Posts Tagged how to become a writer
Alexis Paige is a writing professor with a string of impressive credits for her essays, memoirs and literary editing work, but her latest book, publishing in February, is subtitled How To Make A Messy Literary Life. I was intrigued. Here are all the questions.
Alexis, let’s begin by talking about your literary life as a whole. Your career has always been writing – local newspapers, public relations and a number of teaching roles in the writing world. However, you describe your early years as anything but stable – ‘a peripatetic childhood shaped by loss and dislocation’. Did commitment to writing come from constant change?
My career has indeed been committed to writing, but I don’t see that as a direct response to any instability I experienced as a child. Not because there isn’t a connection; rather, I feel too close to my own life to see it with any distance or clarity or conviction.
Combat pilots use this wonderful, tactile expression to describe flying at very low altitudes to avoid enemy detection: nap-of-the-earth. This is how I think of myself, as a speck lodged in the nap of my own life.
In any case, I don’t have a good sense of how others perceive me (does anyone?), but I feel more inner turmoil than I show. A student who read my first memoir— Not A Place On Any Map, vignettes of my childhood, adolescence, and 20s to early 30s—remarked that the book did not square with his image of me as an energetic, good-humoured professor, a ‘success story’. It shocked him to learn that I have struggled with depression and anxiety, with substance abuse and PTSD, and that my confidence and competence are tinged with a darker sensibility. As Walt Whitman writes in Song of Myself, ‘I am large, I contain multitudes’.
I think we all contain these multitudes. But still they take people by surprise. That could be a discussion in itself.
So what did that early life look like?
We moved around a lot: I was born in Chicago, my younger brother in Phoenix, and when my parents divorced in the early 1980s, my mother went to Texas, and my brother and I to live with our father in New Hampshire. I had plenty of stability in many respects; at the same time, my life seemed quite different from my peers who spent their lives in one house and one town.
Summers and holidays were in Texas with my mother, and later, Boston. By the time I was 10 I could navigate airports with a competence that made me resent being assigned a chaperone. By the time I was a teenager, I knew how to figure out any subway, rail, or bus system, and could drive an old standard transmission truck off-road in the mountains of New Hampshire. I had this feeling of always moving between worlds, each with different customs and codes. I was comfortable in both worlds, but always happiest sitting in the window seat to the next place.
When did you choose writing, how did you choose writing, and why did you stick with it?
Sometime in my latter high school and early college years. While I had always been a devoted reader, my early English teachers were pinched taskmasters, obsessed with sentence diagrams and grammar (for which I am not ungrateful, but that’s another sidebar). They weren’t writers; they were subject experts. Writing is a subject, sure, but it’s also an identity, a way of being, a way of thinking, a means of exploration, a way of making meaning of experience, a noun and a verb.
In my last year of high school, I took a course in journalism and one in women’s studies—and writing began to click for me in a new, exciting way. These teachers were artists themselves, and that meant something, though I’m not sure I understood that at the time. There was an exchange of recognition perhaps; the more they saw in me a writer, or a thinker, the more I saw it in myself.
Was your family artistic in any way?
One of my cousins is a sublime photographer, another a gifted dancer, one aunt a talented painter. My paternal grandmother played piano on the radio with her sister on vocals—everything from boogie-woogie to standards of the 1940s and 50s. My brother is a talented singer-songwriter and musician.
But more than artistic, I would describe my family as big readers and conversationalists. My dad, brother and I were our own little debating society. Extended family gatherings were rhetorical athletic events (my dad was one of 12 children, and I have approximately 40 first cousins), with everyone jabbing and sparring, making cases for this or that, spinning yarns, playing cards, and filling up rooms with smoke and laughter.
That’s wonderful. Do they have room for one more?
Let’s talk about your latest book – Work Hard, Not Smart: How To Make A Messy Literary Life. Why messy?
For me writing is a messy activity. In 25-plus years of doing it, it hasn’t gotten any easier, or tidier. You have ideas and images and gestures and space junk zooming around, and that’s before you even get into the chair. The writing hasn’t even started. The real writing happens when I yield this unwieldy consciousness to the writing itself. In his essay On Writing, William Stafford said it so much better: ‘A writer is not so much someone who has something to say as he is someone who has found a process that will bring about new things he would not have thought of if he had not started to say them.’
I recognise that well. I start with a compulsion and a muddle, which torments me until I’ve spilled it roughly onto the page. Then I feel calmer because I have it fixed, it can’t get away. Then I can question it properly, see what bothered me so much about it.
My new book is partly a reckoning with, or perhaps an ode to, this—the muck and slog of the act of writing itself. The book dives into some granular concerns of craft, which is why I settled on calling it a craft memoir. By messy, I suppose I mean it’s a thing one never quite gets right. I recently re-read Anna Karenina, and I thought to myself, once again, that it is the most exquisite, perfect work I’ve ever read. But Tolstoy was probably still fiddling with semicolons or dialogue tags or something long after it was published.
Work Hard, Not Smart is a craft memoir of my life both off and on the page (and in the classroom), with linked essays on everything from writing with and about mental illness and addiction, to writing about rape in the age of Me Too, to writing about race and incarceration.
Before I quit drinking at 30 (I’m in my mid-40s now), I got into a terrible drink-driving car accident in Houston that resulted in a protracted felony case and trial in which I was facing prison because a woman was injured in the crash. In the book, I spend a chapter puzzling out how to write this complex story for another book that I’ve been working on for a long time. The more I wrote about the experience, the less I wanted to write a merely personal story of redemption, or whatever. Not that there’s anything wrong with redemption. It’s just that I am more interested in writing about the racial dimension of my experience as a white person reckoning with America’s racist criminal justice system. This is a much larger story, one that remains beyond me, and its difficulty is what I discuss in the Ars Poetica chapter.
The book is also about the messy enterprise of becoming a writer, being a writer, over the long haul. This encompasses career and life choices, literary citizenship, careerism (or anti-careerism), and other vexing concerns like time, and how to get enough of it. Years ago, I asked the poet Charles Simic how I should go about becoming a writer. ‘First,’ he said, ‘you will need to get a job—any job—that pays money.’ I didn’t see it this way in the moment, but now I think it’s the best writing advice I’ve ever gotten.
It’s the advice we’d be most disappointed to hear, but we all learn its value.
You were recently diagnosed with attention deficit hyperactivity disorder (ADHD). How did this change things for you?
My own mind suddenly felt less unsolvable. There was a name for it. There was a name I could quibble with, anyway. It became less a thing to resist and more a feature I could lean into. I was diagnosed when concepts like neurodivergence and neurodiversity were becoming more mainstream, and this helped a lot too. ADHD was simply a different way of being and thinking—one even with some creative advantages, like hyperfocus when interested, for example.
And how does one define ‘normal’, especially in creative people? We train ourselves to do things that require a high level of concentration, practice and persistence, we follow impulses that are mysterious to others and often inexplicable to ourselves… we make connections others do not…
The title of my book is an inversion of the cliché “work smart, not hard,” a nod to my own growing acceptance of ADHD as a kind of divergent-thinker magic. The book arose from this, which made me want to run out and tell other like-minded creatives what I wish I knew early in my writing life: that not all who wander all are lost. You can learn to rely on yourself, to go your own way, and to make a writing life that fits you. The essay form is especially elliptical, so having an elliptical thinking pattern is an advantage there too.
Meanwhile, what’s this picture of you with – gasp – travel writer Jon Krakauer?
For my 25th birthday, my dad took me to a Himalayan Foundation dinner in San Francisco. We had both read a lot of mountaineering books, including Krakauer’s Into Thin Air, which is a harrowing account of the 1996 Everest disaster, not to mention a timely polemic about the phenomenon of big mountain tourism.
I know it well! I read it several times while writing Ever Rest. If I open the pages, I fall into it again.
I love all of Krakauer’s work (he’s SO good with nouns!), and he was a speaker at the event. After the speeches and dinner, as things were winding down, Krakauer was suddenly free, and I saw my chance. I practically tackled the poor guy, but he was very gracious and kind and his eyes were dazzling—full of life. My father was ready to capture the moment on film.
Let’s talk about your first memoir – Not A Place On Any Map.
It’s a memoir in vignettes about my childhood and early 20s. This was the time when I moved around most, first with family, and then by choice. The locus of the book is also trauma itself, in particular, my first trip abroad, to Italy, where I was raped. My life thereafter spun out in painful, predictable ways. I reported the rape, nothing happened, I felt re-victimized, I drank, I drugged, and I stuffed down the assault (and others) to the deepest recesses I could find. The book is an attempt at mapping the spin out and what happens when it all comes back up.
Your website describes a few hair-raising escapades including a short spell in jail. Tell me about hellraiser Alexis. Is that a fair description? Are you still a hellraiser?
Hellraiser, I’ll take it! I do think it’s a fair description. I’m not as much an obvious hellraiser as I was in my 20s, I have more to protect and lose now. But I still have a rebellious disposition (even with myself), and I hope to be raising hell for a good many years to come.
Do you write fiction at all?
I haven’t written fiction, but I never say never. I read and teach a lot of fiction. The short story is one of my favourite forms. In my early years as a baby creative writer (a poet), I did publish a few poems. This occurred around the millennium, when publications were still print, largely, and mine are now long out of print now, thank god.
What are the hallmarks of an Alexis Paige piece in terms of concerns, curiosities and style?
I love this question, but I have no idea. I have no aptitude for this sort of self-appraisal.
I love this answer. We can’t always figure ourselves out – as you said earlier.
I’ve always been driven by an insatiable curiosity. A few years ago, I became so obsessed with underwater treasure hunting that I contemplated studying engineering at the college where I teach writing, not because I wanted to do any engineering, but because I wanted to better understand marine engineering so I could read more about it. For the last few years, I’ve been on a World War II tear that started with a book on Churchill. So, I have these interests that ostensibly have nothing, or little, to do with my field, but they’re all connected on some crazy loop that makes sense to me.
Your essays are published in several literary journals. You’ve also edited the journal Brevity. What does a journal editor do, aside from assessing submissions?
Allison K Williams just wrote this super helpful piece for Brevity about this very topic, so I want to second everything she says in this link.
I’ve worked as a journal editor at a few places—most recently at Brevity—and the role can be different at different places. At Brevity, most of my work was reading and rating submissions—sometimes offering commentary if I loved a piece or if I felt my rating could benefit from explication (this wasn’t feedback for the submitter, more part of an internal conversation about what we loved, liked, didn’t like, or had questions about). I didn’t work directly with writers on revisions; I believe that happened at a higher editorial level, but Brevity gets such incredible work, so many publishable riches, that most accepted work requires little editing. At other journals, the Stonecoast Literary Journal where I was the creative nonfiction editor during my MFA program, I not only read submissions and managed our wonderful readers, but I made publication decisions and worked with writers on revisions and edits.
Do you have any submission tips to offer authors?
Many writers send out tons of work to lots of places. I’m not opposed to this, but it’s not how I work. I don’t send out anything until I’m really done with it, probably to my own detriment. I have trouble turning loose of even one sentence. And I rarely submit simultaneously. I send out one piece at a time, to one place at a time, one that’s been carefully researched. With publishing, I’m either risk averse, or a serial monogamist.
What’s the most common reason for rejection?
I can only speak for my niche experience. Some rejections occur because the piece is not the right fit (eg it’s a piece of reportage submitted to a journal that doesn’t publish reportage), some are because it’s not the right timing (eg it’s wonderful, but we just published an essay about infidelity). Most rejections, in my experience, occur because the submission is unfinished, it needs work on a beginning or ending, it needs one thread tugged on a bit more, it needs to be edited, but it’s close. Maybe it’s good, really good, but not great. It’s so subjective, of course.
Tell me about your editing work, both as a freelance and for Vine Leaves Press.
I do some copy editing, but mostly developmental editing, both freelance and for Vine Leaves. At VLP, development editing is with a manuscript that has been accepted for publication, so it’s about refining the work and making it the best version of itself. Editing is so satisfying to me because it’s so much easier to see the issues and possibilities in work that’s not my own.
It certainly is. It also tunes up our own awareness. Speaking of your own work, what are you writing now?
I’m in flux. I’m on the book launch, but I’ve been tinkering with a couple of longform essays that detail the grief and fear of the last few years—not only life in a global pandemic, but also some personal griefs and fears. I had a hysterectomy a couple of years ago because of health problems, my husband had a serious injury and recovery last year; he shattered his arm. We lost two dogs. So, I want to work on those; whether they’re one-offs or part of a book of essays, I don’t know yet. I also need to finish another work-in-progress, my jail memoir, which I believe is close but needs one more revision.
Find Alexis sparsely on Twitter @lexissima , on Facebook and on her website. Find Work Hard, Not Smart: How To Make A Messy Literary Life here.
If you’d like help with your writing, my Nail Your Novel books are here. If you’re curious about my own work, find novels here and my travel memoir here. And if you’re curious about what’s going on at my own writing desk, here’s my latest newsletter. You can subscribe to future updates here.
How I made my writing career – award-winning novelist and short story writer Ann S Epstein @asewovenwords
How do you end up as a fiction writer? Some people learn to use their word skills for a career, then also discover a strong creative calling. My guest today, Ann S Epstein, wrote psychology papers for many years and then discovered joy in writing fiction. Now she has a solid catalogue of published short stories, a Pushcart Prize nomination for creative nonfiction, the Walter Sullivan prize in fiction, and an Editors’ Choice selection by Historical Novel Review. Her fourth work of longform historical fiction, The Great Stork Derby is released this week. We talk about this – and many other moments that slowly added up to Ann S Epstein, author.
Ann, was your family creative in any way or are you an outlier?
I didn’t grow up in a creative family, although my mother taught us to appreciate art and music. My father liked to make things for our small Bronx apartment, but these were primarily utilitarian: radiator covers, storage chests, and step stools. (I come from a line of very short people.) As a child, I loved to draw and write, and continued these activities long after my friends abandoned them. However, the arts were seen as a “hobby,” not a means of livelihood.
My brother and I both became social scientists – he an anthropologist, me a psychologist – and we each produced a lot of professional writing, but not creative writing. And yet, at some point later in adulthood, he began to write poetry and I started to write fiction.
Tell me more about that.
I thought it would be fun to try writing fiction when I retired. Then I asked myself, “Why wait? Why not give a go now?” So, I did, and I loved it.
Have you taken formal instruction in writing?
I’ve taken a couple of classes and several workshops, but most of what I’ve learned has come from being a long-time member of two fantastic critique groups. We’re supportive and encouraging, but also honest in our feedback. Our participation stems from a need to improve, not to be patted on the back. (Or skewered.)
I learn as much by reading and giving thoughtful feedback to others as I do from receiving their input about my work. We celebrate one another’s successes and, perhaps best of all, commiserate over our inevitable rejections.
I’ve also learned from developmental editors who make me think about what I’ve written. Their ideas and questions push me to go deeper and wider.
You also have a PhD in developmental psychology and an MFA in textiles. What fulfils you about these disciplines?
My 40-plus years as a developmental psychologist were extremely gratifying. I was a researcher and curriculum developer at an educational nonprofit foundation whose mission was helping at-risk children and their families and teachers. One of my books, The Intentional Teacher (published by the National Association for the Education of Young Children) remains a bestseller in the field, and has been translated into several languages. I still hear from readers around the world about how the book affected their relationships with children and the adults who work with them. Knowing that the foundation’s work, and my contribution to it, made a significant difference in the quality of their lives reassures me that my chosen career was meaningful.
I actually got my MFA 10 years after my PhD. As I said, I never stopped making art. In addition to drawing, I loved working with fibre. While I was in graduate school in psychology, macrame was the big thing. (I’m still doing penance for creating knotted and beaded jute wall hangings and planters.) The local YMCA offered a class in weaving. I signed up and immediately knew I’d found my medium.
Do they find their way into your writing?
Psychology and art certainly do. My character-driven stories explore relationships between parents and children, siblings, friends, co-workers and even the nameless people we cross paths with who make us wonder about their lives, and our own. I’m intrigued by the challenge of making an “unlikable” character sympathetic by humanizing them.
My immersion in art makes me attentive to imagery. And I love textiles because of how fibre feels passing through my fingers. The act of weaving — feet pounding on treadles, heddles clanking up and down, shuttles flying back and forth — establishes a noisy whole-body rhythm. Each type of yarn, plant or animal, has its own smell.
Ultimately, in art or writing, I try to make the disparate pieces coalesce into a satisfying whole.
What non-writing jobs have you done/ do you still do?
In college, I worked summers at an office and a bank. In graduate school, I was a research assistant and a teaching fellow. After I got the MFA, I changed my schedule at the nonprofit to four, 10-hour days, and used the fifth weekday (and weekends) to make art. I exhibited my work in dozens of shows, and sold several large pieces to corporate clients. Later, when I began writing, I kept the same schedule and shifted some hours from creating at the loom to the keyboard.
I’m also a firm believer in (unpaid) community service. In high school, I was a Junior Red Cross volunteer. In college, I was active in the civil rights movement and tutored youth from low-income families. I currently serve on the board of my Jewish community centre.
You have four novels and a solid catalogue of short stories. What makes an Ann S Epstein work?
My work is character driven, both inner and relational, but I’m also attentive to plot as the driver of each character’s arc. The people I write about might be called underdogs or outsiders, those who are discriminated against because of poverty, religion, race or ethnicity, gender, immigrant status, handicap or other otherness.
My characters come from diverse backgrounds (gender, religion, race and ethnicity, countries) and ages (very young to very old). I favour ambiguity over tidy endings; I want readers to keep writing the story in their own heads. I’m not a nihilist or pessimist, but I accept that people are flawed. Yet I believe that hope is a renewable resource. Many of my works are historical.
Any signature periods or settings?
They are set in the years from before WWI to after WWII, but bear messages for today. The novels often span several decades so that parts are more contemporary. I love researching the periods I write about, but my emphasis is on fiction, not history. Other than being a stickler for certain details (I abhor anachronisms), I invent people and events as long as they’re consistent with the time, place, and culture I’m writing about. I’m delighted, after finishing a manuscript, if I can no longer remember what is real and what I invented.
On your website you have a quote about Susan Sontag. To paraphrase: becoming a writer is a long process of apprenticeship and failure. You comment that you find this reassuring as you look at your own evolution as a writer. I can certainly identify with that. The first novel of my own that I published (after I was a ghostwriter) was a book I’d been incubating for about 18 years. I sent it to publishers and agents, who were encouraging, but really I was trying to write something I wasn’t ready for. Eventually I wrote that novel properly, and it taught me to be the writer I am now. So that’s what ‘apprenticeship’ looked like for me – and of course apprenticeship never ends. What did apprenticeship look like for you?
In the two decades I’ve been writing fiction, perhaps the greatest change was having the courage to write about things that were NOT part of my own experience. My early stories were inspired by the people and events that populated my childhood. However, I quickly learned the freedom of writing from my imagination, not my memories, although I’ll draw on the latter to add details.
Not having formally studied creative writing, my apprenticeship has meant incrementally mastering the craft, including how to write dialogue, where to start a story (endings are easier for me; beginnings are harder to nail), and when to kill my darlings. Like every writer, I’ve learned the importance of (re, re, re) revision.
Me too. I’m a total reviser. Revision is where I do my most creative work.
I also read differently than before I began to write. I’m not overly analytical (that would drain the pleasure), but I’m more aware of the mastery behind a passage that makes me stop in admiration, awe, and (I admit) an appreciative twinge of envy.
How did you end up at Vine Leaves Press?
In December 2015, I saw a call for submissions in Poets & Writers and sent a query for On the Shore. Two months later VLP requested the full manuscript and the following month they wrote that they wanted to publish the novel and included an amazing review by Peter Snell.
The bookseller Peter Snell! We’re good friends! I might even have introduced him to VLP/ (BTW, I feel I should mention our radio show, So You Want To Be A Writer…)
Peter has also given the go-ahead to my two other VLP books, Tazia and Gemma and now The Great Stork Derby. Pending the response to this third book, VLP has also accepted a fourth. So, I’m among those fortunate authors who can laud and thank Peter for being our gateway to VLP publication.
An unexpected benefit has been joining the international VLP community. Not only do its members connect with a group of talented writers and staff, we support one another through every stage of the publication process, and cheer our individual and collective achievements in the literary world at large. I’m in awe of what Jessica Bell has created and continues to innovate and build upon.
Amen to that. And here’s an interview with Jessica herself.
Ann, tell me about your latest release, The Great Stork Derby.
Based on a bizarre but real event in Canadian history, The Great Stork Derby begins with a husband pressuring his wife to have babies to win a large cash prize. In 1926, an eccentric millionaire leaves most of his estate to the Toronto woman who has the most babies in the 10 years following his death. Emm Benbow convinces his wife, Izora, to enter the contest. His ambition becomes an obsession and Emm ends up disappointed by his large family and alienated from his children. Fifty years later, and now a widower, Emm is told by his doctor that he can no longer live alone. He can either go to a dreaded old age home, or move in with one of his disaffected offspring. The novel follows Emm as he tries living in turn with each of his adult children and attempts to learn that the true value of fatherhood is not measured in big prizes, but in small rewards.
That’s quite a concept.
The idea came when I stumbled on this weird event. As often happens with me, I knew there was a story, but the question was “What?” Or more accurately, “Whose?”
To find the heart of a story, I must first decide whose point of view to tell it from. An idea may incubate for years before that “aha” moment. My original short story covered the 10 years of the stork derby itself, written from the wife’s perspective. When I envisioned the novel, I knew it had to be from the husband’s viewpoint. As I said, I love the challenge of turning an unlikeable character into a sympathetic figure and Emm put me, and I hope readers, to the test.
The period from 1926 to 1976 was also fascinating to research. It encompassed the Depression, WWII, post-war boom, and emergence of the women’s and gay rights movements. So, another challenge was imagining how these societal developments affected the development of the Benbow parents and siblings. I had lots of threads to interweave in this book.
You’ve also written memoir essays. Has your memoir informed your work in fiction?
Both memoir and fiction involve storytelling. Character drives both. And creative nonfiction employs the structure and rhythm of fiction, that is, character(s) follow an arc or trajectory. They have desires, face setbacks, make discoveries, and either evolve or fail to change.
How do you think creativity operates in non-fiction if it must be based on fact?
I think of fiction as construction and memoir as reconstruction. Both mix fact and fiction. Fiction has elements of fact (such as details of time and place, the truth of human nature). And memoir is not strictly factual, but rather an honest attempt at recall. Writers and readers of memoir sign a contract in which they agree to accept that the events and people are described ‘as best remembered’.
To me, what makes memoir interesting is not a mere recitation of what happened, but the writer’s reflection and analysis. Unearthing what lies below the surface, letting the mind play with the message underlying the facts, makes the piece creative. And meaningful — to write, and to read.
Do you teach writing in any form?
For many years, I taught workshops on grant-writing, which I was very successful at; I brought in millions of dollars (public and private) for the nonprofit I worked for. The people who attended my workshops tended to be from small agencies in search of operational funds so they could serve their target audiences: children and families from low-income, minority or immigrant backgrounds.
I taught by putting students in the position of the people deciding who to grant the money to. I distributed five sample proposals that I had written, each with strengths and weaknesses, then had them debate who to grant the award(s) to. They learned from sitting on the other side of the table. I see this method as analogous to my saying we learn as much from critiquing others’ work as we do from getting feedback on our own.
You seem prolific as a short story writer. What’s your working routine like?
I don’t have a routine in the sense of sitting from X to Y o’clock at the computer, or producing a minimum number of words a day. That said, I write — or do writing tasks such as submissions or critiquing — pretty much every day, including weekends. Quite simply, I like to work! I’m an early riser, so I get an early start. I’ll usually knock off mid- to late afternoon to work in the yard, go for a walk or read. Around 5:00 PM, I head two blocks east for my daily playdate with my grandsons, aged nine and five. I keep paper and pencil handy during dinner (also at my bedside) to jot down thoughts that pop up. I think a writer’s mind never stops churning.
I mentioned I’m short. My work space where my laptop sits is an old oak kindergarten table (with child-size chairs) and I’m writing by hand at a child’s roll top desk (also antique).
Do you have any tips for submitting to literary publications?
Perseverance! You never know when something you’ve written will resonate with a reader or editor. I’ve submitted some stories dozens of times before they found a home. That said, don’t submit blindly. Learn what type of work each journal publishes and if/when you have a piece that fits (or are inspired to write one), send it in. And every time you get a response that says “Your submission wasn’t the right fit this time, but we’d love to read more,” take heart. I keep a folder labelled “Encouraging rejections.”
What question about writing do you find hardest to answer?
‘Where do your ideas originate?’ Occasionally I can trace when something I read or heard ignited a spark, but the path to the endpoint is too circuitous to pinpoint the exact source. As I craft each character or scene, I often ask myself, ‘Where on earth did that come from?’
No wonder the Greeks invented muses. Dipping into the creative well is like dunking a bucket blindly and seeing what you pull up. Thank goodness, my bucket has never come up empty.
An easy question, often asked by new writers, is how to go about writing. Should one write every day? If so, how many words? Is it best to knock out a first draft and revise it later? Should one make an outline or follow wherever the writing leads?
My answer is that there are no ‘shoulds’. My colleagues each employ a different method that suits them. So, I say, experiment and find what works for you.
Also on your website is another quote I love – from a personal essay by Peter Schjeldahl, which (in your words) ‘captures the “Did I really write that?” sensation. Writing is a present/absent process. One is at once fully immersed in the act, yet also removed to another plane’. Now you’re leaving The Great Stork Derby behind, what are your feelings? Do you want to linger with the characters and world?
My characters never leave me. Once I enter their world, I continue to occupy it. I think that’s why those with whom I’ve become deeply embedded migrate from a story to a novel. (And why they were great company during my solitary pandemic lockdown.)
However, once I complete a novel, while I may stop in to say ‘Hi’, I rarely linger. Recently, though, I pondered writing a prequel to a book I finished not long ago. The completed novel, which follows the seesawing friendship of two women from their teens to their 70s, touches on their traumatic childhoods as WWII orphans and I’d love to explore those early years in depth. The Great Stork Derby has a large cast of intriguing characters. Maybe someday, I’ll write about Emm’s death and the continuing lives of his many children over the next 50 years.
If you’d like help with your writing, my Nail Your Novel books are here. If you’re curious about my own creative writing, find novels here and my travel memoir here. And if you’re curious about what’s been going on on at my own writing desk, here’s my latest newsletter. You can subscribe to future updates here.
How I made my writing career – novelist and award-winning short story writer Annalisa Crawford @AnnalisaCrawf
How do you end up as a writer? Some people train through formal courses; others work away in answer to an inner calling, then one day they have short stories that do well in competitions, and longer works that get offers from publishers. Today I’m talking to Annalisa Crawford, whose latest release is a novel, Small Forgotten Moments. We talk about this – and many other moments between those self-started beginnings, and now.
Annalisa I’ve always had a very active imagination. My daydreams often featured my younger sister being abducted and me having to tell my teachers at school, or my parents disappearing into thin air in front of me. When I was very young, I was scared I’d make these terrible things happen just by thinking about them, so I started to write them down and make other people’s sisters get kidnapped.
Roz Were your parents creative artists of any kind or are you the outlier in the family?
Annalisa None of my family are artistic at all. My mum and dad were very practical people – they wanted me to have a trade or a skill (like touch-typing, which I never mastered). But despite not really understanding why I always wandered around in a daze, they were very supportive, especially when I started to submit short stories and they could see how serious I was.
Roz And you’ve done really well with that. Third place in the Costa Short Story Award 2015, a longlisting for both the Commonwealth Short Story Prize and Bath Short Story Award in 2018. That looks like the Midas touch, but I’m guessing that rejection is a large part of that journey…
Annalisa If you cast enough stones, one of them is bound to hit the target. Rejection is a huge part of the process of learning how to write, in my opinion. You have to suffer the pain to appreciate the joy.
I used to save all my rejection letters – I possibly still have them – because I was submitting at a time when editors sent personalised responses and they were so uplifting and encouraging. The judge of one competition I entered monthly was brilliant for my confidence. One of my favourite comments from him was: ‘Your writing is so good you really deserve to win more frequently.’ It bolstered me and made me try harder because I wanted to impress him.
I’m very proud of the competitions you’ve mentioned. The Costa Award was amazing because I got to go to the London Costa Book Award ceremony that year. The short story award wasn’t televised though, much to my disappointment, but I got to mix with quite a few celebrities. I was too nervous to fully enjoy it, but it gave me a taste of what I’d like to aim for in the future. A nice Costa Book Award win would suit me nicely.
Roz Let’s talk about your novellas, published by Vagabondage Press. How did you end up there?
Annalisa Back in 2011, ebooks were just starting to become a ‘thing’, although I don’t think people knew how big they would get. I had a novella called Cat & The Dreamer which was too long for literary journals and too short to be a real book, so I’d pretty much given up on it ever being published.
I found Vagabondage via Writers’ News – a tiny little article in the sidebar – and I sent it on a whim. I remember thinking I just wanted someone to read it before I shelved it forever. And they accepted it, which was incredible. It came at a time when I was starting to waver in my belief that I would ever get off the starting blocks.
Roz Vine Leaves Press have published a short story collection from you and your two novels. How did you find them?
Annalisa I’d already come across Jessica Bell, who started Vine Leaves Press, and was friends with her on Facebook – I think that must have been through my blog. I saw her mention the annual Vine Leaves vignette competition. I was between projects, so I spent a couple of months writing whatever came into my head. I chose a beautiful notebook from my extensive collection, and each story had its own page. When I ran out of words, I started a new page and a new story. I gave myself no pressure, and I really enjoyed it. That notebook is safely tucked away; it’s surprising how many of the stories remained true to their original concept without much editing at all.
Sadly the collection didn’t win the competition, but Jessica asked if I would consider Vine Leaves anyway. She asked me to add a few longer stories, which I was able to redraft from ones which already existed, as well as the Costa winning one, and off it went into the world.
(Note from Roz: that collection is You. I. Us – and Annalisa wrote about it for my series The Undercover Soundtrack.)
Roz It seems only a short time since you published your first novel Grace & Serenity. Are you a fast writer or did you have several books on the go at once?
Annalisa Yes, they’re just 14 months apart, and it’s probably the quickest I’ll ever publish two books. I’m still not sure how it happened. I don’t remember working on them in tandem, but there must have been a rest-redraft movement happening.
Both Grace & Serenity and Small Forgotten Moments were old novels that I couldn’t let go, so I wasn’t writing either of them from scratch. The basics of the stories were there and I cannibalised them. I took a black marker pen and crossed out everything that didn’t work – whole chapters were obliterated, sub-plots carved up, characters deleted. It was harsh but necessary. I think my theory was, if I got to the end and there was nothing left, I’d have to move on to something new.
You won’t be surprised to learn that I don’t plan my novels so there are times when I hit the third or fourth draft before I realise what the story is. That was definitely the case with both of these books. I’m trying so hard to plan a new novel, but at the moment it’s just a series of images and concepts in my head.
Roz What are the defining qualities of an Annalisa Crawford book? Any particular themes and curiosities?
Annalisa Oh, what a great question. I have no idea. I never think in terms of themes, I simply tell a story that I’m fascinated by. I like to delve into the inner psyche of a person and force them to tell me why they are the person they are.
Strong mother-type characters tend to feature, and most of my characters are running away from something, whether they’re aware of it or not.
Roz Tell me about Small Forgotten Moments. Where did it come from?
Annalisa As I mentioned earlier, Moments was initially a very different story. It still centred around an artist called Jo and her painting (Zenna) which came to life, however the painting in the original story was based on a convoluted myth I made up. There was a dead boyfriend, a mafia-esque type connection, a stalker… I threw so much into this poor novel that it didn’t work at all. Embarrassingly, it earned a full request from an agent who quickly realised her mistake.
I printed it out and slashed it to pieces with my black marker pen. Some chapters had a single line left, others had nothing at all. In the original story, the painting was almost a subplot, so I knew I wanted to make it central this time and then I had to ask myself who Zenna was. And when I knew that, I had to ask why she was so important to Jo now. Then it got taped back together and the hard work started.
Roz What’s the significance of the title?
Annalisa Small Forgotten Moments refers to the amnesia Jo suffers from and the gaps which are never filled. It refers to all those little asides in our life we take for granted. Even though there are some very big things she’s forgotten, it’s the little things which really affect her.
Roz How do you recharge?
Annalisa Walking with my dog (and muse) Artoo and coffee with friends are both great ways to recharge. The views from my town are stunning, even from the balcony of my local bookshop where I stop for a scone and cup of tea.
Roz What do you most like to read?
Annalisa Reading is probably the best way for me to relax. I’ve heard other authors say they read with their editing head on, but I can quite happily read as a reader. I go for quirky covers or titles, or in the case of a novel recently because one chapter was half a page long, and I write short chapters too.
I have a couple of favourite authors whose books I anticipate, but on the whole the author isn’t hugely important to me.
Roz I happen to know from Facebook that you’re also a fitness instructor. Quite a difference from, if I may say it, sitting on your glutes dreaming into the keyboard. How did you end up with two such opposite professions?
Annalisa I came to exercise quite late – I was rubbish at sports at school (still am, actually – hand/eye coordination is not my forte) and there are only so many times you can be chosen last for a team sport before you give up trying. But I read a lot of exercise magazines and was drawn to the idea of lifting weights. It was only when I had my first baby and was still wearing maternity clothes when I returned to work that I decided to join the gym.
I enjoyed it, lost weight, saw a difference, and something clicked – I knew I wanted to share my love of working out. So, I retrained and luckily got some casual hours in the same gym where I was a member, which led to a permanent position.
Roz Do you find the two professions fit together?
Annalisa It’s a great way to switch off and really focus on my body.
Roz I find that with horse-riding. It’s ideal for clearing your mind (otherwise you find yourself dangling in a hedge).
Annalisa As a non-horse rider, I kind of assumed you could just let the horse do its thing and leave you to daydream… Obviously not! Weight lifting is much like horse-riding in that respect – you have to be very present because things can go wrong quickly if you lose concentration. And, obviously, sitting at a desk for hours is not good. I’m a compulsive writer when I’m in the middle of a project, so I could easily sit down before breakfast and not move until bedtime if I didn’t have anything else to do.
Roz Me too. On days when I’m not riding, my husband (Dave) has to send me nagging emails and Facebook messages telling me to take screen breaks. But I also run, and I find it puts me in an impatient and determined frame of mind, which helps me with certain kinds of plot problem-solving.
Do you have any other professions under your belt, present or past?
Annalisa In my head, writing was always my career, so I didn’t need another profession. I accidentally got a job in a college library and stayed there for 15 years, then I moved to the gym. I found a two-week intensive course to train as an instructor; if it had been a year or more of studying, I might have talked myself out of it. In a different world, I’d quite like to have been an architect. I loved technical drawing at school – I think I was one of the last year groups to be taught it as a separate subject – but my maths would have let me down.
Roz How has your lockdown been?
Annalisa Lockdown has been a mixed blessing for me. On the one side, Grace & Serenity was published at the tail end of the first UK lockdown which meant some events didn’t happen, such as some in-person signings at my local bookshop, but those are definitely happening this year for Small Forgotten Moments. With Grace & Serenity I wasn’t quite sure how to use Zoom etc for online events, but I’m planning them for Small Forgotten Moments.
However, on the other side, the emergence of online literary festivals meant I saw a lot of events I would have struggled to attend in real life. I saw quite a few of the Hay and Cheltenham Festival.
I was furloughed from my job which meant I could really dive into the edits of Small Forgotten Moments. I was asked to make a couple of changes before I sent it to the developmental editor, so I took the opportunity to take one last sweep through the whole novel and found a lot of little changes I wanted to make. Without the time my furlough allowed, I think the novel wouldn’t have been quite so strong.
Roz Do you think the lockdown will work its way into your future books?
Annalisa I can’t currently imagine how I could write about the lockdown in a new and interesting way. It’s all still so polarising, half my readership would hate it.
However, the book I’m working on at the moment is based on a short story I wrote many years ago which in turn was based on something that actually happened to me. At the beginning of the story a woman wakes up and her town is deserted – no people, animals, birds, not even a breeze.
During the first lockdown, my town really stepped up and the roads really were that empty. Did you notice that where you are?
Roz I did. I noticed the quiet. I live in a London suburb, and most of the residents work in the centre of town. When lockdown started, I had a sense that the houses around me had never been so full of people, 24 hours a day, and that we were all in the same bewildered muddle, wondering how to get normality with these new rules. It was silent, yes, and a silence beyond the cessation of the aeroplanes or the normal commuting traffic. It was a pause of life. Anyway, you were saying… the emptiness…
Annalisa Experiencing it really gave me an insight into the range of emotions my character would be feeling, how it seemed to lay down on me as I walked around. Shut-up shops in the middle of the day were a lot more eerie than I imagined they would be.
Roz Is there a question you wish somebody would ask in an interview?
Annalisa Oh goodness, great question, and yet my mind has gone blank. I don’t think I’ve ever been asked what happens to my characters after the story has finished.
Roz You’ve never been asked that? I get asked that all the time! So I’m asking it of you now… what will you say?
Annalisa I’d worm my way out of answering, if I’m being honest. I love ambiguous endings. Not completely open, but with enough information for the reader to see two or more paths. It’s a trait I utilised when I was writing short stories and can’t quite shake off.
If you’d like help with your own writing, my Nail Your Novel books are here. If you’re curious about my own creative writing, find novels here and my travel memoir here. And if you’re curious about what’s been going on on at my own writing desk, here’s my latest newsletter. You can subscribe to future updates here.
This is probably the most F of FAQs – how do you learn the basics for writing professionally. Is it necessary to take courses? What about all the famous writers who we know just did it themselves, made stuff up and wrote it down, following their inner star. Courses are helpful, but the good news is, we mainly teach ourselves. So how? And what should we be doing to do it well?
That’s what we’re discussing today in episode 2 of So You Want To Be A Writer. Asking the questions is independent bookseller Peter Snell. Answering them is me!
Stream from the widget below, or go to our Mixcloud page and binge the whole lot.
PS If you’d like more concentrated writing advice, try my Nail Your Novel books. If you’re curious about my own creative writing, find novels here and my travel memoir here. And if you’re curious about what’s going on at my own writing desk, find my latest newsletter here and subscribe to future updates here.