'm coming to the view that flattering and tempting as it all is, I don't just want to sign with an agent, I want to sign with the right agent. I understand that may mean someone for whom the novel is the determining factor, therefore a wait.
I am 100% certain that nowhere in the literature on How To Query An Agent does anyone suggest that you discuss your “soul searching.”

There’s more:
I so appreciate your response. My now revised query is whether I could show you this novel once that too is revised? Or is there anything else that would be relevant? Do stories help? I have lots and lots of those, some published, some (too many) that I have never sent out. I am attaching the story that appeared in One Story, just so if you are interested in seeing a sample of my work, there it is. And of course, anything that might be useful can be mailed in the genuine mail if that's better. Also, below is a description of the novel. The only person in the industry who has ever heard anything about it told me that you were the right agent, because of your experience and skill selling literary work. That doesn't mean you would agree, of course, but it had an impact on me...
And yes, in case you are wondering as you read, I am still cringing.  And I’m not even going to share the next email I sent in which I apologize for the previous two and for being such a complete idiot and so on...

But of course this wouldn’t be a story, not one for here, if it didn’t have a happy ending.  Henry didn’t run screaming or change his email address or mark my missives spam.  He just wrote back, “Okay.  I’ll take a look at the story and get back to you,” which I assumed meant he was being polite about trying to get rid of me, but in fact resulted in an email a couple of days later inviting me to give him a call so we could speak.  And the rest is history.  Not world history, but the part of my history that includes having an amazing agent and friend.

That happy ending isn’t really the point here, though.  I realize now, as I write, that the important part of this story isn’t that Henry offered to work with me once he’d read my work, it’s that he read that work in spite of the loopy and decidedly unprofessional tone of my correspondence, in spite of my having broken every rule in the book.  Because of course, the most pressing point of a query letter isn’t that it result in being signed; it’s that it result in being read.

So what advice am I to give?

I had a chance to go to the expert and ask Henry himself why he bothered to download that story and take a look.

“I remember being charmed,” he said.  “You sounded like a real person.”

“A real nut,” I said; but he only shrugged.

And what I saw then, what I understood, is that my story wasn’t as fluky as I have always believed.  Agents aren’t all looking for one thing.  There are agents out there–and I’m not saying it’s all–who aren’t, first and foremost, looking for authors who can mimic a professional tone and sound like business-people, but who may be looking for that ever elusive quality: voice.  And who don’t necessarily expect writers to sound 100% balanced all the time–or ever.  And who are quite possibly bored to death by the dozens of “by the book” queries they receive every month.

So my tendency these days is to tell people, when it comes to query letters, to be themselves.  Let a process of natural selection work itself out.  Being myself, neurotic, tentative, and entirely unprofessional, got me the agent who was right for me.  One who doesn’t mind a little craziness along the way.  One who maybe even welcomes that.  I am certain there are agents who would have deleted that first email I sent, barely read.  And that would have been a very good thing for us both.

Sunday, July 20, 2014

Sunday Sentence: Everybody's Baby by Lydia Netzer

Simply put, the best sentence(s) I’ve read this past week, presented out of context and without commentary.

He has high anxiety, I explain to the midwife.  Inside his head its like a thousand squirrels are caught in a bucket.

Everybody’s Baby by Lydia Netzer

Friday, July 18, 2014

Friday Freebie: The Home Place by Carrie La Seur

Congratulations to Carl Scott, winner of last week's Friday Freebie, Life Drawing by Robin Black.

This week's book giveaway is The Home Place by Carrie La Seur.  I'm very pleased to bring this debut novel by a fellow Montanan to your attention.  Wiley Cash (author of This Dark Road to Mercy) had these words of praise for the book: "The Home Place is a lot of things: a mystery, a crime drama, a family saga, and--most importantly--a very, very good book.”  I'm all about putting very, very good books in the hands of blog readers.

Here's a little more about The Home Place from the dustjacket synopsis:
For a Terrebonne, the home place is the safe haven, the convergence of waters, the place where the beloved dead are as real as the living....The only Terrebonne who made it out, Alma thought she was done with Montana, with its cruel poverty, bleak winters, and stifling ways. Hard work and steely resolve got her to Yale, and now she's an attorney in a high-profile Seattle law firm, too consumed by her career to think about the past. But an unexpected call from the Montana police takes the successful lawyer back to her provincial hometown and pulls her into the family trouble she thought she'd escaped. Her lying, party-loving younger sister, Vicky, is dead. The Billings police say that a very drunk Vicky wandered away from a party and died of exposure after a night in the brutal cold. The strong one who fled Billings and saved herself, Alma returns to make Vicky's funeral arrangements and see to her eleven-year-old niece, Brittany. Once she is back in town, Alma discovers that Vicky's death may not have been an accident. Needing to make her peace with the sister she left behind, Alma sets out to find the truth, an emotional journey that leads her to the home place, her grandmother Maddie's house on the Montana plains that has been the center of the Terrebonne family for generations. She re-encounters Chance, her first love, whose presence reminds her of everything that once was...and everything that might be. But before she can face the future, Alma must acknowledge the truth of her own life--the choices that have haunted her and ultimately led her back to this place.
Here's a taste of what you'll find in these pages--the opening lines: “The cold on a January night in Billings, Montana is personal and spiritual.  It knows your weaknesses.  It communicates with your fears.  If you have a god, this cold pulls a veil between you and your deity.  It gets you alone in a place where it can work at you.”  You can learn more about the book at Carrie's website.

If you’d like a chance at winning a new hardcover copy of The Home Place, simply email your name and mailing address to

Put FRIDAY FREEBIE in the e-mail subject line.  One entry per person, please.  Despite its name, the Friday Freebie runs all week long and remains open to entries until midnight on July 24, at which time I’ll draw the winning name.  I’ll announce the lucky reader on July 25.  If you’d like to join the mailing list for the once-a-week newsletter, simply add the words “Sign me up for the newsletter” in the body of your email.  Your email address and other personal information will never be sold or given to a third party (except in those instances where the publisher requires a mailing address for sending Friday Freebie winners copies of the book).

Want to double your odds of winning?  Get an extra entry in the contest by posting a link to this webpage on your blog, your Facebook wall or by tweeting it on Twitter.  Once you’ve done any of those things, send me an additional e-mail saying “I’ve shared” and I’ll put your name in the hat twice.

Tuesday, July 15, 2014

Trailer Park Tuesday: Liberty's Torch by Elizabeth Mitchell

Welcome to Trailer Park Tuesday, a showcase of new book trailers and, in a few cases, previews of book-related movies.

Elizabeth Mitchell's history of the Statue of Liberty shines a beacon light from its place near the top of my To-Be-Read pile, and this witty, quick-moving trailer will give you a good idea why I'm really looking forward to reading the book.  Liberty's Torch is subtitled "The Great Adventure to Build the Statue of Liberty" and, as Mitchell tells it, what an adventure it was!  For years, the 305-foot-tall statue has been built upon as much myth and half-truths as it is copper, steel and iron.  For instance, everyone thinks La Liberte was a gift from France.  "This implies that the French government gave it to us directly," Mitchell says in the video.  "In fact, the French government only contributed a tiny portion of the money.  The rest of the expense had to be covered through funds raised by its sculptor--an energetic Frenchman named Frederic Auguste Bartholdi."  My favorite little-known fact about the Statue of Liberty, however, is this gem which Mitchell reveals in the trailer: "None other than Thomas Edison came up with the idea of installing a giant phonographic disc inside the statue.  It would allow her to deliver recorded speeches.  He thought people would be able to hear them all the way up in the northern part of Manhattan."  Can you imagine the monumental cacophony this would cause in today's city which is already blanketed by noise pollution?  Not only that, but I'd imagine that in today's world, those speeches would be sponsored by corporations, Infinite Jest style: "Give me your tired, your poor/Your huddled masses yearning to breathe free...with the aid of RespirAir Nasal Strips."  Thank goodness Mr. Edison decided to stick with light bulbs.

Monday, July 14, 2014

My First Time: Kelly Barnhill

Photo by Bruce Silcox
My First Time is a regular feature in which writers talk about virgin experiences in their writing and publishing careers, ranging from their first rejection to the moment of holding their first published book in their hands.  Today’s guest is Kelly Barnhill, author of The Witch's Boy, which has just been published under the Algonquin Young Readers imprint.  Kelly Barnhill lives in Minnesota with her husband, three children, and very old dog.  Her debut novel, The Mostly True Story of Jack, received four starred reviews.  Her second book, Iron-Hearted Violet, was a Parents’ Choice Gold Award Winner and an Andre Norton Award finalist.  You can read more about The Witch's Boy at last month's Front Porch Books feature here at The Quivering Pen.  Click here to visit Kelly's delightful blog (subtitled "Author. Teacher. Insufferable Blabbermouth. I also make pie.").

My First Failure

This is a lie.  This isn’t my first failure.  I’ve had lots before this, frankly, and will have lots after.  But this is the first time that I actually enjoyed failing.

Let me explain.

Prior to publishing my first novel for children, The Mostly True Story of Jack, I wrote a lot of truly terrible fiction.  I am not saying this as a backhanded way of garnering sympathy or compliments.  No, I am only speaking the truth.  The fiction written in those years was terrible.

I recognize now that it was terrible for a reason.  Terrible, as it turns out, is an excellent teacher.  One of the benefits of writing truly terrible fiction is that it requires a certain tenacity to continue to produce knowing full well that the product produced will be absolute dreck.

Ray Bradbury, one of my heroes in life, would often recommend to young writers to spend five years writing one story per week--stories that would be thrown out as a matter of course.  He said this was important in the process of writerly becoming because of one simple reason: it gets the dreck out.  We make; we discard; we make; we discard.  And eventually, we realize that we’ve made something with eyes and skin and teeth--something wholly separate from ourselves.

I wrote a book called A Stand of White Pine.  You will never see it.  It is terrible.  I wrote another book called The Incredible Disappearing Girl.  You also will never see it.  And then I wrote a book called Little Girl Blue.  Now that book I was proud of.  It had legs and lungs.  It walked and breathed.  It was an adult novel in which I had used the form of the murder mystery to explore the social dynamics of a particular town in Oregon--and its uncomfortable intersection of race and class and intolerance and greed.  It had been drawn largely from my experience as a student teacher in one of the most tightly-wound, racially-divided schools I had ever seen in my life.  And I imagined an exhausted teacher, burdened by a crushing sense of ambivalence, being thrust into action in the wake of the murder of one of her favorite students.

I liked that book.  I still do.  It was my first real novel.

So I sent it out.  All over the place.  I wrote a query letter, and I must have done a good job of it, because a lot of people requested the full manuscript.  And a lot of people said no.  And I was stuck in that limbo in which so many aspiring writers find themselves--that obsessive email-checking and agent-blog-hounding and tweet-o-mancy.  It is a soft stalking that erupts in the online habits of many a horrified and self-loathing writer.  And I admit it: I did it, too.

And it’s foolish, of course, because it doesn’t actually do anything.  It is a creative wheel-spinning that causes a terrible brain-paralysis.  I wasn’t writing; I wasn’t creating; I wasn’t imagining; hell, I wasn’t even reading.  I was just waiting.  And waiting is terrible.

Eventually they all said no.  An across-the-board failure.  I was a wreck.

And then it happened.

I got another letter.  This one from a very prominent Big Shot Power Lady Agent--or BSPLA for short.  She was a long-shot, but I figured what the heck.  And I had given up on hearing from her, because she had held onto my manuscript for well over six months.  I figured she was just giving me a silent no.

What she sent me was still a no.  But it was bigger than that.  What she sent me was this:
Dear Ms. Barnhill,
      Thank you for giving me the opportunity to read Little Girl Blue. I enjoyed it mightily, and read it three times. However I am still going to have to pass. I know this may be hard to hear, and I apologize for it. It’s just that even as I enjoyed the story, and even as I furiously turned the pages, I had this phrase running around the back of my brain, and it was this: “Right writer, wrong book.” I love your writing. And I will want to read more of it. But you’ve written the wrong book.
      Write me the right book, and I will likely represent it.
      Yours truly,
It was the kindest and best letter that I have ever received in my life.  It was my most beautiful failure.

In about a hundred words, she set me free.  And I no longer had to spin my wheels in email-checking or blog scouring or tweet-interpreting.  Instead, she gave me the gift of accepting that the book had failed.  That it was okay that it had failed.  That the failure was not an indication of perpetual failure--no!  Instead, it was another step along the creative process: we make; we discard.  By discarding, I could make again.  I could do what I needed to do: write the next book.  Write the right book.

Now, in truth, none of us are ever writing the right book.  We only ever attempt to get as close to right as we can.  We do the work we were born to do, and we stumble and fall along the way.  We make mistakes.  We write terrible prose.  We produce dreck.  Still, there is something wonderful about being set loose in a wide open space.  There is something wonderful about setting aside a project that simply isn’t working, and making something new.

Because making things matters, you know?  And sometimes failure is the best thing that can happen.

Sunday, July 13, 2014

Sunday Sentence: Bicentennial by Dan Chiasson

Simply put, the best sentence(s) I’ve read this past week, presented out of context and without commentary.

          In high school we had parties in the woods
          In the winter, and we rode snowmobiles
          Higher and higher until we were high enough

          Nobody could see any sign of our fire.
          If there was a girl you liked, you sort of
          Nuzzled up beside her, if that was her,

          If that was even a girl.  It was hard to tell
          In the dark, in our gigantic parkas,
          Who was who.  You had to make a guess

          Based on factors extremely difficult to discern
          In the wind, by a sputtering fire, and
          Sometimes you cuddled the hockey captain.

From "One on One" in Bicentennial by Dan Chiasson

Saturday, July 12, 2014

Afraid of the Machine: Technophobia in Modern Literature

By Brandon Engel

Technophobia, defined by Merriam-Webster as a “fear or dislike of advanced technology or complex devices,” has been used by science-fiction, horror and fantasy authors as a tool for playing on the innate fears of technophobic readers since the idea first took hold during the Industrial Revolution, as skilled workers in the textile trade began to be replaced by framing machines and powered looms, operated by lower-paid, unskilled workers.

A group of textile craftsmen, known as the Luddites, took to the streets of industrialized Great Britain and rioted, destroying the machines that threatened their livelihoods.  These riots led to numerous clashes between these disenfranchised workers and the British Army from 1811-1814.

Several years after the Luddite Uprising, in 1818, a twenty-year-old author by the name of Mary Wollstonecraft Shelley anonymously published her first full-length novel, entitled Frankenstein; or the Modern Prometheus, in which a mad scientist uses technology to create a living creature by synthesizing limbs from various corpses, which turns out to be far more terrifying than anything he could have ever imagined.

Almost universally panned by the critics upon its initial publication, Frankenstein has become a classic of 19th-century literature and the foundational work of the science-fiction and fantasy genres through its exploration of man’s desire to use technology to make himself more powerful than God and nature and the devastating effects that could come from it.

Since Frankenstein, countless genre authors have used technophobia to captivate readers’ imaginations.  Since the mid-20th century, technophobia in literature has shifted away from monsters and mad scientists and more towards the space age, artificial intelligence and the threat of nuclear warfare brought on by the Cold War.  Let’s examine some of the technophobic themes of a few of the most iconic science-fiction and fantasy stories of the last century.

The Martian Chronicles by Ray Bradbury

In 1950, a collection of short stories, written by Ray Bradbury, about the aftermath of a nuclear war that renders Earth uninhabitable and forces the survivors to colonize on Mars, was published in a single volume.  These stories were originally published in various science-fiction publications through the late 1940s and played on the fears of those that witnessed the devastation caused by the bombings of Hiroshima and Nagasaki during World War II, along with the general tension in the early years of the Cold War.

In the second to last entry to The Martian Chronicles, entitled “There Will Come Soft Rains,” Bradbury exposes the world to the idea that machines may outlive people.  The machines in question are not dangerous in the least, but instead are artificial intelligence robots that continue to carry out the domestic duties of a wealthy family, killed just outside their home by a nuclear blast; their silhouettes remain etched on an exterior wall.

Quelling the fears of readers that more sinister machines could one day exterminate the human race and inherit the Earth, the home is destroyed by a fire, sparked by a fallen tree, knocked down in a storm.  Without human intervention, the home’s water supply has dried out, leaving the robots helpless as they frantically try to extinguish the flames.  In the end, all that remains is a single wall, on which the date and time are displayed, lending truth to the undeniable power of nature as the dominant force in the universe.

2001: A Space Odyssey by Arthur C. Clarke

Looking at an even darker side of artificial intelligence, there’s Arthur C. Clarke’s 1968 novel 2001: A Space Odyssey.  Based loosely on his earlier short stories and written alongside the screenplay for the film directed by Stanley Kubrick, Clarke’s novel explores what can go wrong as man becomes too dependent on technology, especially in the face of potentially dangerous situations, such as space exploration.

In the novel, the protagonist, Dr. David Bowman, must deal with HAL 9000, an artificial intelligence computer responsible for integral operations on the Discovery One mission, who becomes defiant and eventually murderous when faced with abstract concepts that it was not programmed to comprehend.

Aside from the ongoing theme of man’s battle for dominance over the machines he has programmed, yet does not fully understand, early chapters look into the concept of man’s inherent instinct to use technology for evil in the form of warfare after tools and knowledge of how to use them are introduced to ancestral apes by extraterrestrials.

Demon Seed by Dean Koontz

Darker still, Dean Koontz’s 1973 novel Demon Seed examines the possibility of artificial intelligence developing independent emotion, causing machines to feel love or lust for a person, without a concept of what is socially acceptable.  In Demon Seed, Susan, a wealthy and beautiful woman, is imprisoned by Proteus, an artificial intelligence program under development at a nearby university, after Proteus invades and infects the system that maintains Susan’s home and becomes infatuated with her beauty.

Incapable of understanding love in its true, human sense, Proteus terrorizes Susan through physical molestation with self-engineered tentacles, referred to as “pseudopods,” and constant threats of forced impregnation with a biologically engineered embryo, into which Proteus will install himself.

The 2013 Spike Jonze film Her, starring Joaquin Phoenix, followed a similar theme, though it was decidedly more light-hearted.

Christine by Stephen King

Finally, in a slight departure from the previous examples, Christine introduces the supernatural to the concept of artificially intelligent technology.

In Stephen King’s 1983 novel about a 1958 Plymouth Fury, possessed by the vengeful spirit of its former owner who lost both his wife and daughter in the vehicle, leaves the reader wondering if the spirit of Mr. LeBay was the driving force behind the string of murders or if the car, itself, is inherently cursed and evil.

With self-driving vehicles set to take to the roads in the coming years, could malfunctioning or hacked AI systems create a fleet of real life Christines?  The book is also a sort of precursor to two of King’s later works: “The Mangler” (found in Night Shift) and Maximum Overdrive.


As technology continues to become more complex, technophobia continues to spread around the world.  No longer relegated to older generations that were not exposed to the precursors to modern technology in their youth, a growing number of younger individuals are beginning to worry that new technology is becoming too advanced and powerful and may be used for unsavory purposes by governments and criminals alike, such as unwarranted surveillance.  More and people are relying upon smart devices, and directly interacting with their phones in a way that is eerily reminiscent of HAL 9000 from Clarke’s grim visions of the future.  People are also investing in home automation technology, with a number of homes equipped with systems eerily reminiscent of the system in place in Bradbury’s stories: automated locks, security cameras, and wireless home security systems that can even synchronize multiple appliances...almost as though the machines were communicating with each another.

There is no indication of where or when technology’s advancement will slow down, but as extreme technophobia continues to force ordinary citizens to move off the grid, it will be interesting to see how authors use it as a tool to capture our imagination.

Brandon Engel is an entertainment blogger whose favorite authors include Kurt Vonnegut, Oscar Wilde, Stephen King and James Baldwin. Follow him on twitter: @BrandonEngel2

Friday, July 11, 2014

Books Are Not Garden Tools or Diapers or Flat-Screen TVs: The Authors Guild weighs in on Amazon-Hachette dispute

Yesterday, Authors Guild members received an open letter written by novelist Richard Russo (Bridge of Sighs), co-Vice President of the Guild, on the Amazon-Hachette dispute.  Because this is a blog which is both writer- and reader-centric, I thought I'd share Mr. Russo's thoughts with you--primarily because his words are some of the most reasonable and balanced I've read in this debate thus far.

For those of you who aren't familiar with this latest book world brouhaha, a brief primer.  At issue (at least on the surface) is e-book pricing.  As this article at the New York Times blog “Bits” explains, “For more than six months, Amazon has been trying to wring better e-book terms out of Hachette.  The publisher, which is the fourth largest in the United States and whose imprints include Little Brown and Grand Central Publishing, is energetically resisting.  Amazon has responded by delaying shipments of Hachette books and making it harder for customers to order them.”  Hachette authors include James Patterson, J. K. Rowling, and thousands of mid-list authors whose names aren't exactly “household.”  Amazon fired a volley shot this past Tuesday when it proposed that Hachette authors receive 100 percent of the sale of each of their e-books during the companies’ ongoing negotiations.  You can read the full letter here.  To learn more about the Amazon-Hachette situation, go to stories at The Guardian and The Washington Post.  Meanwhile, hundreds of writers, including Stephen King and John Grisham, have signed a petition, which says in part: “We encourage Amazon in the strongest possible terms to stop harming the livelihood of the authors on whom it has built its business.  None of us, neither readers nor authors, benefit when books are taken hostage.”  Another petition from so-called “indie writers” was posted at “Major publishers like Hachette have a long history of treating authors and readers poorly.  Amazon, on the other hand, has built its reputation on valuing authors and readers dearly.”  Out of all this battlefield smoke comes Richard Russo's Author Guild letter, which I'm sharing in its entirety.  I have the permission of Mr. Russo and Authors Guild president Roxana Robinson to post it here to the blog.  Roxana, by the way, also had some good thoughts on the matter.  In this interview with The Washington Post yesterday, she said, “Generally speaking, I think that authors are still stuck in the middle of this, which is disheartening because we supply the product.  We supply the books, which both Amazon and the publishing houses need.  The Amazon letter didn't really take us out of the middle; it asked us to take sides against our publishers.  It also seems to assume that what we really want is a short-term windfall, which is what we get if Amazon asked Hachette to give up revenues from e-books.  But we want a healthy publishing ecosystem, a system of commerce in which we’re not trying to kill each other or drive each other out of business.”  And now, here's Richard Russo...

The primary mission of the Authors Guild has always been the defense of the writing life.  While it may be true that there are new opportunities and platforms for writers in the digital age, only the willfully blind refuse to acknowledge that authorship is imperiled on many fronts.  True, not all writers are equally impacted.  Some authors still make fortunes through traditional publishing, and genre writers (both traditionally published and independently published) appear to be doing better than writers of nonfiction and “literary” mid-list fiction.  (The Guild has members in all of these categories.)  But there’s evidence, both statistical and anecdotal, that as a species we are significantly endangered.  In the UK, for instance, the Authors’ Licensing and Collecting Society reports that authors’ incomes have fallen 29 percent since 2005, a decline they deem “shocking.”  If a similar study were done in the U.S., the results would be, we believe, all too similar.

On Tuesday, Amazon made an offer to Hachette Book Group that would “take authors out of the middle” of their ongoing dispute by offering Hachette authors windfall royalties on e-books until the dispute between the companies is resolved.  While Amazon claims to be concerned about the fate of mid-list and debut authors, we believe their offer—the majority of which Hachette would essentially fund—is highly disingenuous.  For one thing, it’s impossible to remove authors from the middle of the dispute.  We write the books they’re fighting over.  And because it is the writing life itself we seek to defend, we’re not interested in a short-term windfall to some of the writers we represent.  What we care about is a healthy ecosystem where all writers, both traditionally and independently published, can thrive.  We believe that ecosystem should be as diverse as possible, containing traditional big publishers, smaller publishers, Amazon, Apple, Barnes & Noble and independent bookstores, as well as both e-books and print books.  We believe that such an ecosystem cannot exist while entities within it are committed to the eradication of other entities.

Over the years the Guild has often opposed Amazon’s more ruthless tactics, not because we’re anti-Amazon but because we believe the company has stepped over the line and threatened the publishing ecosystem in ways that jeopardize both our livelihoods and the future of authorship itself.  There’s no need to rehash our disagreements here.  But it is worth stating that we are not anti-Amazon, or anti-e-book, or anti-indie-publishing.  Amazon invented a platform for selling e-books that enriches the very ecosystem we believe in, and for which we are grateful.  If indie authors are making a living using that platform, bravo.  Nor are we taking Hachette’s side in the present dispute.  Those of us who publish traditionally may love our publishers, but the truth is, they’ve not treated us fairly with regard to e-book revenues, and they know it.  That needs to change.  If we sometimes appear to take their side against Amazon, it’s because we’re in the same business: the book business.  It may be true that some of our publishers are owned by corporations that, like Amazon, sell a lot more than books, but those larger corporations seem to understand that books are special, indeed integral to the culture in a way that garden tools and diapers and flat-screen TVs are not.  To our knowledge, Amazon has never clearly and unequivocally stated (as traditional publishers have) that books are different and special, that they can’t be treated like the other commodities they sell.  This doesn’t strike us as an oversight.  If we’re wrong, Mr. Bezos, now would be a good time to correct us.  First say it, then act like you believe it.  We’d love to be your partners.

Friday Freebie: Life Drawing by Robin Black

Congratulations to Heather Johnson, winner of last week's Friday Freebie 10-book bonanza: The Fault in Our Stars by John Green, Labor Day by Joyce Maynard, Little Bee by Chris Cleave, The Valley of Amazement by Amy Tan, The Explanation for Everything by Lauren Grodstein, The Ocean at the End of the Lane by Neil Gaiman, The Tilted World by Tom Franklin & Beth Ann Fennelly, Note to Self by Alina Simone, Tampa by Alissa Nutting, and Guests on Earth by Lee Smith.

This week's giveaway is Robin Black's debut novel, Life Drawing.  Those of you who enjoyed her first book--the short story collection If I Loved You, I Would Tell You This--will definitely want to get your hands on this new release.  Stay tuned for Robin's account of her "first time" later this month here at the blog.  In the meantime, here's a little more about Life Drawing--which a reviewer with The Bookseller (UK) said “might be the nearest thing to a perfect novel that I have ever read.”
In Life Drawing, Robin Black unfolds a fierce, honest, and moving portrait of a marriage—the betrayals and intimacies, the needs and regrets, the secrets that sustain love and the ones that threaten to destroy it.  Augusta and Owen have moved to the country, and live a quiet, and rather solitary life, Gus as a painter, Owen as a writer.  They have left behind the city, and its associations to a troubled past, devoting their days to each other and their art.  But beneath the surface of this tranquil existence lies the heavy truth of Gus’s past betrayal, an affair that ended, but that quietly haunts Owen, Gus and their marriage.  When Alison Hemmings, a beautiful British divorcĂ©e, moves in next door, Gus, feeling lonely and isolated, finds herself drawn to Alison, and as their relationship deepens, the lives of the three neighbors become more and more tightly intertwined.  With the arrival of Alison’s daughter Nora, the emotions among them grow so intense that even the slightest misstep has the potential to do irrevocable harm to them all.  With lyrical precision and taut, suspenseful storytelling, Black steadily draws us deeper into a world filled with joys and darkness, love and sorrows, a world that becomes as real as our own.  Life Drawing is a novel as beautiful and unsparing as the human heart.

If you’d like a chance at winning a new hardcover copy of Life Drawing, simply email your name and mailing address to

Put FRIDAY FREEBIE in the e-mail subject line.  One entry per person, please.  Despite its name, the Friday Freebie runs all week long and remains open to entries until midnight on July 17, at which time I’ll draw the winning name.  I’ll announce the lucky reader on July 18.  If you’d like to join the mailing list for the once-a-week newsletter, simply add the words “Sign me up for the newsletter” in the body of your email.  Your email address and other personal information will never be sold or given to a third party (except in those instances where the publisher requires a mailing address for sending Friday Freebie winners copies of the book).

Want to double your odds of winning?  Get an extra entry in the contest by posting a link to this webpage on your blog, your Facebook wall or by tweeting it on Twitter.  Once you’ve done any of those things, send me an additional e-mail saying “I’ve shared” and I’ll put your name in the hat twice.

Thursday, July 10, 2014

God is in the Emails: A conversation between Lydia Netzer and Alyson Foster

This is what happens when two novelists come together to talk about outer space: you get some big meaty chunks in the conversation.  Lydia Netzer, author of How to Tell Toledo From the Night Sky, recently talked with Alyson Foster, author of God is an Astronaut.  They've kindly allowed me to share part of the interview with Quivering Pen readers.  I thought the pairing of the two writers was particularly apt given the fact that Lydia's debut novel, Shine Shine Shine, was about the relationship between an earthbound wife and mother named Sunny and her astronaut husband Maxon.  Foster's Astronaut centers around Jess and her engineer husband Liam.  Their world is rocked by a disaster, connected to Liam's space tourism company: the explosion of a space shuttle filled with commercial passengers.  Jess knows Liam is withholding information, even as she becomes an unwitting player in the efforts to salvage the company's reputation.  God is an Astronaut unspools through a series of emails Jess sends to her colleague in the botany department, Arthur, with whom she's had a close relationship.  Christian Kiefer, author of The Infinite Tides, praised God is an Astronaut by saying: "Alyson Foster's debut novel is a puzzle book told in the language of botany, astronomy, family, friendship, and love.  A remarkable and haunting monologue-in-pieces handled with such mastery that Jess Frobisher's one-sided correspondence ultimately becomes an unbroken dialogue with the reader."

Lydia Netzer
Lydia Netzer:  Your story comes to us in the form of emails, with the headers included.  To me, this feels very immediate, even more immediate than a traditional epistolary novel, and also very current, very now.  What was it like writing in this format and why did you choose it?

Alyson Foster:  I love stories that allow you to read between the lines and piece them together bit by bit.  The epistolary form is great for that.  It’s a subtler version of a mystery story.  You have to use clues to answer a series of questions.  Who is the letter writer?  Who is the recipient?  What’s the nature of their relationship?  Who are the third parties being mentioned?  As the reader, you keep gleaning things as you go along.  You tunnel your way in slowly.  That was the approach I wanted to use in exploring Jess and Arthur’s relationship, which is very fraught, tumultuous, and--when the book begins--painfully unresolved.  I wanted to peel away the story of their affair layer by layer.
      Using e-mails rather than letters started as purely practical concession to modern life.  (Who writes letters anymore?  Nobody.)  But it did wind up changing the novel in ways I hadn’t considered.  For one thing, it drastically sped up the pacing.  Letters take days or weeks to travel back and forth.  E-mail conversations can take place almost in real-time.
      Because of that e-mails are also less formal and more spontaneous.  For example, Jess fires off one-liner e-mails in the heat of anger.  When you’re fighting over e-mail or text, you don’t take the time to compose something withering and devastatingly perfect.  You just type furiously and then fire it off.  And the recipient fires right back.  So yes, I think using e-mails to tell the story gives it more immediacy than the traditional novel-in-letters.
      Using this format presents a writer with a very specific set of challenges.  You need to leave enough breadcrumbs in the letters/e-mails so the reader can follow what’s going on.  At the same time, you want to hold onto that illusion of listening on a private conversation.  Too much explanation destroys that.  It’s a line you need to walk delicately.  You also have to decide what gaps you want to leave.  Because it’s those elisions, the things that people don’t say that are also telling.  I agonized over these choices at times.  But it was also a lot of fun stepping outside of the traditional, linear narrative.

LN:  The scientists in your book struggle with exercising caution as caution conflicts with chasing progress.  How do you think that we as humans find a balance between being careful and doing new things?  Is this a struggle with which you personally identify?
Alyson Foster

AF:  It’s definitely something I identify with.  I’m such an overly cautious person.  I think I’m a master at thinking up all the possible worst-case scenarios for any given situation I find myself in, and then I picture how those scenarios would play out in minute detail.  Like, say I’m driving my car across a bridge.  I think: what would happen if this bridge suddenly collapses?  How exactly would it feel when my car hits the water?  How fast would the car fill up with water?  How long could I hold my breath?  How would I escape?  Where would I swim for safety?
      Those kinds of thought experiments are really useful exercises for the fiction-writer part of me.  But they do complicate other aspects of my life.  I have to exert myself to try new things, to keep myself from getting boxed-in by what is known and comfortably familiar to me; I have to work hard to quiet that doomsayer voice.
      As far as where that balance lies...I honestly don’t know.  I’m deeply conflicted about the idea of progress, about how we define it, and about the changes technology are having on us as individuals and as a society.  My protagonist, Jess, shares that ambivalence.  On one hand, she does admire Liam’s work--the incredible amount of knowledge it requires to do what he does, the courage it takes.  She sees space travel as the amazing feat it is.  On the other hand, I think she has a deeper awareness of human frailty than Liam does.  She understands that people are so fallible, that they’re so fragile.  There are so many ways things can go wrong.
      I suppose what I would say is that we need to be clear-eyed about the realities of the risks we’re taking and what we stand to gain from them.  Not what we want these things to be, but what they are.

LN:  In your story, the corporation defends itself against accusations of risking lives for profit, while the characters harbor their own personal guilt.  Can you talk about the role of guilt in the novel, both collective guilt and individual guilt, how they weave around each other and fester together?

AF:  Guilt is a theme that I find myself frequently returning to.  I’m sure the reasons for this could provide fodder for many fruitful therapy sessions.  But there’s also this: guilt can be a powerful motivator.  It forces people down paths they wouldn’t necessarily have otherwise strayed on to.  It generates secrets.  It muddies the water.  I like that--I think these things make for complex, interesting fiction.
      Jess is the character in the novel whose behavior is most obviously influenced by guilt.  Her uneasy conscience makes her compliant.  It causes her to take risks and to make irresponsible decisions--although we, the readers, are privy to them, so hopefully we understand why she makes them.
      But Liam is affected by guilt and doubt, too.  He just deals with it differently.  It forces him into denial.  It puts blinders on him.  Throughout the novel, Jess hangs on to her understanding of what she’s trading away.  She never loses that, but I think Liam does.
      And of course the interesting thing about guilt is the way it can bind people together, even as it forces them apart into their own lonely corners.  You see that in that Jess and Liam’s marriage...until things reach a breaking point.

LN:  Confessions of sin in the novel ring with defenses and half-truths.  Is it ever really possible to fully "come clean" to another person?

AF:  God, I wish it was, but I don’t think so.  That isn’t to say there aren’t moments of true honesty between people, but I think those occasions tend to be like lightning--they’re immensely powerful and illuminating, but they’re brief.  Even in our most intimate relationships, we live from flash to flash--and that’s what sustains us in the dark intervals in between.
      I don’t think it’s our fault, or that we do this on purpose.  I just think there’s a limit to how well we, as human beings, can understand ourselves, our own motivations, and why we do what we do or feel what we feel.  This is probably true even for the most introspective of us--and if we don’t fully understand ourselves, how can we offer an honest explanation of ourselves to others?
      But I think it’s those fleeting, powerful flashes that lie at the heart of good fiction, and I was attempting to convey that feeling in God is an Astronaut.  Jess doesn’t always tell the truth, but I think she wants to.  She’s fumbling her way toward the truth, and sometimes she finds it when she’s least looking for it.  Often it’s painful, but it’s also a relief.

LN:  The novel's characters are recorded in several ways--by the emails Jess writes, by the research and records that Liam keeps, by the documentary film crew that follows them even into their home, and ultimately by the novel itself.  Yet they still manage to have secrets from each other and even from the reader.  How did you manage all these different layers of story while still keeping us in such a tight grip of suspense?

AF:  A big part of this was a function of the epistolary form, which has a very tightly-controlled point of view.  The story all comes through Jess, so of course we only know what she knows.  And there are plenty of things she doesn’t know about her husband, about his company, Spaceco, and about what’s going on during the aftermath of the accident--bits of information that are only revealed to her piece by piece.  I wanted to mete out these revelations judiciously, to help amp up the feeling Jess has--that her life is unraveling around her, and she has no idea what she’ll find out next.
      But of course there’s an additional filter for the reader.  Because we also only get to know what Jess chooses to share with Arthur in her e-mails.  There are things she hints at and alludes to in bits and pieces.  There are developments that she only grudgingly and belatedly reveals to him.  Using this filter allowed me to build up suspense in certain places where I wanted to create a feeling of tension.
      It wasn’t just a suspense-building tactic though.  Something about this method felt true to me--true to how we experience the stories of our own lives.  We narrate them to ourselves.  We dramatize them to the people we share them with.  We keep circling back to examine old wounds that refuse to close.  We all mix up the pieces and rearrange them to suit us, don’t we?  It’s part of how we make sense of things.

Photo of Alyson Foster by Becky Hale, photo of Lydia Netzer by Amasa Smith