Hey Writer! What's Your Brand?

Most of us are cynical enough by now to see that life is all about branding, whether we're being bombarded by ads for colleges, books, cars, shampoos, or a new designer line of t-shirts ($90 for a white GOOP t-shirt, Gwyneth Paltrow? Really?). Brands are built via movie placements, billboards, your Kindle's sleep screen, your radio station, your Twitter Feed and Facebook page. Sure, you can DVR your favorite TV shows and zip through commercials, but there's no hiding from the marketing trolls.

I know this. Yet, somehow I was still shocked when a writer friend recently asked me to change her quote after I interviewed her for a magazine story.

“I can't say that sort of thing in print,” she explained. “I've worked hard to build my brand, and I need to be consistent.”

“Uh, okay,” I said. I edited the quote, but I was stunned. When did writers start being brands?

This question led me through a maze of other squirrely musings. If you write a memoir, are you forever a memoirist? Is a writer of so-called “women's fiction” always doomed to have a slender woman's body parts on her book covers? What happens if a thriller writer dares to try his hand at romance?

Did Mark Twain have a brand? Was it “Southern novelist and humorist?” What about Hemingway? “Lion hunter, womanizer, and minimalist?”

These questions really made my head spin as I was redesigning my web site. (These days, a writer without a web site is like a McDonald's without the golden arches.) I had a perfectly lovely web site—one that I paid to have built when my first book was published--but it was constructed using a software program that made me sob like a napless toddler every time I tried to navigate it, so I decided to switch over to every writer's best friend, WordPress.

In the process, I had an identity crisis. What was my brand? Who was I?

I hadn't felt this confused since trying to follow the plot of those Bourne movies. My first book was a memoir. My second one was a novel categorized by some reviewers as literature, by some as women's fiction, and by others as that poor stepsister of women's fiction, “chick lit” (which everyone knows is sexier and will probably catch the prince's eye at the ball).

My third book, The Wishing Hill, is being published by Penguin in spring/summer 2013. It, too, is a novel. This one, though, is decidedly not chick lit, and more women's fiction/literature. However, my next book—the one I'm writing right now--is a paranormal novel featuring a dead voodoo priestess.

Oh, and I also write humor essays and feature articles for national magazines--usually about parenting, psychology, or health.

So, who am I? What's my brand? Do I have to spell it out in a theme of five words or less?

It would certainly be a lot easier for marketing purposes if my work could fit neatly on one shelf in a bookstore (even a virtual one). Think of bestselling writers who have household names, and you'll see what I mean: Elizabeth George writes British mysteries while Toby Neal sets hers in Hawaii. Stephen King writes books that make you look under your bed at night. John Grisham is known for his legal thrillers; each of Jodi Picoult's novels is women's fiction with a contemporary news hook; and Elin Hilderbrand writes books about women falling in love on the beach. See what I mean?

On the other hand, what about writers who ignore the rules? I've just finished two splendid books by writers who dare to scribble outside the lines. One was Wild, a terrific memoir by Cheryl Strayed, whose first book was a novel and who is widely known as an advice columnist by the name of “Sugar.” Another is Carsten Stroud's skin-crawlingly creepy book, Niceville, a horror novel along the lines of Stephen King, but one that reads like a police procedural with snappy bad guy dialogue worthy of Quentin Tarantino or maybe even Raymond Chandler. Previously, Stroud was known for his nonfiction and more standard crime novels.

What about Tom Perrota? His early novels, like Election and Little Children, were satirical edgy domestic dramas. Then he gave us The Leftovers, which crosses over into another realm ( literally), as he explored what would happen if there really was a Day of Rapture where only some residents of a certain town were chosen to be whisked into the heavens.

How do you brand Tom Perrota, other than calling him “brilliant?” And don't even get me started on writer Neil Gaiman, a man who grinds through every genre like a happy kid with one of those multipacks of tiny cereal boxes. Gaiman has one quote on his Amazon page that says what I feel: “I make things up and write them down.”

At the end of a good day, that's what any good writer hopes to do.

Ultimately, I decided to stop worrying about my brand and just put myself out there. What I want people to be able to do is find me—and find out about me. I chose the tag line “Writer and Red Dirt Rambler,” because my favorite place on earth to write—and ramble—is Prince Edward Island in the Canadian Maritimes.

Whew. Thank heavens that's over. My new web site will be live soon. Meanwhile, I can go back to making things up and writing them down.   

Pimping Your Book, Indie or Traditional

Now that I've got feet in both camps, I have a unique perspective on the good, the bad and the mysterious truths about book marketing. My memoir, The Gerbil Farmer's Daughter, was published by Random House. I leaped into the indie world when I self-published my first novel, Sleeping Tigers, a couple of months ago. My second novel, The Wishing Hill, will be published by Penguin in spring 2013. These experiences have taught me a lot about book publicity, but I'm still learning new things every day. There are some differences in how traditional and indie books are publicized, but those differences are shrinking by the nanosecond. The truest thing I can tell you is that, no matter how your book makes it into the world, you'll need to take an active part in the publicity. Here are a few tips to get you started.

Mine the Free Resources
The Internet is a wonderful tutor. There are more free resources out there about marketing your book than you'll ever have time to read. Google anything from “picking a book cover” to “social media for authors,” and you'll get enough hits to last through a few thermoses of coffee each time you do it. Make good use of these resources. One of my favorites is Novel Publicity's “Free Advice Blog” at http://www.novelpublicity.com/publicity/

Prepare Your Platform
No matter who you talk to in publishing—agent, editor, publicist, or sales team—they'll tell you that their ideal is a good book written by an author with a “solid platform.” Basically, that means that they want you to be famous before you even give them a manuscript—or they want some hook, like you chewed off your arm during a battle with a grizzly bear. (Even then, they hope you've been blogging about it.) One easy way to start building your platform is by crafting a virtual identity. Social media tools are free and easy to use. Start a blog, create an author facebook page, get a twitter account, and set up a Goodreads page. Give people useful information—don't just pimp your book. If you know how to do something—anything from fly fishing to quilting—blog about that, guest post on other people's blogs, and people will start following you. Yes, it's time consuming, but it's also incredibly fun to connect with people. If you're trying traditional publishing avenues, it will help your editor sell your book to the publisher if she can prove that you have an active presence online. Indie or traditional, you're cultivating a loyal readership.

A Publicist Is Just Part of the Picture
If you're traditionally published, expect to be assigned a publicist. It is that person's job to advocate for your book with print media, radio and television stations, bookstores, and online sites. Make yourself part of the publicity team. If the publicist suggests that you do something, do it! The more you help your publicist, the more she can help you. On the other hand, don't take it personally if the publicist is too busy to do more than a few early rounds of marketing pushes. She'll probably have a minimum of time and an even smaller budget to devote to your book. You'll have to keep up the momentum. Likewise, if you're an indie author, be prepared to devote part of every week to promoting your books. Writers with deep pockets may find it easiest to hire a publicist; even then, log the hours if you want results.

Your Book Launch Is What You Make It
Long, long ago in a galaxy far, far away, a book launch in traditional publishing was a Very Big Deal. Authors were sent on book tours to do readings and signings on the publisher's dime. The pre-sales of books, both online and in bookstores, determined pretty quickly which books were hits. That's because they knew that shelf life in bookstores was brief. This is all changing. Sure, it's great to gain traction the minute your book is available. However, with the advent of online book sellers and e-books, your book will stay around forever. Don't despair if it takes weeks, or even months, to see sales results. Keep at it, and eventually the numbers will climb.

Give Away Your Books
Traditional publishers know that the best way to sell a book is to give it away first. They target who they give it to, of course—book reviewers, TV producers, book clubs—but, ultimately, the idea is to “seed” your book around the country so that people start talking about it. You can do the same thing on your own. Participate in giveaways on your own facebook author page or through Goodreads, or ask book bloggers if they'll host giveaways for you.

Befriend Book Bloggers
Book bloggers are fairy godmothers for writers. Without their support and generosity, many of our books would never be read. Check out as many book blogs as you can find. When you discover a book blogger who reviews books like yours, write a personal note and ask if you can send a review copy. You might want to send her an e-book because it's cheaper than mailing a paperback, but if she says she'd rather have a paperback, send it! Media mail is cheap postage and print-on-demand paperbacks are inexpensive, too. Remember: she is the one doing you a favor, and it's a good investment. Most book bloggers post reviews on Amazon and Goodreads; once they're up, be sure to tweet and post those links on your own pages. Add them to your Amazon Author Central page as well.

Look for Out-of-the-Box Marketing Opportunities
Just like parents know their own children better than anyone else can, you know your book: its content, style, and target audience. Use that expertise in thinking about out-of-the-box marketing opportunities. I contacted pet groups when I published The Gerbil Farmer's Daughter, for instance, and found a loyal following. For Sleeping Tigers, I'm contacting breast cancer groups, because my main character is a breast cancer survivor, and I know other cancer survivors will connect with this story about hope and starting over.

Lasting Impressions
All of your marketing efforts will eventually come together. If you're a parent, think about how many times you had to show your toddler peas or carrots before that child stopped thinking of veggies as too weird to eat. The same is true of your book: keep putting it out there, and pretty soon people will start saying, “Hey, I remember that title. I meant to read that book!”

How to Sell a Novel in Just 25 Years!

When my agent called a few weeks ago to say that an editor at Penguin wanted to buy my new novel, The Wishing Hill, I literally had to lie down. Otherwise, I might have fallen out of my chair. After all, I've been waiting for this call for 25 years.

How did it take me so long to publish a novel? And why was this novel chosen, but not one of the other half dozen my loyal agent sent out?

I don't really know. I was doing what all writers do, really: I was writing fiction around the edges of my life. I've been married (twice). I've had children (three of my own, plus two stepchildren.) I've done some traveling. I've renovated old houses and summer cottages. I've made a good living as a nonfiction writer.

Despite having so many people to love and things to do in my life, however, I never stopped trying to write a novel good enough for an editor to say, “Hey. I want to publish that.” I got so frustrated with the wait that I finally published my own novel, Sleeping Tigers, just a few weeks before I got the call about Penguin wanting to buy The Wishing Hill. I'm delighted that not just one, but two of my novels, will now be in print. To those of you longing to do the same, I hope it takes you less time than it did me. Meanwhile, here are a few tips for outlasting the rejection letters:

Watch Reality TV
Shows like American Idol or So You Think You Can Dance can be just the antidote you need to a crisis in confidence. That single mother with the lip ring, the doughy girl who thought she'd never be a dancer, and the guy with the cowboy hat all have talent. But, just like writers, they have to hit the audience and judges at the right time to win the gold ring.

If You're Writing, You're a Writer
Lots of people say, “Oh, if I had the time, what a book I could write!” It's true that everyone has great stories to tell—but only a few of us actually write them down and revise them again and again. If you're writing, you're a writer, and you will get better as you go.

Every Rejection Is Just One Person's Opinion
We've all heard the stories about various novels being rejected, like, 800 times, before editors taking them. Every rejection letter is written by just one editor. Tear up the short, nonsensical notes (I once received a rejection that said, “This does not amuse.”) Editors send those out because they have to say something. Keep sending your work out. It can only get published if it's out there.

There Really Is Such a Thing as a Good Rejection
When a friend called recently, despondent because she'd received a rejection letter, I asked her to read it to me. The editor had clearly taken the time to read her novel carefully and had made constructive comments. Even better, the editor said she'd take another look at the novel if my friend rewrote it. There really are editors out there willing to take the time to do that. My advice? Put aside your ego and do it, then send your book back out.

Be Not Afraid of Young Pups
Pick up an issue of Poets & Writers magazine, and you can't help but envy all of the babes-in-arms out there winning fiction contests and earning publishing contracts before they're old enough to need their author photos digitally enhanced. Yeah, well. Some people are talented and lucky, and some of us are talented, but don't get sprinkled with lucky stardust until later in life.


Never Equate Being Published with Being Rich or Happy
What did I do after I sold my first novel? I celebrated, of course—but only after picking my son up from school, throwing in another load of laundry, and doing the supper dishes. The thing about publishing a novel is that it won't make you rich, especially now that advances are lower and publishing companies are paying out in thirds or even fourths. Plus, don't forget to subtract your agent's commission and taxes on earnings.
As for being happy? My contented writer friends were happy before they published their novels. And my writer friends who are unhappy? Yep. They were that way before they published their books, too. Being published really won't change your life, unless you happen to become as well-known as Stephanie Meyer or J.K. Rowling—and my guess is even those two could shop at the local Market Basket for eggs without being recognized. They just drive better cars.

Surround Yourself with People Who Believe that Writing Is Worthwhile
Writing is a long and sometimes lonely business, so it's key to have a constructive writing group, writer friends, and a spouse or partner who believe that the act of creating a story is a worthwhile use of your time. Without my incredibly supportive husband and my LIW (Ladies in Writing) group, with whom I swap not only manuscripts, but stories about rejection letters and agents, children and spouses, I never could have made it through the past 25 years of crafting stories and surviving doubt. They helped me remember that the creative journey itself is worth savoring and sharing.

Why Do Writers Need Readers? Not for the Reason You Might Think.

A few weeks ago, a friend of mine asked if I'd like to participate in his “Books, Authors, and Wine Tasting” event. I had just published my novel Sleeping Tigers, so I said yes. I wasn't expecting to sell any books, really—I hadn't started marketing the novel yet, and this was the kind of event where the authors sit at tables displaying their wares, like a craft fair, while potential readers wander around with glasses of wine.

As I lugged my box of books up the icy driveway that night, part of me was longing to be at home, sacked out on the couch and reading or watching TV. Imagine my surprise, then, when one woman, and then another, and then a third—twelve in all—found my table and excitedly said, “This is the book I was looking for!” as she picked up a copy of Sleeping Tigers and, miraculously, bought it.

“Really?” I asked in shock.

One of the women explained that there were two book clubs attending the event, and the members had all agreed to read my novel. Then she leaned forward and confided, “I've had breast cancer, too. That's why I want to read your book.”

She told me her story, then, of her diagnosis and surgery, of her recovery and good fortune to have survived the ordeal. Then she walked away, my book in one hand, a glass of wine in the other, held aloft like a torch.

The stories that many of the women told me as they stopped by my table lingered with me for a long time. We talked about breast cancer and motherhood, travel and books, husbands and jewelry, among other things. Afterward, as I toted my empty cardboard box back to the car, I was reminded again why being a writer is the most spectacular pursuit in the world: as you share your own stories with others, readers share their lives with you in return.

Of course there is a part of every writer that longs to be on the New York Times bestseller list. We would all love to make enough money from writing to put our kids through college, or even to put a dent in the grocery bill. More important than that, though, is our longing to connect with readers on an emotional level. Hearing someone say “I loved your book” is a great thing, but it's even better when a reader takes the time to say why: “My best friend is like your main character, only she's a tap dancer,” or, “You made me laugh because my mother used to cut my hair like that, too.”

After I wrote The Gerbil Farmer's Daughter, a memoir about growing up with a Navy father so obsessed with gerbils that he started raising them, I was stunned to discover how many readers had parents who were chain smokers. It was equally surprising to me how many people grew up with fathers who raised animals. I heard from one reader whose father hatched parrots in the basement, and another whose dad had tropical fish tanks in every single room of the house. Now, three years after that book was published, I still correspond with a thirteen year-old reader who is as passionate about horses and reading as I was at that age, as well as a woman in California who by now feels like a sister to me.

The point is that writers lead solitary lives. I work in a barn behind my house, usually in a flannel shirt and sweatpants. I finally get dressed and put on makeup (sometimes) when it's time to collect my son from school. Otherwise, I see few people and live inside my head, my fingers spinning stories on my laptop, never knowing if my plots and characters and settings will ever reach anyone beyond my best friends.

For most writers, every book takes months, even years, to write. We don't know how, or even if, that book will ever be published in the end, but something compels us to keep going. That “something” is the reader. In this age when so many bookstores have gone under and few books are reviewed in print, book bloggers and social media have become our lifelines. They let us reach readers, and we are forever grateful that they exist. Meanwhile, we'll keep seeking avenues to meet readers in person, especially the ones who aren't afraid to carry a glass of wine around as they shop for books.

We write, because we want to open our hearts and share our stories with you. We hope you'll do the same with us.

Book Covers, Backsides and Body Parts

In the book world, you can easily spot novels designed to attract women by the body parts and backsides on their covers.
Don't believe me? Go to Amazon and browse the postage stamp images for anything that falls into the category of women's contemporary fiction, and you'll see what I mean.
Here are a few examples of covers graced with body parts, all featuring legs: Love Walked In by Marisa de los Santos, The End of Everything by Megan Abbott, These Things Hidden by Heather Gudenkauf, Falling Home by Karen White, and Heat Wave by Nancy Thayer.
Even more popular for novels destined to be pitched to women's book clubs (the Great Last Hope of the publishing world) is the human backside. The humans are generally women—always slender, usually blonde, typically with their hair in disarray and in a style that shows off a slender neck. They might also be back views of children, usually in motion, and often with flowers around them or held in their sticky little hands. Contemporary examples of what I call BBC's (Backside Book Covers) include Julie Buxbaum's After You, Elin Hilderbrand's Silver Girl, Juliette Fay's Shelter Me, Wendy Wax's Ten Beach Road, and Lesley Kagen's Whistling in the Dark.
I suppose that, in the interest of full disclosure, I ought to mention that my own first book, The Gerbil Farmer's Daughter, also shows the back view of a little girl running through an orchard of flowering trees. When my editor at Broadway Books first showed the design to me, I was appalled—this design was for the paperback, and I'd become enamored of the hardcover, which showed gerbils peering out of a pair of rubber boots. What did a little girl running through an orchard have to do with gerbils? Who was that child, and what the heck was she wearing?
Anyway, that was in 2010, and now I've been through another cover design process, this time for my novel, Sleeping Tigers (due out in December 2011). God help me, I have a body part on the cover.
Let me explain. When the designers sent me a form asking for my ideas, I wrote up a little synopsis of the novel: Jordan O'Malley has everything she ever wanted: a job she loves, a beautiful home, and a dependable boyfriend. When her life unravels after a breast cancer scare, Jordan decides to join her wildest childhood friend in San Francisco and track down her drifter brother, Cam, who harbors secrets of his own.
When Cam suddenly flees the country, Jordan follows, determined to bring him home. Her journey takes her to the farthest reaches of majestic Nepal, where she encounters tests—and truths—about love and family that she never could have imagined.
Funny, heartbreaking, and suspenseful, Sleeping Tigers reminds us all that sometimes it's better to follow your heart instead of a plan.
For cover images, I suggested that the designer look for something representing the title—the “sleeping tiger” within is breast cancer, as my main character, Jordan, sees it, because it can awaken and sharpen its claws at any moment. (Yes, it does sound like an obvious, hit-your-thumb-with-a-hammer image when I sum it up this way, but I'm trying to write a blog post.)
The other images I suggested to the designer were anything that represented Nepal, because I had traveled to Nepal and loved that country so much that I had set a good part of my novel there. I wanted this to be a sort of fictional little sister to the massively successful Eat, Pray, Love by Elizabeth Gilbert (which, by the way, has neither backsides nor body parts on the original cover).
The result: two completely different cover images. One showed a very literal (if reversed) image representing the title, with a woman sleeping and a faint drawing of a tiger in the background. The other was a gorgeous shot of a Nepali temple with prayer flags fluttering in the wind.
Neither worked. The sleeping woman was intriguing, but looked very Jersey Shore, with her mass of teased blonde hair, pouting lips, and obviously fake eyelashes. That cover might have worked for, say, a paranormal thriller about a woman who morphs into a tiger when she's ticked off, especially when men do her wrong. The other cover, while beautiful, and while certainly in Nepal, was more like the cover of a travel book—maybe one of those Lonely Planet guides, telling you where to buy a coffee for thirty cents in Kathmandu.
What to do? I went back and forth with the designer several times, looked at countless photographs online, and checked out other book covers. It dawned on me, as I made my study over a couple of weeks, that the reason you so rarely see an actual face on a book cover is because then it's harder to imagine the story in a way that lets it surround you completely.
If you don't have a face on a book cover, then you're left with household objects, typically set against a blue background (check out Deep Down True, by Juliette Fay, and Falling Together, by Marisa de los Santos), or backsides and body parts that give you the emotional feel of the book—happy, sad, searching, longing, scary, or whatever.
That realization gave me a new idea for the book cover. I asked the designer if she could try just one more thing: show me Nepali images with women in them. She promptly sent me several more possibilities. All of them had Nepalese temples (she must have read Eat, Pray, Love, too), but these included women in the photographs. Most didn't work. The women in the photographs were almost always too young (my character is in her thirties), or too touristy (taking pictures of the temples or standing in line to go into them).
There was one image, however, that I loved: an ancient Nepalese prayer wheel in gorgeous colors, with a woman's hand tentatively reaching out to turn it. But did I really want to contribute yet another book cover with body parts to the genre?
The more I looked at that picture, the more I loved it. The image captured the book completely. There was hope and longing in the touch of those fingertips on the prayer wheel, and the colors were exotic enough to suggest a woman on an adventure.
The woman turning that prayer wheel on the cover of Sleeping Tigers isn't just traveling. She is on an emotional and spiritual journey, like my main character—and like all of us who read because we love being transported to other worlds and other lives. It was perfect.
Yes, my new book cover has a body part. But at least it's a hand and an arm—no legs in sight.

Our Muses, Ourselves: Why Women Like Me Run Away From Home

As my friend Susan Straight and I cross the border from Maine into Canada, the customs agent follows the usual script: Where are you going, are you carrying firearms, how long are you staying?
Then he trips me up: “What is the purpose of your visit? Business or pleasure?”
Susan and I glance at each other. Business or pleasure?
I'm not sure.
Susan and I have crossed this border together before. We met in graduate school and have stayed friends despite the fact that I live in Massachusetts and her home is in California. We usually meet in New York when we both have business there. And, for the past decade, Susan has flown east every summer so that we can drive ten hours north from my house to Prince Edward Island.
This year is completely different because we're actually sitting in the same car. On previous trips to Canada, we always brought so many children that we had to caravan in two vans. We have eight kids between us (me, five; her, three). We've also brought stragglers, whenever this child or that one begged to bring a friend. One summer we topped out at ten kids.
Those vacations were fun – endless hours of sand castles and board games – but crammed with chores: cooking and laundry, grocery shopping and vacuuming. Susan is divorced. For understandable reasons, my husband always opted out. So Susan and I were left on our own with the children like some wild combo of Sherpas and camp counselors.
This week, we're traveling to Canada alone in search of our inner muses. We have disguised our sudden decision to have a creative getaway as a janitorial vacation, since we're also opening up our summer cottages – she bought one on Prince Edward Island shortly after I did, and we rent them out to help support costs – but our goal is to devote uninterrupted hours to writing.
This goal makes me feel clammy with guilt. But why should it? I wonder about this as we meander along the Bay of Fundy. Guilt is a useless emotion. Yet I'm prone to it, especially when faced with a choice between what I “should” do and whatever I want to do most – as if doing something that makes me happy will make someone else unhappy.
Oh, wait: Escaping the home front to write does make the people I love unhappy. When I left this morning to pick up Susan at the airport, my husband was griping about having to leave work early to care for our youngest son, who stood with his forlorn face pressed against the door. My four older kids wanted to know if I'll have email and cell service, “just in case.” Even our dogs looked miserable.
As Anne Morrow Lindbergh wrote in her timeless book, Gift from the Sea, my husband and children, my mother and friends, my home and pets, my neighbors and coworkers represent “a whole caravan of complications.” Leaving them behind for the sake of creativity makes me feel like I have phantom limbs: I itch all over.
Susan isn't doing much better. Luckily, we have time to talk about this, to shore each other up as we drive north, despite our cell phones singing with alarming regularity as our various children and work colleagues reach out to us through the state of Maine and most of New Brunswick.
Why the guilt? Like most women, Susan and I are people pleasers, willing to charge in to fill the black holes of need around us, even if that means sacrificing the time and concentration we need to be creative. Making art – whether it's music, drawing, dancing or writing – demands full attention and passion, but that ability to focus is easily worn down, especially for women with families.
Especially because, in our culture, art so rarely pays enough to put food on the table. With no money in art except for those lucky few breakout writers and artists, there is no power in doing it. Making art definitely feels like a luxury. Maybe that's because art takes so much time, and it's our precious free time that the people around us want most.
I can feel the hot breaths of everyone I left behind on the back of my neck as I drive.


*

I had imagined us rising early to write. After all, novelist Virginia Woolf proclaimed that every woman needs a room of one's own to do so. But Susan and I are so exhausted by the time we arrive at my house on Prince Edward Island – a modest summer cottage overlooking Malpeque Bay – that we can barely force ourselves out of bed once we have those precious rooms to ourselves.
Instead, we lie in our separate rooms as if we've been clubbed over the head. This isn't exhaustion from the drive; it's more like battle fatigue. Or shell shock: my ears are actually ringing a little. I think it's the silence.
We spend the first day doing chores, like that essential trip to town to replace everything from garbage bags to shower mats. We also go walking. The first day, we traverse the red beach around Darnley basin as if our lives depend upon making it from one end to the other, taking long, purposeful strides, arms pumping.
On the second day, house chores behind us, we take a different sort of walk. This one is a meandering stroll along the shore road that ends at Shipwreck Point. We see people doing more ambitious things: mowing lawns, jogging, carrying groceries into a house. It's almost like watching a movie of real life while we're in motion. We carry no cell phones, no purses. It's just us and the wildflowers and great, billowy white clouds that look like props for a theater piece.
That night, some sort of magic happens. We eat a simple supper of sandwiches and then get to work.
I sit at the little desk in my bedroom overlooking the potato fields and write almost maniacally, churning out sentences which build paragraphs that I might or might not keep. I don't turn out the light until 2 a.m., because there's nothing to stop me: No big kitchen cleanup waiting downstairs, no cell phone service, no email, no cable TV, no husband. Susan sits downstairs editing her new book galleys. We are completely separate, yet it's perfect, since each of us knows that the other is blissfully working.
I have so many good things in my life. Yet being here makes me realize how fractured my life is, with bits of my attention scattered everywhere like pocketfuls of gravel.
How did I let my life get so crowded?

*


Susan's summer house is an hour's drive from mine. One of her tasks is to buy new mattresses for the twin beds, so we track down a place that sells them at discount. We already have a carload of stuff. Still, rather than make another, separate trip to pick up the mattresses and waste valuable writing time, we jam the mattresses into the back of my Honda CRV on top of everything else.
The mattresses are so long that we have to remove the headrests and put our seats all the way forward. I have to keep my neck bent forward toward the dashboard; it's easy to imagine getting decapitated if we stop too suddenly. I do a little praying that the Canadian Mounties won't arrest us for driving with no visibility.
Then I have this comforting thought: This being Canada, the jail cells are probably really, really clean. If I'm locked up, the guards will let me write and I still wouldn't have to dust or cook.
We make it to Susan's house, then spend the rest of the day vacuuming up millions of fly corpses littering the windowsills and clearing out closets. We're both sore and exhausted by the time we finish. It's too late to go out to dinner, so we dine on fried sausages and potatoes. Then I set up my computer in the dining room and write for four hours. I can hear Susan tapping on her laptop in the kitchen. She is an award-winning novelist whose newest novel, Take One Candle Light a Room, is a gem. My memoir, The Gerbil Farmer's Daughter, was put out in paperback this year. We're pleased to be published in this rocky economy. For us, though, the excitement has always been about the actual writing.
I have never been so content as I am right now. Men have always claimed wives and mistresses as their muses. Susan and I have ourselves and, for this week, we have each other. Are we writing masterpieces? Are we even writing something that other people will ever read?
It doesn't matter. The joy is in the creative act.
Women have always found satisfaction in being helpful. There is joy in that and love, too. Women are also creating some of the most exciting and challenging art today. Yet we still aren't catching up to our male colleagues in the arts. Look at the numbers for everything from cinematography to writing, from painting to conducting music, and men win out every time.
Feminists would probably say that there is a glass ceiling in the arts, as there has been in nearly every other field. I'm certainly a feminist. Still, I wonder if more women artists, musicians and writers aren't household names because we don't have enough faith in our own pursuits to give ourselves the time we desperately need to be transformed by a creative vision. Maybe that glass ceiling isn't really made of glass at all, but of sticky little fingers, dishes piled in the sink, and mortgages that demand two incomes.
Not long after my first two children were born – 16 months apart, so close together that I was in a coma for the first three years of motherhood – I went to a book signing by a famous mystery writer. He mentioned that he, too, had young children, so I eagerly approached him after the event to ask how he managed to find time to write fiction with young children at home.
“I have a wife,” he said.
It's true: Even when women have partners or spouses, our significant others often send messages that they'd rather do something – anything – rather than take over child care and housework. It's easy to rant about this, to say that women's lives would be easier if men did their fair share around the house. However, even when our partners are willing to shoulder domestic duties in equal measure, we often get in our own way by refusing to let them. We want to read that bedtime story. We think we're the only ones who can pack the right school lunch. And we long to be the ones greeting the school bus in the afternoon if we can arrange our work schedules to do so.
Many women arrange their lives around the people they love. Unfortunately, that arrangement takes up most of our days. And, as the writer Malcolm Gladwell has pointed out, genius isn't a matter of genetics, but of opportunities and persistence: He estimates that it takes 10,000 hours to get really good at doing something.
Nobody will give us those 10,000 hours. We have to take them for ourselves.

*

At the end of the week, we walk on St. Margaret's Beach. I'm in beachcomber mode, stooping to pick up stones that catch my eye. Susan wants to climb the cliffs. She hikes ahead of me and is soon clambering around on distant rocks, farther than I want to go without any shoes.
When I'm tired of picking up rocks, I decide to return to the car and get my book so that I can read until Susan returns. Then it dawns on me: she has my car keys.
For a moment, I'm irritated – why did she have to disappear like that? – and then I feel helpless. What will I do, all by myself on a beach, without even anything to read?
I sit on a boulder, disgruntled, and pile the rocks I've collected beside me. There's nothing to do but watch the waves wash in and out, frothy and pink on the red sand.
Watch the waves, and think. I remember another book signing I went to a long time ago. This one was by the political activist and short story writer Grace Paley. I asked her the same question that I'd asked the arrogant mystery writer: How did she find time to write with young children at home?
“Day care,” she said. “Don't ever be afraid to pay for writing time.”
Easier said than done. For most women, paying a babysitter so that they can write, paint, make pottery or dance is out of the question. Even for women without children, trading hours that produce income for hours that produce “only” art seems like a foolish decision.
What a loss for the world, though, to have women's voices silenced because art is our last priority. Even if we aren't making great art, or commercial art, the very act of creating it is a joyful, transformative experience, one where we explore new emotions and perspectives, ideas and values.
I think hard about this while I sit on the beach. I think about the pages I've written this week, too, and about the way my novel is progressing.
And then, after a while, I'm not thinking much at all, just contentedly watching the force of the ocean, and how the waves make the rocks roll around and create such beautiful patterns in the smooth red sand. I build a little pyramid out of the rocks I've collected. I watch some pulpy kelp become draped over a rock, then wash out to sea again. I dig my toes deeper into the sand. I admire the swallows darting in and out of the cliff above me. My mind is clear.
I am just here. I am here, just me. Through writing, I have discovered a wonderfully still place inside me that I've never seen before. It's good to be here.
Eventually, of course, Susan returns from her walk. I write again that night, staying up until well past 2 a.m. solving a particularly vexing dilemma in the plot of my new novel. The images are fresh and there is tension on the page.
The drive back is lovely and uneventful. Our cell phones chorus again in the middle of New Brunswick, and by mid-coast Maine we've talked to all of our children. Everyone has survived.
We reach my house just before nine o'clock. “Well?” my husband asks. “How was it? Did you write anything you can sell?”
“I don't know,” I tell him. “I missed you,” I add.
I toss dirty clothes into the washing machine, clean the kitchen after dinner, check my email, walk the dogs, help my son order new parts for his scooter online. I make a grocery list.
During all of this, I can feel my brain starting to thrum with activity. The still place inside me has disappeared again. But at least I know how to get there, and who to call when I need help on the journey.

The Book Tour: Is It Worth It?

As I was winding down my book tour to southern California recently, I stopped at a cafe with new friends I'd made in a high desert town called Ridgecrest. The four of them had gathered to see me off after I'd done a book signing at the China Lake Navy Base nearby, followed by a discussion with local writers at Red Rock Books, a terrific independent bookstore.
My friends were clearly amused by my observations of desert life. They all ride motorcycles and routinely train their dogs to avoid rattlesnakes on the hiking paths. I'd come from New England and might as well have been dropped on the moon, that's how alien the landscape was: pale brown earth streaked red, abandoned mines, roads with improbable names like Twenty Mule Team Parkway, and even a Silver Dollar Saloon. Not a pine tree or maple sugar house in sight.
How did I get from a small coastal town in New England to the California desert to sign copies of my new paperback? It all started with an email from Vicki Rizzardini. She lives in Ridgecrest and started Red Rock Books; her stepdaughter runs the store now. Vicki had read my memoir, The Gerbil Farmer's Daughter, and liked it, so she emailed me through my web site. I was ecstatic! After all, writers put words on the page to reach someone, and it's tough to know if you've done that. Sending your book out into the world is like having a kid go off to college and never bothering to call.
Vicki gave the book to her friend, Betty, an admiral's wife. Which, in turn, led me to screw up my courage and telephone the Navy Exchange at China Lake to see if I could do a book signing there. When they agreed, I thought what the heck, and called the Navy Base at Coronado, too.
“It's great that you're here, but do you actually make any money doing these book tours?” asked one man during my tour. “Was it worth coming?”
He had logically assumed, as most people do, that authors get sent on book tours by their publishers, and was perplexed when I admitted that I'd bought my own plane ticket.
Alas, the age of book tours is over. Every writer I know, with a few best-selling exceptions, has been told by their publicists and editors to just forget those bookstore appearances. “Nobody comes anymore,” they explain.
Sometimes they're right. At my best book signings, I've had a pretty good turnout – maybe 50 to 75 people. At my worst, I've had only one person show up, and that was an ex-lover I would have dearly loved to impress. Most of the time there are only a handful of people.
So why do a book tour, especially if you have to pay for it yourself? The reason bears repeating: we writers put our words on the page to reach someone.
Yes, I ponied up the money to go to California myself. Not a lot of money, since I could stay with friends in the three different locations I made appearances, but still, a plane ticket equals a lot of groceries. I paid out of pocket because I wanted to meet readers. I was especially interested in reaching out to Navy families, because my memoir centers around my father, a Navy Commander who became so obsessed by gerbils that we ended up on a farm with 9,000 of these pocket kangaroos.
Was it worth it? I mulled this over as I left Ridgecrest and drove through Red Rock Canyon, stunned by the beauty of the purple and red light in the sky over the stark hills. At the Navy base in Coronado, I had met a family with three girls; the oldest, a teenager, bought my book because she wants to be a veterinarian. I also chatted with a Navy nurse who bought the book for herself, because it was her birthday.
At China Lake, I talked with a Navy pilot who has a collection of over 300 books; he dreams of being a writer one day. There was a woman who bought four of my books as gifts for her sisters. At Red Rock Books, I talked with other writers about the future of publishing. We concluded that, no matter what form stories take, there will always be people who want to hear them.
Is a book tour worth it, if you pay for it yourself? Probably not, if you're just thinking about money. (Admittedly, it's hard not to.) I probably signed a total of 125 books that week in California. The royalties wouldn't even add up to a new pair of shoes.
But who knows? For every book I signed for someone, that someone might decide she likes it well enough to suggest it to her book club, or buy it for her mom. Word-of-mouth has always been one of the most powerful marketing strategies around.
Meanwhile, I got to see the splendor of the desert sky, to visit with old friends and make new ones, and to be inspired by readers eager to connect. What better reasons are there to keep writing?

From One Book Cover to Another: Saying Goodbye to My Gerbils

The paperback of my memoir was released recently, but I barely recognize my own book with the new cover. It hurts my heart to say goodbye to the gerbils on the hardcover edition of The Gerbil Farmer's Daughter. But what else can I do?
In the publishing world, a lot of money and talent is poured into creating the perfect image and identity for every book. You can't always judge a book by its cover, but a cover definitely helps sell the book.
On the grand totem pole of decision making, the author is usually among the last to see a book's cover – after the designers, editors, marketing and sales teams, and publicist. Last year, when the editor of The Gerbil Farmer's Daughter emailed me the cover design for the first time, I was as sweaty-palmed as a girl on her first date. I had reason to be nervous: Since my brother and I were both models for my father's pet books about gerbils, I'd sent the publisher plenty of embarrassing photos to choose from, like that portrait of me at age 12, looking cross-eyed at two gerbil butts while I demonstrate how easy it is to tell males from females.
When I finally took a deep breath and clicked on the editor's attachment, up popped an image that made me laugh out loud: Two gerbils – one brown, one spotted – peeping out of a pair of kiwi-green rubber boots with red trim. It was perfect. I'd even had rubber boots like that when I was a child. What better way to portray the comic story of an eccentric Navy man who became obsessed enough with gerbils to raise nearly 9,000 of them, with his entire family along for the adventure?
The book was launched in May 2009. For the past year, those gerbils have accompanied me to teach classes and do readings, sign books and serve as a pet judge at The American Gerbil Show. Fans seemed to love the cover. One woman put it this way: “That cover just says 'pick me up and read me!'” The book cover was on my web site, and I carried roll-up posters with my gerbils and rubber boots to various events. For a while I even contemplated buying a pair of adult-sized green rubber boots.
Then, as the publisher was getting the paperback ready, I got this startling news: they were creating a new cover. “No more gerbils,” my editor said.
When I asked why, she explained the decision this way: “We'd like your book to reach a wider audience.” She hesitated, then added delicately, “You know, some women just don't like rodents.”
I do know that. My own mother, despite being married to a gerbil farmer, never did develop any fondness for them at all. So what if gerbils put food on our table? “They have tails like rats,” Mom always said. “Ew.”
So, once again, I waited anxiously as the publisher tested different designs with focus groups. I saw two of them – both black-and-white photos of young girls with their backs to the camera, one in a white slip and the other in a bikini – and had mixed feelings. I know that flesh sells. It's also true that black-and-white photos somehow carry more artistic heft. These potential book covers for the paperback of my own memoir were both lovely, moody images in the category of some of my favorite memoirs, like The Glass Castle by Jeannette Walls or The Liars' Club by Mary Karr.
On the other hand, they weren't very cheerful pictures, and my own childhood, though decidedly bizarre, was a lot less tragic than theirs. Should my book go out into the world – to beaches and airports, subways and living rooms – with a moody black-and-white photo? I didn't really think so.
At last, my editor sent me the final design for the paperback of The Gerbil Farmer's Daughter. I was so nervous that I made my husband stand beside me while I clicked on the attachment.
Once again, I had to laugh. Because apparently those at the top of the publishing totem pole had come to much the same conclusion that I had: Instead of a black-and-white photo of an adolescent girl poised for something to happen to her, the new cover has a little girl in a polka-dotted play suit running up a hill toward some flowering trees, pigtails flying. She isn't waiting for something to happen to her. She is, instead, gleefully running toward her next adventure.
Admittedly, it's a bit odd, as the author of a memoir, to see my book flashing a photograph of someone who definitely isn't me. I can't help but remember the covers of those other memoirs I've read and loved that have color photographs, like the chubby baby on A Girl Named Zippy by Haven Kimmel, and wonder now if those are the author's own photos.
In the end, I suppose what really matters is that the new cover of The Gerbil Farmer's Daughter exudes the energy and joy of a quirky, free-roaming childhood. The design captures the essence of the book, if not the literal subject matter. That little girl and I will become fast friends as we carry my book out into the world together.