No matter how long you've been writing, you've probably experienced that panic-induced paralysis known as writer's block. Common causes are a recent rejection, a good friend's sudden literary success, and the certainty that whatever you're writing is absolute crap.
So what do you do? The obvious answer is to quit while you're ahead. As Homer Simpson once said, “If something is too hard to do, it's probably not worth doing.” Really, nobody asked you to be a writer. It's not like there is a phalanx of agents and editors breaking down your door. Why not just read other people's books, which are surely better than your own?
Seriously. Just quit writing. It's easy! Lie down with a cold cloth over your eyes and say to yourself, “There, there. I don't have to feel bad anymore.”
On the other hand, if you're already addicted to the writing life and want to tame the symptoms of this nonfatal but debilitating condition, here are some home remedies to try:
Keep your book warm. Yeah, yeah. “Real” writers say that you should write 500 or even 1,000 words every day. But who are these people? Don't they have jobs and kids? Many writers are lucky to find just a scant half hour to work some days. Life gets in the way. But it's important to keep your work warm during slow spells. Even if you're not writing, visit your work. Just read it over once a day for five minutes.
Know what comes next. When you do write, stop only at a point where you know exactly what words you're going to put down next. That will make it easier to sit down the next day, because you've sidestepped the fear of the blank page or screen.
Be armed and ready. Always carry a small notebook. Sure, you think you'll remember that great idea you had while watching Jon Stewart, but you won't. Trust me.
Unplug. This should be obvious, but somehow it isn't to most people. Find a place where you can't get WiFi or plug in. You'll have the jitters at first, feeling sure you're missing something, but eventually you'll get used to the idea and focus better on the screen in front of you.
Change locations. If you typically write in the dining room, take your laptop to the bedroom or out to the screened porch. Being in a different location will help you read your work differently, because your senses will respond to the change in your environment. You can also change positions: try writing while you're standing up, or switch the chair at your desk.
Describe what you see. If you can't think of anything to write, try describing the things right in front of you: the weather, the scene outside the window, the pictures hanging on the wall. Go all out with the descriptions, too, and play with them: remember where you bought that picture, and what your roommate or boyfriend said when you brought it home. Or describe what the neighbor is wearing as she gardens and what kind of person would buy a hat like that.
Retype sentences. Sometimes our obstacles to creativity are all mental. Physical activity can get the creative breezes blowing again. If you can get out to walk or ride a bike, that's great. But what if it's midnight and snowing? Let your fingers do the exercising for you. Retype the last few sentences you wrote—and suddenly you'll find yourself being propelled forward, because your brain will no longer be frozen.
Switch up the point of view. Let's say you're writing a very romantic historical novel from the third person, and you can't quite get into the character's head. Put it in first person and rewrite two pages—that will give you a new understanding of your character even if you go back to third person. Or, if you're writing in a limited third person, broaden the perspective and write it from another character's point of view, or even from an omniscient point of view, as if the entire town is telling the story. That will allow your mind to stumble upon new descriptions and bits of dialogue that you wouldn't have discovered otherwise.
Create a ritual. Just as athletes have lucky objects in their pockets or ritual chants before a game, you might find it's easier to get into the writing zone if you have your own ritual: making a cup of mint tea, watering your plants, or feeding the cat just before you sit down can all be pre-writing rituals.
Draw a story board. Creating a visual map of your writing, complete with cartoon characters acting out some of the scenes, can help you understand the narrative in a new way and spot holes in the plot.
Have fun. Writing has three stages just like we do: childhood, adolescence, and adulthood. When you first start writing, let yourself play like a little kid, bouncing around with the language and forgetting everything you know about editing. As you revise what you write, you're creating an adolescent shape, taking off some here and there, letting it get bigger in other places, and giving it room to rant and rage if your writing needs to do that. Eventually you can give your writing some manners and polish up that final, sophisticated adult draft—but you have to have fun first.
Showing posts with label reading. Show all posts
Showing posts with label reading. Show all posts
Monday, April 30, 2012
Saturday, March 31, 2012
Wrestling with Point of View in Your Writing
When I was in first grade, I had an art teacher who shamed me into crying in front of the entire classroom.
She had given us an easy assignment. Handing out blocks of wood, she asked us to draw faces on them. I loved art, and happily got to work drawing a man's face. When I'd finished with his features, he looked more like an alien than a man, so I painted his face bright blue. (I blame my mother: she always read to me from her science fiction novels rather than from any of those boring children's books.)
The art teacher went down the row of student desks, nodding and smiling as the children held up their wooden faces for praise. And then she got to me, and nearly went into one of those whirling fits of rage I now associate with Roald Dahl characters.
“You painted your face blue?” she shrieked. “You can't paint a face blue! What kind of face is that?”
“It's an alien's face,” I said, tearing up.
I might as well have said “Satan.” The art teacher hauled me over to sit in the corner and made me paint another face while the rest of the kids tittered.
Now, this story happens to be true, but if I were writing fiction, I could have chosen to relay it from a different perspective. For example, I might have written it in limited third person from the teacher's point of view, or from the point of view of the town sheriff, who is called into school after the art teacher is found dead. Or I might have chosen to begin the narrative after an alien invasion, during which the art teacher and several other people in town are abducted! Then I probably would have used multiple points of view.
Wrestling with point of view is something that writers do every day in fiction, and it's one of the most frustrating—and fun—aspects of writing. Sometimes it takes several drafts before you get the point of view that works for a particular story. For instance, if you're writing about an alien invasion, you might want what's called an “author omniscient” point of view, which basically means that you're relaying the story from on high, from multiple points of view or even in multiple time frames.
In Sleeping Tigers, my first novel, I chose what's called a “limited third person” point of view—this means that I can only be inside the main character's head, and nobody else's. I did this because I wanted to create a tight emotional connection between my protagonist, a young woman named Jordan, and my readers, while still having the literary freedom to write lush descriptive passages of other characters and the setting (San Francisco and Nepal, in this case).
For my next novel, The Wishing Hill, to be published in spring 2013 by Penguin, I created the story of two women who are bound in ways they don't suspect, so I decided to alternate points of view between them. That lets the reader discover their complex interconnectedness even before the characters themselves know what's going on. I had to be careful to differentiate the voices. One speaks in longer sentences while the other has more hyphenated, staccato thoughts.
Now I'm writing a paranormal mystery. For this one, I initially tried a third person point of view for the first two drafts. I'm contemplating a first person point of view for the next draft to see if that will help ramp up the scare factor. Maybe the reader will be more likely to feel something cold and damp behind her in the hallway if she is the “I.” Using first person is an avenue for getting even deeper into the protagonist's psyche; at the very least, if I try it, I can always go back to the third person point of view, having learned new things about the character, right?
Take a closer look at the book you're reading or writing. What would have happened with another point of view? Try it—you might be surprised.
She had given us an easy assignment. Handing out blocks of wood, she asked us to draw faces on them. I loved art, and happily got to work drawing a man's face. When I'd finished with his features, he looked more like an alien than a man, so I painted his face bright blue. (I blame my mother: she always read to me from her science fiction novels rather than from any of those boring children's books.)
The art teacher went down the row of student desks, nodding and smiling as the children held up their wooden faces for praise. And then she got to me, and nearly went into one of those whirling fits of rage I now associate with Roald Dahl characters.
“You painted your face blue?” she shrieked. “You can't paint a face blue! What kind of face is that?”
“It's an alien's face,” I said, tearing up.
I might as well have said “Satan.” The art teacher hauled me over to sit in the corner and made me paint another face while the rest of the kids tittered.
Now, this story happens to be true, but if I were writing fiction, I could have chosen to relay it from a different perspective. For example, I might have written it in limited third person from the teacher's point of view, or from the point of view of the town sheriff, who is called into school after the art teacher is found dead. Or I might have chosen to begin the narrative after an alien invasion, during which the art teacher and several other people in town are abducted! Then I probably would have used multiple points of view.
Wrestling with point of view is something that writers do every day in fiction, and it's one of the most frustrating—and fun—aspects of writing. Sometimes it takes several drafts before you get the point of view that works for a particular story. For instance, if you're writing about an alien invasion, you might want what's called an “author omniscient” point of view, which basically means that you're relaying the story from on high, from multiple points of view or even in multiple time frames.
In Sleeping Tigers, my first novel, I chose what's called a “limited third person” point of view—this means that I can only be inside the main character's head, and nobody else's. I did this because I wanted to create a tight emotional connection between my protagonist, a young woman named Jordan, and my readers, while still having the literary freedom to write lush descriptive passages of other characters and the setting (San Francisco and Nepal, in this case).
For my next novel, The Wishing Hill, to be published in spring 2013 by Penguin, I created the story of two women who are bound in ways they don't suspect, so I decided to alternate points of view between them. That lets the reader discover their complex interconnectedness even before the characters themselves know what's going on. I had to be careful to differentiate the voices. One speaks in longer sentences while the other has more hyphenated, staccato thoughts.
Now I'm writing a paranormal mystery. For this one, I initially tried a third person point of view for the first two drafts. I'm contemplating a first person point of view for the next draft to see if that will help ramp up the scare factor. Maybe the reader will be more likely to feel something cold and damp behind her in the hallway if she is the “I.” Using first person is an avenue for getting even deeper into the protagonist's psyche; at the very least, if I try it, I can always go back to the third person point of view, having learned new things about the character, right?
Take a closer look at the book you're reading or writing. What would have happened with another point of view? Try it—you might be surprised.
Monday, February 27, 2012
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!”
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!”
Monday, December 19, 2011
How Much Is a Book Worth?
Recently, I was nosing around a local bookstore in search of a perfect Christmas read for my father-in-law. He's a history buff; last year I gave him the stellar book Unbroken by Laura Hillenbrand. He's still raving about it. What can I possibly give him this year to top that?
As I shopped, I was distracted by prices. I'm still trying to claw my way out of debt incurred over the past few years through a tricky combo of college tuition bills and my husband's various layoffs. I often save money by borrowing books from the library. I frequent used bookstores and treasure hunt through the lonely remaindered books at Barnes & Noble. If a book isn't free, it's rare for me to pay more than $5 for it.
Except, that is, when I love a certain author—then I go hog wild and get the hardcover—or when I feel guilty. My guilt is brought on by the fact that I am a writer who sells words for a living. Over the past few years, I have been the book doctor or ghost writer for several celebrity memoirs. I have also published a memoir of my own through a division of Random House. I would love to have people buy the books I write, so that I can keep doing what I love. Therefore, I feel compelled to buy books by other writers.
But which books are worth buying? And how much should you pay for them?
These are increasingly complex questions in this Wild West of self-publishing and ebooks. The Kindle and Nook are arm-wrestling for our attention. Without editors acting as gatekeepers for many books, and with the demise of book review sections in our newspapers—hell, what newspapers?--it's hard to know what's worth our precious time, never mind our money.
When my husband gave me a Kindle for my birthday, I immediately went for the deals. For instance, I paid $2.99 for Toby Neal's Blood Orchids, which I read on the train to New York, along with various other books by authors I hadn't tried before, simply because they bore that ever-popular promotional price tag of $.99. Heck, I can't even purchase a pack of gum for that money!
Several of my editor friends feel strongly that the self-publishing wave is one more example of civilization marching over a cliff. Lemming-like readers, they say, can't anticipate the plunge into bad writing, so they end up in the choppy, cruel waters of mean metaphors and sharp-toothed punctuation gaffes.
Um, was that a mixed metaphor?
It's true that there are a lot of bad (and badly edited) books out there. It's also true that publishers have helped bring this on themselves by giving million-dollar (or more) advances to certain writers or celebrities, and spending their advertising budgets to back up those advances, then acting surprised when the books don't earn out.
It's no news flash that traditional publishers, which once gave writers time to build their reputations, now expect a writer to earn back an advance immediately, if not sooner. If that doesn't happen, the writer is kicked right out of the stable, off to find another publishing home—or to roam the Wild West with the other raggedy Mustangs.
One writer friend of mine, who has been nominated for the National Book Award and has earned a flotilla of other literary prizes, has published seven books. Despite the high praise consistently coming her way from every literary quarter, and despite modest advances, she has earned royalties on only one novel. She works full-time as a university professor to support herself and her three children, grabbing what writing hours she can on weekends, summers, and, if she has the energy, at night.
Another writer friend, who has authored parenting books and popular chick lit titles under two different names for the past twenty years, told me recently that she used to hate seeing that quarterly royalties statement from her publisher in the mailbox.
“You know the one I mean,” she said, “that piece of paper that shows how many books you've sold, and then gives you that negative number under your advance, because you still owe the publisher money?”
I do, indeed, know all about that awful reckoning, having received my own royalty statements for my memoir, The Gerbil Farmer's Daughter. That book was considered a success by many at Random House, in the sense that the book earned positive reviews and was even showcased in several magazines, including the issue of People magazine with Michael Jackson on the cover soon after his death. I earned a modest advance for that book, but I have yet to see a royalty check two years later.
My friend had to change her name because her third novel did so badly. The publisher wanted to give her a fresh start as a debut novelist. The gamble paid off: recently, she got a statement for her last novel, a fun romantic read that was picked up by a major book club. “I opened the envelope at the mailbox, thinking I'd toss it into the recycling bin before I even got into the kitchen,” she said. “But then a check for $11,000 fell out!”
She had to lie down. So did I, when she told me that story, if only out of envy.
There are, of course, a handful of writers who must be living quite comfortably on royalties and movie deals. I'm sure you can name them as well as I can. But, for most writers, earning a living is a scramble. A fun scramble, but still. Making that next mortgage payment can be a challenge if there's no benefactor or spouse whose job includes health benefits.
In the end, I've decided to canter through the tumbleweeds into the sunset. My first novel, Sleeping Tigers, will be available just before Christmas. (Yes, this blog post is shameless self-promotion.) I'm self-publishing it—a novel vetted by my agent and several writer friends—and I think it's a good book. But how much is my novel worth?
I have to decide, since I'm the one in charge here, and it's tough. I earned an MFA in creative writing and I've been working as a writer for over twenty years. My previous book earned great reviews. I've won awards for my short stories. But does any of that really matter, when you're suffering the stigma of the self-published?
I have to charge a certain amount—a bit over $10—for the paperback to make back production costs plus a dollar for me, since it's print-on-demand. But what about the ebook? Should I go for that whopping price of $2.99, like Toby Neal?
Or would it be better, as my son urges, “to just charge $.99 for your ebook, Mom, because anybody will spend that much money. And you don't care if they read it. You just want people to buy your book.”
Well, as a matter of fact, I do care if people read my book. Does $2.99 say that I'm worth reading? Or am I still better off charging less than a dollar and letting people find that out for themselves? What does any of that matter, anyway, since I obviously don't write novels to pay the mortgage?
Meanwhile, back to Christmas shopping. If I buy my father-in-law a hardcover, it'll cost upwards of $20 even with my friendly independent bookstore discount. If I go online and read book reviews, I'll end up surfing various book blogger sites and reading Amazon customer reviews, checking out all of the writers vying for attention with book trailers and giveaways and Twitter feeds and blogs of their own, crying, “Look at me! Look what I can do! How much is my book worth?”
Which, when you're a writer with a writer's ego (this I know, being one myself), translates into: “How much am I worth? Do you love me? Please love me!”
My own memoir, for the record, has been out in paperback for a year. You can order it through your local bookstore for $14 (a price set by the publisher) or buy it for your Kindle for $9.99 (a price also set by the publisher). Now come on. Who would do that, with so many books out there for $.99?
But wait! On Amazon, you can also buy my book in paperback, new, for just $.94 plus shipping—or used for $.01! Now that's what I call a bargain basement read!
So tell me. How much is any book worth?
And what does the price of a book say about the author who wrote it?
As I shopped, I was distracted by prices. I'm still trying to claw my way out of debt incurred over the past few years through a tricky combo of college tuition bills and my husband's various layoffs. I often save money by borrowing books from the library. I frequent used bookstores and treasure hunt through the lonely remaindered books at Barnes & Noble. If a book isn't free, it's rare for me to pay more than $5 for it.
Except, that is, when I love a certain author—then I go hog wild and get the hardcover—or when I feel guilty. My guilt is brought on by the fact that I am a writer who sells words for a living. Over the past few years, I have been the book doctor or ghost writer for several celebrity memoirs. I have also published a memoir of my own through a division of Random House. I would love to have people buy the books I write, so that I can keep doing what I love. Therefore, I feel compelled to buy books by other writers.
But which books are worth buying? And how much should you pay for them?
These are increasingly complex questions in this Wild West of self-publishing and ebooks. The Kindle and Nook are arm-wrestling for our attention. Without editors acting as gatekeepers for many books, and with the demise of book review sections in our newspapers—hell, what newspapers?--it's hard to know what's worth our precious time, never mind our money.
When my husband gave me a Kindle for my birthday, I immediately went for the deals. For instance, I paid $2.99 for Toby Neal's Blood Orchids, which I read on the train to New York, along with various other books by authors I hadn't tried before, simply because they bore that ever-popular promotional price tag of $.99. Heck, I can't even purchase a pack of gum for that money!
Several of my editor friends feel strongly that the self-publishing wave is one more example of civilization marching over a cliff. Lemming-like readers, they say, can't anticipate the plunge into bad writing, so they end up in the choppy, cruel waters of mean metaphors and sharp-toothed punctuation gaffes.
Um, was that a mixed metaphor?
It's true that there are a lot of bad (and badly edited) books out there. It's also true that publishers have helped bring this on themselves by giving million-dollar (or more) advances to certain writers or celebrities, and spending their advertising budgets to back up those advances, then acting surprised when the books don't earn out.
It's no news flash that traditional publishers, which once gave writers time to build their reputations, now expect a writer to earn back an advance immediately, if not sooner. If that doesn't happen, the writer is kicked right out of the stable, off to find another publishing home—or to roam the Wild West with the other raggedy Mustangs.
One writer friend of mine, who has been nominated for the National Book Award and has earned a flotilla of other literary prizes, has published seven books. Despite the high praise consistently coming her way from every literary quarter, and despite modest advances, she has earned royalties on only one novel. She works full-time as a university professor to support herself and her three children, grabbing what writing hours she can on weekends, summers, and, if she has the energy, at night.
Another writer friend, who has authored parenting books and popular chick lit titles under two different names for the past twenty years, told me recently that she used to hate seeing that quarterly royalties statement from her publisher in the mailbox.
“You know the one I mean,” she said, “that piece of paper that shows how many books you've sold, and then gives you that negative number under your advance, because you still owe the publisher money?”
I do, indeed, know all about that awful reckoning, having received my own royalty statements for my memoir, The Gerbil Farmer's Daughter. That book was considered a success by many at Random House, in the sense that the book earned positive reviews and was even showcased in several magazines, including the issue of People magazine with Michael Jackson on the cover soon after his death. I earned a modest advance for that book, but I have yet to see a royalty check two years later.
My friend had to change her name because her third novel did so badly. The publisher wanted to give her a fresh start as a debut novelist. The gamble paid off: recently, she got a statement for her last novel, a fun romantic read that was picked up by a major book club. “I opened the envelope at the mailbox, thinking I'd toss it into the recycling bin before I even got into the kitchen,” she said. “But then a check for $11,000 fell out!”
She had to lie down. So did I, when she told me that story, if only out of envy.
There are, of course, a handful of writers who must be living quite comfortably on royalties and movie deals. I'm sure you can name them as well as I can. But, for most writers, earning a living is a scramble. A fun scramble, but still. Making that next mortgage payment can be a challenge if there's no benefactor or spouse whose job includes health benefits.
In the end, I've decided to canter through the tumbleweeds into the sunset. My first novel, Sleeping Tigers, will be available just before Christmas. (Yes, this blog post is shameless self-promotion.) I'm self-publishing it—a novel vetted by my agent and several writer friends—and I think it's a good book. But how much is my novel worth?
I have to decide, since I'm the one in charge here, and it's tough. I earned an MFA in creative writing and I've been working as a writer for over twenty years. My previous book earned great reviews. I've won awards for my short stories. But does any of that really matter, when you're suffering the stigma of the self-published?
I have to charge a certain amount—a bit over $10—for the paperback to make back production costs plus a dollar for me, since it's print-on-demand. But what about the ebook? Should I go for that whopping price of $2.99, like Toby Neal?
Or would it be better, as my son urges, “to just charge $.99 for your ebook, Mom, because anybody will spend that much money. And you don't care if they read it. You just want people to buy your book.”
Well, as a matter of fact, I do care if people read my book. Does $2.99 say that I'm worth reading? Or am I still better off charging less than a dollar and letting people find that out for themselves? What does any of that matter, anyway, since I obviously don't write novels to pay the mortgage?
Meanwhile, back to Christmas shopping. If I buy my father-in-law a hardcover, it'll cost upwards of $20 even with my friendly independent bookstore discount. If I go online and read book reviews, I'll end up surfing various book blogger sites and reading Amazon customer reviews, checking out all of the writers vying for attention with book trailers and giveaways and Twitter feeds and blogs of their own, crying, “Look at me! Look what I can do! How much is my book worth?”
Which, when you're a writer with a writer's ego (this I know, being one myself), translates into: “How much am I worth? Do you love me? Please love me!”
My own memoir, for the record, has been out in paperback for a year. You can order it through your local bookstore for $14 (a price set by the publisher) or buy it for your Kindle for $9.99 (a price also set by the publisher). Now come on. Who would do that, with so many books out there for $.99?
But wait! On Amazon, you can also buy my book in paperback, new, for just $.94 plus shipping—or used for $.01! Now that's what I call a bargain basement read!
So tell me. How much is any book worth?
And what does the price of a book say about the author who wrote it?
Tuesday, November 9, 2010
Murder and Mayhem in a Parked Car
When the man knocked on my window, I jumped and shrieked. It was dark and rain was pelting against my car windshield. I opened my window just a crack. “Yes?”
The man was old and bearded beneath his yellow rain slicker, with flat black eyes that seemed to absorb the darkness all around us. “Lady, you okay in there?” he asked.
I blinked at him. “I'm fine. Why?”
He shook his head. “I've been trying to get your attention. You're all done here.”
“Oh. Thanks.” I fumbled for my wallet and handed him my credit card. Damn. My gas tank was full. I'd been reading while the attendant pumped gas; now I had to start driving again.
The story of my life is that I often leave my life. There are long moments, even hours, where I have no idea what's going on in the world, or even in my own house, beyond the pages of the book I'm holding in my hands. Even as a child, I was so absorbed by my books that every family video shows a pair of adult hands reaching over to take away my book, and then me looking up and squinting like a startled hen.
The book I was reading at the gas station was Erin Hart's terrific debut mystery, Haunted Ground, and the reason I shrieked when the gas station attendant knocked on the window is because I was in a drafty manor house, just like the main character, American pathologist Nora Gavin. I had just found something dreadfully dead in my bed not long after digging up a girl's severed head in the bog. Just the head! No body!
This is my favorite kind of book: Any mystery set somewhere other than here, preferably written by a British author who knows how to weave history, forensics, and a love story together with a good dash of tension, just enough gore, some heart-pounding terror, and lots of eccentric characters. The other great new mystery author I've discovered recently is Elly Griffiths, whose first book, Crossing Places, I read in a single sitting, and whose second book, The Janus Stone, looks even more promising. Her main character is an eccentric archeologist and, in her first book at least, Griffiths crafts scenes of heart-stopping fright. God, I love her.
Other British mystery writers who always give me a thrill: Dorothy Sayers and her gentle but quick-witted sleuth, Lord Peter Wimsey; Elizabeth George, who lives in England half-time and passes for a Brit even though she's American; and of course P.D. James, the creator of a poet who doesn't faint at the sight of blood.
What is it about mystery novels? Why do I keep reading about murder and mayhem not only in parked cars, but at the breakfast table, during my son's gymnastics practice, waiting at the airport, and late at night after the house is asleep and I'm the only one with a light burning?
I'm not a violent person. The last time I shouted was at our cat for daring to jump on the dining room table. I've never hit, kicked, stabbed, or shot anyone. I want to weep when I hear news stories of real beatings or murders. Yet I can't fit enough killings into my waking hours.
My grandfather was the same way, and he lived with us, so I guess I can blame him. Grandfather worked in the menswear department of Sears and was always decked out in suspenders and a felt fedora pinched just so over his bald head. He got mystery novels out of the library, and every night, he'd park himself in his favorite chair and slowly smoke bowls of lush cherry tobacco in his pipe as he went through them. He had two stacks of mysteries: the one on his right side was the stack he hadn't read yet, and the one on the left side were books he'd already devoured. As far as I know, he never murdered anybody, either, but we did have a really creepy basement.
Mom and I used to read Grandfather's mysteries after he did, sliding them off the left tower of books beside his chair. From about the age of 14 I was reading about rapes and brutal beatings, serial killers and child abusers, people shot or knifed or run over by cars, even people set on fire or carved into little bits. Corpses turned up in fields and bogs, stone churches and manor houses, inside walls and basements, or just flung willy-nilly by the roadside. It's a wonder I ever left the house.
The natural conclusion of wallowing in all of this mayhem is that I, too, have begun writing a mystery novel. It isn't a classic mystery – more of a thriller, really – and it's not set in England. Instead, this book is set in a house that my husband and I once looked at, thinking we might buy it; we were so terrified once we were inside this house that we couldn't get out fast enough. There was something evil lurking there. And now that evil is in my computer, and on the pages that I'm printing out as I write this.
My novel opens with a woman being tossed off the side of a cruise ship, and there are two more murders besides. There's a voodoo priestess, and unspeakable creatures from the underworld crawling along the stone walls at the edge of the property.
As I was writing a certain chilling scene yesterday, a scene set in atmospherically dusky woods with trees that look like sculptures, my son came up behind me just as my heroine spots something – or someone – standing in front of her.
“Mom?” my son said, and I screamed.
I've never had more fun in my life. The only thing better than reading mysteries is writing one.
The man was old and bearded beneath his yellow rain slicker, with flat black eyes that seemed to absorb the darkness all around us. “Lady, you okay in there?” he asked.
I blinked at him. “I'm fine. Why?”
He shook his head. “I've been trying to get your attention. You're all done here.”
“Oh. Thanks.” I fumbled for my wallet and handed him my credit card. Damn. My gas tank was full. I'd been reading while the attendant pumped gas; now I had to start driving again.
The story of my life is that I often leave my life. There are long moments, even hours, where I have no idea what's going on in the world, or even in my own house, beyond the pages of the book I'm holding in my hands. Even as a child, I was so absorbed by my books that every family video shows a pair of adult hands reaching over to take away my book, and then me looking up and squinting like a startled hen.
The book I was reading at the gas station was Erin Hart's terrific debut mystery, Haunted Ground, and the reason I shrieked when the gas station attendant knocked on the window is because I was in a drafty manor house, just like the main character, American pathologist Nora Gavin. I had just found something dreadfully dead in my bed not long after digging up a girl's severed head in the bog. Just the head! No body!
This is my favorite kind of book: Any mystery set somewhere other than here, preferably written by a British author who knows how to weave history, forensics, and a love story together with a good dash of tension, just enough gore, some heart-pounding terror, and lots of eccentric characters. The other great new mystery author I've discovered recently is Elly Griffiths, whose first book, Crossing Places, I read in a single sitting, and whose second book, The Janus Stone, looks even more promising. Her main character is an eccentric archeologist and, in her first book at least, Griffiths crafts scenes of heart-stopping fright. God, I love her.
Other British mystery writers who always give me a thrill: Dorothy Sayers and her gentle but quick-witted sleuth, Lord Peter Wimsey; Elizabeth George, who lives in England half-time and passes for a Brit even though she's American; and of course P.D. James, the creator of a poet who doesn't faint at the sight of blood.
What is it about mystery novels? Why do I keep reading about murder and mayhem not only in parked cars, but at the breakfast table, during my son's gymnastics practice, waiting at the airport, and late at night after the house is asleep and I'm the only one with a light burning?
I'm not a violent person. The last time I shouted was at our cat for daring to jump on the dining room table. I've never hit, kicked, stabbed, or shot anyone. I want to weep when I hear news stories of real beatings or murders. Yet I can't fit enough killings into my waking hours.
My grandfather was the same way, and he lived with us, so I guess I can blame him. Grandfather worked in the menswear department of Sears and was always decked out in suspenders and a felt fedora pinched just so over his bald head. He got mystery novels out of the library, and every night, he'd park himself in his favorite chair and slowly smoke bowls of lush cherry tobacco in his pipe as he went through them. He had two stacks of mysteries: the one on his right side was the stack he hadn't read yet, and the one on the left side were books he'd already devoured. As far as I know, he never murdered anybody, either, but we did have a really creepy basement.
Mom and I used to read Grandfather's mysteries after he did, sliding them off the left tower of books beside his chair. From about the age of 14 I was reading about rapes and brutal beatings, serial killers and child abusers, people shot or knifed or run over by cars, even people set on fire or carved into little bits. Corpses turned up in fields and bogs, stone churches and manor houses, inside walls and basements, or just flung willy-nilly by the roadside. It's a wonder I ever left the house.
The natural conclusion of wallowing in all of this mayhem is that I, too, have begun writing a mystery novel. It isn't a classic mystery – more of a thriller, really – and it's not set in England. Instead, this book is set in a house that my husband and I once looked at, thinking we might buy it; we were so terrified once we were inside this house that we couldn't get out fast enough. There was something evil lurking there. And now that evil is in my computer, and on the pages that I'm printing out as I write this.
My novel opens with a woman being tossed off the side of a cruise ship, and there are two more murders besides. There's a voodoo priestess, and unspeakable creatures from the underworld crawling along the stone walls at the edge of the property.
As I was writing a certain chilling scene yesterday, a scene set in atmospherically dusky woods with trees that look like sculptures, my son came up behind me just as my heroine spots something – or someone – standing in front of her.
“Mom?” my son said, and I screamed.
I've never had more fun in my life. The only thing better than reading mysteries is writing one.
Wednesday, November 3, 2010
Kids + Computers = The Perfect Match
A few days ago, a friend stopped by while I was working at home. My 13 year-old son was home, too. As we passed the living room, my friend said, “How long will you let your son stay on the computer?”
I shrugged. “I don't know. Until it's time to do something else.”
“What? That's criminal!” My friend made a face. You know the face: the I'm-a-better-Mom-than-you-are face. “I let my boys have an hour a day on the computer. Tops. Then I kick 'em outside.”
“Well,” I said, and then stopped. What else was there to say? “You're a better parent than I am?” “Your kids probably have bigger muscles?”
I've been a mother for 22 years now. With three boys and two girls in our household, I've been doing battle with screens for almost that long. I still get exhausted remembering how hard I fought to keep our two oldest sons off the computer. Every time I made a rule, they'd find a loophole. Like the time I told them they couldn't have screen time between 9 a.m. and 5 p.m. on weekends, and discovered – weeks later – that they were setting their alarms for 5 a.m. to ensure that they'd get their four hours of World of Warcraft in before breakfast.
Recently, one of my sons confessed, “You know, I was playing computer games until, like, 2 a.m. in high school. I just waited until you went to bed.” That was around the time that he was hooked on Everquest, an online role-playing game that drew in so many viewers that it was widely known as “Evercrack” http://www.cbsnews.com/stories/2002/05/28/earlyshow/living/caught/main510302.shtml.
And where is that son now? He graduated from a great college, and found a job three days after graduation in an advertising firm in Boston. A company that specializes, by the way, in supporting web sites for their clients.
Our oldest son, meanwhile, graduated from a great college as well, and has made his way to Los Angeles, where he's working as a production assistant in the film industry. He was just named second assistant director for a Web TV pilot.
My youngest son, the last one at home, takes bass guitar lessons, does gymnastics, loves to rock climb and hike. But he's also on the computer every spare minute. Once in a while, it's homework related – his school gave him a great geography game to play online, and he can now name more countries on a map than I can. He also does math and science online rather than bring home textbooks. Usually, though, his time on the computer is spent pursuing his own interests.
He built a hovercraft after seeing someone do it online, out of a shower curtain, a piece of plywood, and a leaf blower. It actually worked. He learned all about microwaving potato chip bags and building Lego guns through Youtube. He plays his bass along with the Red Hot Chili Peppers and Queen online. (“Did you dress like that in the 80's, Mom?” he asked recently. “God, I hope not.”) He learned how to do flips on the trampoline by watching kids demonstrate on Youtube. And, lately, he has been learning the algorithms for solving the Rubik's Cube from Dan Brown online http://www.youtube.com/watch?v=HsQIoPyfQzM.
Does he read books, this boy of mine? Only if I make him. Which I do. I am, after all, a writer and a book collector, and sometimes I fantasize about having one of those dreamy kids who stays up all night reading books like I did. But, let's face it: kids seem well-equipped to learn online. This particular son of mine knew all about how BP was going to clean up its spill before I did; he also followed the recent elections online. He can tell me where the most shark attacks occur in the world and he's currently looking up the value of individual Magic cards – his new obsession. If this kid wants to know something, he Googles it.
“It's an age of instant gratification,” my sniffy mom friend declared, when I pointed out how much my son learns on the computer. “These kids don't know how to work hard. The computer is making kids stupider.”
Her declaration echoed that popular article, “Does Google Make Us Stupid?” originally published by Nicholas Carr a couple of years ago in The Atlantic Monthly. Carr's piece led to fiery debates about how human intelligence is changing. Read a great summary of that debate put together by the Pew Research Center here: http://pewresearch.org/pubs/1499/google-does-it-make-us-stupid-experts-stakeholders-mostly-say-no.
Maybe it's true that access to technology, and to such rapid fire information, is making our children seem like they have shorter attention spans. My son recently declared that when he's reading, “I feel like I'm not doing anything.” On the computer, on the other hand, his hands are engaged, and the visuals on the screen are more entertaining than those black-and-white ants marching across the pages of his books. Books are slow, he complains.
Let me repeat: I still try to make him read half an hour a day, if nothing more. Yet, I'm also well aware that I, too, would have learned on the computer if I'd had one growing up. I don't buy my friend's argument that my boys have had their learning stunted by the computer. Whether children absorb information by reading or online, learning new things makes them want to learn more. Children are inherently curious, active learners. Aren't the skills of building cities and fighting battles online – especially done in teams – worthy? And isn't the ability to discover, sift through, and analyze new information essential to survival in the digital age?
There is an infinite amount of knowledge. Why not soak it up as fast as you can, in a community of online learners, game players, and musicians who come not just from your own neighborhood, but from around the world? For kids with computers, learning has no boundaries.
I shrugged. “I don't know. Until it's time to do something else.”
“What? That's criminal!” My friend made a face. You know the face: the I'm-a-better-Mom-than-you-are face. “I let my boys have an hour a day on the computer. Tops. Then I kick 'em outside.”
“Well,” I said, and then stopped. What else was there to say? “You're a better parent than I am?” “Your kids probably have bigger muscles?”
I've been a mother for 22 years now. With three boys and two girls in our household, I've been doing battle with screens for almost that long. I still get exhausted remembering how hard I fought to keep our two oldest sons off the computer. Every time I made a rule, they'd find a loophole. Like the time I told them they couldn't have screen time between 9 a.m. and 5 p.m. on weekends, and discovered – weeks later – that they were setting their alarms for 5 a.m. to ensure that they'd get their four hours of World of Warcraft in before breakfast.
Recently, one of my sons confessed, “You know, I was playing computer games until, like, 2 a.m. in high school. I just waited until you went to bed.” That was around the time that he was hooked on Everquest, an online role-playing game that drew in so many viewers that it was widely known as “Evercrack” http://www.cbsnews.com/stories/2002/05/28/earlyshow/living/caught/main510302.shtml.
And where is that son now? He graduated from a great college, and found a job three days after graduation in an advertising firm in Boston. A company that specializes, by the way, in supporting web sites for their clients.
Our oldest son, meanwhile, graduated from a great college as well, and has made his way to Los Angeles, where he's working as a production assistant in the film industry. He was just named second assistant director for a Web TV pilot.
My youngest son, the last one at home, takes bass guitar lessons, does gymnastics, loves to rock climb and hike. But he's also on the computer every spare minute. Once in a while, it's homework related – his school gave him a great geography game to play online, and he can now name more countries on a map than I can. He also does math and science online rather than bring home textbooks. Usually, though, his time on the computer is spent pursuing his own interests.
He built a hovercraft after seeing someone do it online, out of a shower curtain, a piece of plywood, and a leaf blower. It actually worked. He learned all about microwaving potato chip bags and building Lego guns through Youtube. He plays his bass along with the Red Hot Chili Peppers and Queen online. (“Did you dress like that in the 80's, Mom?” he asked recently. “God, I hope not.”) He learned how to do flips on the trampoline by watching kids demonstrate on Youtube. And, lately, he has been learning the algorithms for solving the Rubik's Cube from Dan Brown online http://www.youtube.com/watch?v=HsQIoPyfQzM.
Does he read books, this boy of mine? Only if I make him. Which I do. I am, after all, a writer and a book collector, and sometimes I fantasize about having one of those dreamy kids who stays up all night reading books like I did. But, let's face it: kids seem well-equipped to learn online. This particular son of mine knew all about how BP was going to clean up its spill before I did; he also followed the recent elections online. He can tell me where the most shark attacks occur in the world and he's currently looking up the value of individual Magic cards – his new obsession. If this kid wants to know something, he Googles it.
“It's an age of instant gratification,” my sniffy mom friend declared, when I pointed out how much my son learns on the computer. “These kids don't know how to work hard. The computer is making kids stupider.”
Her declaration echoed that popular article, “Does Google Make Us Stupid?” originally published by Nicholas Carr a couple of years ago in The Atlantic Monthly. Carr's piece led to fiery debates about how human intelligence is changing. Read a great summary of that debate put together by the Pew Research Center here: http://pewresearch.org/pubs/1499/google-does-it-make-us-stupid-experts-stakeholders-mostly-say-no.
Maybe it's true that access to technology, and to such rapid fire information, is making our children seem like they have shorter attention spans. My son recently declared that when he's reading, “I feel like I'm not doing anything.” On the computer, on the other hand, his hands are engaged, and the visuals on the screen are more entertaining than those black-and-white ants marching across the pages of his books. Books are slow, he complains.
Let me repeat: I still try to make him read half an hour a day, if nothing more. Yet, I'm also well aware that I, too, would have learned on the computer if I'd had one growing up. I don't buy my friend's argument that my boys have had their learning stunted by the computer. Whether children absorb information by reading or online, learning new things makes them want to learn more. Children are inherently curious, active learners. Aren't the skills of building cities and fighting battles online – especially done in teams – worthy? And isn't the ability to discover, sift through, and analyze new information essential to survival in the digital age?
There is an infinite amount of knowledge. Why not soak it up as fast as you can, in a community of online learners, game players, and musicians who come not just from your own neighborhood, but from around the world? For kids with computers, learning has no boundaries.
Monday, April 26, 2010
Why Women Need Book Clubs
As a working mother, I have to pursue my literary pleasures with tunnel-vision passion and 007 stealth. I sneak reading time in the bathtub, at lunch, and before bed. I read books in line at the grocery store, and yes, even to sports practices, looking up between chapters to holler, “Good job, honey!” at my kids.
When we moved to a new town a few years ago, our youngest child was in third grade and I was invited to join a book club named “Mothers of Third Graders.” B-O-R-I-N-G, I thought. Why go to a book club, when I can stay home and read?
“You might learn something,” my husband pointed out. “You are, after all, a writer.”
Hmph. The only people who like crowds less than readers are writers, but he had a point. Maybe it was time to see what other people were reading. “I'll go,” I muttered, “but I won't promise to like it.”
I didn't, at first. This was a big, noisy book club made up of women whose children have known each other from the womb. I felt like an outcast. Plus, these women read best-selling commercial fiction like Twilight and anything by Jodi Picoult. What was there to discuss?
Plenty, it turned out – and a lot of the conversation was intense and intimate in surprising ways. We writers work in solitude, usually with nothing more than a dog to consult about plot twists, descriptions and character development. Joining a book group has taught me how writers can reach readers better – or leave them out in the cold. This particular group talked about the characters as if the characters, too, lived in our neighborhood: “Why did she marry him?” “If I had a kid like that, I'd put him in boarding school,” etc. They talked about plot, setting, and the occasional emotional resolution, but hardly ever about the thing writers ponder most: the sentences. Readers just want a good story, duh.
After we discuss the book – which might take five minutes or two hours – our conversations morph into an open forum about families, schools, work, sex, the economy, religion, politics, and every other topic that you can imagine included in the fabric of daily discourse. Even if these women hate a book, it's a springboard for discussion.
When my own book, The Gerbil Farmer's Daughter: A Memoir, was published recently, I decided to contact book groups. I left my phone number at libraries, put the word out to friends, and added something to my web site so that book groups would know that I was available. I didn't expect much response. Again, I was surprised: book groups did contact me. I met with over a dozen last year, and discovered that being an author at a book group is like being an anthropologist, an American Idol contestant, and a lottery winner all rolled into one.
As a book club anthropologist, I observe each group's unique character and habitat. There are wino book groups and sober book groups. I see alpha moms and women too shy to speak until after the wine is poured. There are book groups with millionaires and groups where the women haven't attended college. Some have themes, like cooking foods from the book. Others have a strict classroom atmosphere, with members adhering only to discussion questions put out by the publisher.
Being an author at a book group discussion is also like being on American Idol: You never know whether the judges are going to praise your performance or say, like Randy, “That was pitchy, dawg. I just didn't get it.”
“It seems like a long way to drive,” my husband said the other night, as I headed off to a book group ninety miles from home. “Is it worth it?”
It is. Wherever I go, and whatever people think of my book, I learn about women's lives. Perhaps because my book is a memoir about a father who raises gerbils, women are amazingly open about their own eccentric parents, troubled childhoods, obsessive husbands or clever mothers. I always come away astounded and humbled by their stories.
In the end, meeting with people who have actually read your book is mostly like winning the lottery: I have never felt so lucky. These are hard times for writers and readers, with magazines folding, book publishers often springing only for name brand authors, and independent book stores dwindling. Authors spend hours each day writing, without knowing if anything we put on the page will ever be read. Book groups allow us to learn what moved our readers (or didn't). They inspire us, giving us hope that writing is a craft worth pursuing.
And, as a woman visiting women's book groups, it helps me feel part of a sisterhood, an extended network of women who work, think, parent, love, grieve, dream, believe, cry and laugh as they journey through their unique lives, support one other, and bring books to life.
When we moved to a new town a few years ago, our youngest child was in third grade and I was invited to join a book club named “Mothers of Third Graders.” B-O-R-I-N-G, I thought. Why go to a book club, when I can stay home and read?
“You might learn something,” my husband pointed out. “You are, after all, a writer.”
Hmph. The only people who like crowds less than readers are writers, but he had a point. Maybe it was time to see what other people were reading. “I'll go,” I muttered, “but I won't promise to like it.”
I didn't, at first. This was a big, noisy book club made up of women whose children have known each other from the womb. I felt like an outcast. Plus, these women read best-selling commercial fiction like Twilight and anything by Jodi Picoult. What was there to discuss?
Plenty, it turned out – and a lot of the conversation was intense and intimate in surprising ways. We writers work in solitude, usually with nothing more than a dog to consult about plot twists, descriptions and character development. Joining a book group has taught me how writers can reach readers better – or leave them out in the cold. This particular group talked about the characters as if the characters, too, lived in our neighborhood: “Why did she marry him?” “If I had a kid like that, I'd put him in boarding school,” etc. They talked about plot, setting, and the occasional emotional resolution, but hardly ever about the thing writers ponder most: the sentences. Readers just want a good story, duh.
After we discuss the book – which might take five minutes or two hours – our conversations morph into an open forum about families, schools, work, sex, the economy, religion, politics, and every other topic that you can imagine included in the fabric of daily discourse. Even if these women hate a book, it's a springboard for discussion.
When my own book, The Gerbil Farmer's Daughter: A Memoir, was published recently, I decided to contact book groups. I left my phone number at libraries, put the word out to friends, and added something to my web site so that book groups would know that I was available. I didn't expect much response. Again, I was surprised: book groups did contact me. I met with over a dozen last year, and discovered that being an author at a book group is like being an anthropologist, an American Idol contestant, and a lottery winner all rolled into one.
As a book club anthropologist, I observe each group's unique character and habitat. There are wino book groups and sober book groups. I see alpha moms and women too shy to speak until after the wine is poured. There are book groups with millionaires and groups where the women haven't attended college. Some have themes, like cooking foods from the book. Others have a strict classroom atmosphere, with members adhering only to discussion questions put out by the publisher.
Being an author at a book group discussion is also like being on American Idol: You never know whether the judges are going to praise your performance or say, like Randy, “That was pitchy, dawg. I just didn't get it.”
“It seems like a long way to drive,” my husband said the other night, as I headed off to a book group ninety miles from home. “Is it worth it?”
It is. Wherever I go, and whatever people think of my book, I learn about women's lives. Perhaps because my book is a memoir about a father who raises gerbils, women are amazingly open about their own eccentric parents, troubled childhoods, obsessive husbands or clever mothers. I always come away astounded and humbled by their stories.
In the end, meeting with people who have actually read your book is mostly like winning the lottery: I have never felt so lucky. These are hard times for writers and readers, with magazines folding, book publishers often springing only for name brand authors, and independent book stores dwindling. Authors spend hours each day writing, without knowing if anything we put on the page will ever be read. Book groups allow us to learn what moved our readers (or didn't). They inspire us, giving us hope that writing is a craft worth pursuing.
And, as a woman visiting women's book groups, it helps me feel part of a sisterhood, an extended network of women who work, think, parent, love, grieve, dream, believe, cry and laugh as they journey through their unique lives, support one other, and bring books to life.
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