Rebecca here: From “low dread” to sports psych to the art and patience of practice, this guest essay featured on Brevity’s Nonfiction Blog was spot-on for me. Hope it strikes a chord in you, too.
A quick story before I go–about humility and performance and the knowledge of our elders, etc., etc. My regular readers know I was a ballet dancer as a kid. It wasn’t just my thing; it was my only thing for a while, which is dangerous enough that one’s identity becomes wholly wrapped up in it. So that, when the pirouette fails, the person fails.
Anyway…about those pirouettes, I could practice and practice in a corner of the studio, sweating my proverbial balls off (sorry), but I wouldn’t entertain any other notions of practice besides putting myself in fourth position and taking off, spot, spot, spot, tight core, and land. Or fall. Or fall off pointe. Or spin out into the wall.
Before a performance of some kind, I remember my mom asking me if I ever visualized doing a perfect triple pirouette. I rolled my eyes in reply. Visualization, along with the self help-mumbo jumbo-yoga-reiki-dalai lama nonsense she’d gotten into since she got sick was just that.
Then, of course, she died (not just then, but years later) with more grace than I’d ever been able to perform with. No matter all my practice and all my sweat.
To borrow from this essay on the practice of writing, I wasn’t yet ready. I couldn’t yet plunge to the “deepest depths” for my art. My art is different now, but I think I can.
Yep, I’m ready.
Good evening and good writing and reading. Good practice–what ever that looks like for you.
What does writing practice look like for you?
But first…a bit of inspiration (and my last reference to Amor Towles’s novel, A Gentleman in Moscow and its hero, Count Rostov–I promise–at least until the TV adaptation comes out.):
For what matters in life is not whether we receive a round of applause; what matters is whether we have the courage to venture forth despite the uncertainty of acclaim.
I’m adapting “acclaim” for my uses, loosely here. And “venture” in the creative vein. (No bungee jumping or sky-diving for me.)
Here’s the thing…recently, funny mom blogger extraordinaire, Becca, from With Love and a Little Self-Deprecation, got me to thinking, when she asked of herself a question I’m asking myself, this week. When was the last time I did something brave?
Not just something required that was maybe a tad-bit outside of my wheelhouse (to use my fave maritime-inspired jargon). No, something that required guts.
Guts I’ve got when it comes to my kids. (Ask any mom.) Birth twins sans drugs–sure, got that… Forget my introversion (and the book I’m dying to read!) to introduce my toddlers to fellow toddlers on the playground–because, go figure, humans aren’t born knowing how to make introductions… Stick up for my kids when confronted by bullies… Overcome elementary math phobia to become a math club coach to teach kids that math is cool. Done, done, and done. Brave-ish Mom strikes and strikes again.
Now, can I be brave for myself? And can I be brave, when there’s no paycheck attached to it, when I’m the only one relying on me? Can I be creative-brave?
OK, let me back up to say that one reason I’m a writer is that I’m a nervous public speaker–and sometimes even not-so-public speaker. I’m just better on paper (you’re welcome). It’s one reason that I have five times the number of WordPress followers as FB friends.
And, funny thing, I taught freshman and sophomore-level college composition courses (yea, essays!) throughout my MFA, but teaching is different than speaking. Reading is different, too, if still a little scary. (Best done in a closet, as I was when I recorded my story, “Recruit.”) Reading my work before a group, letting my “weird” accent hang out–this I haven’t done in a while.
So, on my gutsy creative to-do list, this week: send my first, long-awaited literary agent query (first stop on the publishing road map) for my behemoth historical novel manuscript; and, even more to the bravery point, apply to present at a fall literary festival in my home state of Ohio, where much of my short fiction is set. This is new literary territory for me.
Part of my nervousness is due to the fact that to present at this festival really will be going home, and there’s a fear that I will be looked at as an outsider. (After so many years south of the Mason Dixon, I do say “ya’ll,” after all.)
Still, I’m going to submit my proposal. Worst thing that can happen is that they say no. Second worse, they say yes, and then I need to start stewing with nerves until September!
So, help a girl out, readers and writers:
Ever been to a literary festival? What do you look for (besides free books–yeah, I’m with you there)? What do you want to hear? Learn? I have no wares to hawk, no tsotchkes to share. It’s just me. And, in the immortal brand slogan of L’Oreal and imitator memes everywhere, I’m worth it.
What’s on your gutsy creative to-do list this week?
The stadium had hosted over 1,500 football games for the high schools in Akron, as well as for Ohio High School Athletic Association playoff games. The Cleveland Browns had also used the stadium for 19 preseason games over the years.
Rebecca here: Photographer Johnny Joo is “Preserving History Through Imagery” at his site, Architectural Afterlife. You don’t have to be a Northeast Ohio native (like Johnny and this gal) to appreciate his stirring photography. Much more than capturing abandoned sites, he provides the history behind the sites–separating his work from the likes of “ruin porn,” in my opinion.
What do you think?
What’s on your plate today? Photography? A good summer read? I can’t get enough of discussing A Gentleman in Moscow. Otherwise, I’m buried under work-writing but hope to surface soon!
My powers of observation are not so keen that I’m going to brave the very crowded depths of reviews of A Gentleman in Moscow. (Want to read my reviews, I’ve got a whole category, above.)
Let’s just agree that Amor Towles’s second novel is a modern masterpiece, shall we? If you are one of the four people on the planet who haven’t read or at least heard about this story of Count Alexander Rostov, here’s a brief intro (from the jacket copy):
When, in 1922, the thirty-year-old Count is deemed an unrepentant aristocrat by a Bolshevik tribunal, he is sentenced to house arrest in the Metropol, a grand hotel across the street from the Kremlin…the [erudite and witty] Count’s reduced circumstances provide him entry to a much larger world of emotional discovery as he forges friendships…
Basically, drama, relationships, and meaningful meditations ensue. Just read this novel about the Russian soul–its art, history, toil, treasures, and catastrophes. (And be sure to watch the best novel trailer I’ve ever seen at Towles’s website, above.)
Just as this former kid ballet dancer (me) can’t watch a ballet without my feet twitching, my calves contracting, my back straightening, and my head lilting this way and that with those on stage, I can’t read a book without wondering how?
But here’s not the place for a deep-dive into craft. I simply want to note a few miracles of invention in A Gentleman… and provide a word of caution to the dutifully outlining and character backstory-charting new(er) writers out there.
An image of note: the Count’s twice-tolling clock is much more than a clock that tells time by tolling only at noon and at midnight. It provides a mechanism to discuss industriousness, for Towles to tell us of the Count’s father, who had the clock made because a man (of a certain class, time, and place) should be too busy with work to heed the chimes between waking and noon. And by noon, having had an industrious morning, a man should then leave his work to commune with others. Should he hear the midnight chime, he is too late to bed. And the replete uses for this image are only beginning…
Description of note: readers come to a book like this expecting description befitting its learned main character. Towles delivers, but fear not, he doesn’t (like in real Russian novels) let his pacing lag in many-paged sections of description. No, his descriptions are just as clippy and cutting as his dialogue.
Take the goose chase section (trust me), a funny and farcical bit that brings together in a hotel hallway a melange of worldly guests: two French journalists, a Swiss diplomat, three Uzbek fur traders, a representative of the Roman Catholic Church, a Russian opera tenor with his family of five, and an American general. (All that’s missing is a partridge you know where, but then we do have geese!) Each becomes a character–and a caricature in the Count’s eyes–in the briefest of scenes, thanks to Towles’s powers of description. The ambassador from the Vatican advised; the Swiss diplomat heard the Russian and the Italian out, mouth shut; the tenor, “who spoke only a few words of Italian, informed the prelate (fortissimo) that he was not a man to be toyed with.” The American general, from “The Great State of Texas” took charge and threw the geese out the window.
A sleight of hand (and humor) of note: recently I read a wonderfully-informative and instructive piece on Brevity‘s nonfiction blog, “The Sound of a Memoir,” about shying away from using song lyrics in our writing (whether fiction or nonfiction). Practically-speaking, citing song lyrics (titles are OK) can be an expensive endeavor–if a writer manages to get permission to use them. Creatively-speaking, there are better ways to note a song in a story–to provide a bit of soundtrack to a piece, to get the reader’s foot tapping and put him or her in mind of a certain time when that song said so much! (If you now, as I do, have Elton John’s “Sad Songs (Say So Much)” in your head, you’re welcome.)
Back to Towles’s mastery: In A Gentleman… the author artfully explores the passing of time and trends, in one part commenting on jazz music. In not one but a few places the author has the Count muse about the popular jazz tune that speaks of a distinct absence of bananas, a lack of bananas, for want of bananas… You get the idea. Anyone who hasn’t lived his entire life in a cave knows the song is Louis Prima’s “Yes! We Have No Bananas,” (hear the song here) but by not citing even the title, the reference becomes more than a song but a clever running joke.
All that’s to gush, yes, and also to provide a word of caution to the new(er) writers out there looking for the keys–not only to plot but to imagery and motifs, the characterization and quirks–that make a piece of writing beautiful. How to make these little miracles happen on the page? If I knew, I would be doing it, right now. But I think one of the keys to being a great writer is being a great reader. Another is to trust your mind to make the miracles as you go. Call it a state of flow or the (ahem) muse catching you by the hand, whatever, but writing is more about writing than planning. (OK, you caught me; I’m a panster.)
Yes, you can plan for plot. Outline all you like. Get a sense of your characters before diving in. But can you plan for the clever bits, the brilliant tropes and descriptors and “bananas” that make a piece sing, I’m not so sure.
What do you think? What miracles of invention have you encountered thus far in your summer reads? I’d love to hear from you!
*I grabbed the American and UK cover (which I prefer) images from Goodreads.
Every human being has hundreds of separate people living under his skin. The talent of a writer is his ability to give them their separate names, identities, and personalities, and have them relate to other characters living with him.
Amen, Mel. (Ahem, with the addition of “her skin,” “her ability,” and “with her,” thank you very much.)
Ever have one of those weeks (or months) when you feel like you’re juggling too many balls–but also too many names, identities, and personalities? And not only on the page.
I am a creative writer (“dang it,” she pounds fist on desk), but I am also a writer and editor for
modest pay universities and etc. It is this latter personality that lately has taken precedence over the former (because the fruits of this personality can buy actual fruit, or veggies, or ice cream from the truck that smartly parks itself at our neighborhood pool.)
Fear not, one of two looming work deadlines met, I am seeing the light. (Sometime, I’m going to see how many myriad scads of mixed metaphors I can cram into a single post!) Back to my creative endeavors I WILL BE (soon-ish).
In the meantime, I enjoy my work that allows me to pick the brains of academics young and seasoned and learn things I’d never come to on my own, like the powers of biofilms, the miracles of flexible solar cells, what rotorcraft even is. Really, I remind myself, it’s all creative, right? Who knows, maybe this work will create burgeoning new identities in my fiction.
I talked in my last post about list-making, reining in those cows. (Another metaphor gone awry.) I’m trying to be better about writing it all down, so I see what I must do, and what I AM DOING. (Sleeping past 8am, now that the kids are out of school, for one. Big, big win!)
Creative right now:
Reading: A Gentleman in Moscow (read me gush about it on my FB page.); next up, Warlight
Listening to: Above Us Only Sky, audio novel by my uber-talented author friend from my MFA program days, Michele Young-Stone
Submitting: yesterday, a travel-ish short story of mine set in India to the literary travel mag, Nowhere; agent query submissions coming soon (see next line)
Editing: that last 40 pages of my historical novel manuscript–woo to the hoo!
How’s your creative list looking? What are you reading, writing, loving right now? Let me know here or at FB.
It’s a Rust Belt Girl roundup for an end of the work week that also coincides with the beginning of
CRAZY summer vacation.
Going with the “roundup” theme, I can say that the cows are loose, having broken the fence, and now they’re just roving around the plains willy nilly. (I know I’m impressing you with my vast knowledge of cowpoke life right now.)
Let’s be real. There are no cows. The cows are the items on my to-do lists, lists which don’t actually exist anymore, because so much of my life has gone digital.
I used to have real paper-and-pen lists: meal plans and menus, work to-dos based on deadline, and post-its galore with snippets of story ideas. Concrete things I could hold in my fingers. Then I’d go about numbering the items according to importance.
What happened? Hmm. Could it be that I jumped on social media last year, and my lists are collateral damage?
Whatever. The upshot: I’m bringing back the lists, because they’re real.
Because…my children (though they are playing virtual FIFA soccer at the moment) are real. Their need to be fed and watered (and maybe even educated and socialized even on the hottest days) is real. Yep, it is really summer now, and they are really home—ALL DAY LONG.
You don’t need to be a mom to lose your cows—or to rein them in (or is that only with horses?).
With two work deadlines looming, these cows will dominate my lists for the next little bit. But, fear not, I will leave time for creative writing and tinkering, literary agent soliciting and journal submitting…and even dreaming—doing some of that right here.
What’s on your reading and writing list this weekend, this summer?
Want to know what I’m reading in my stolen moments–when I’m not abiding by my lists? (One of the best novels I’ve read in a long time!) Find me on FB.
Amy Jo Burns is the author of Cinderland, and her writing has appeared in Salon, Good Housekeeping, The Rumpus, Electric Literature, Tin House’s Open Bar, Ploughshares Online, and in Roxane Gay’s anthology Not That Bad. Her novel Shiner is forthcoming from Riverhead Books.
Amy Jo was gracious enough to answer a few questions from another Rust Belt girl–me–about her literary memoir, Cinderland, which I discussed in a previous post; about her Rust Belt upbringing; about juggling the responsibilities of writing and motherhood; and about her upcoming novel, Shiner, which I can’t wait to read!
Amy Jo–your memoir, Cinderland, is set in your hometown outside Pittsburgh. How did that particular post-industrial place inform your upbringing? Does your memoir’s title reflect the place in which you were raised, the abuse you suffered as a girl, both?
I chose the title Cinderland because it represents an inner fire that remains after old, unnecessary things have died away. I see so much of myself in the landscape that I grew up in. The abandoned buildings, overgrown lots, and empty warehouses of my youth were (and are) placeholders for new things to come, and they are so beautiful to me. The story of the Rust Belt is still being written, even if some people call it a dead zone. There is life inside! Rust and cinders aren’t dead things. They’re just in a state of transformation, and I think that became a powerful metaphor for me to explore my own coming of age in my memoir.
In your memoir, you discuss your Christian upbringing and throughout the book use biblical allusions. (Your abuser you call Mr. Lotte.) In using the language of the Bible, did you feel like you were wresting some control over that part of your childhood? Something else?
The Bible was my first introduction to language, so it felt very natural for me to use biblical references as a way to represent how I see the world. This was such a good question for me to consider, because I just realized in borrowing some of that language, I was actually able to release some control over the painful parts of my past. For so long I tried to manage what had happened to me and my grief over it, and it only ended up suffocating me. I was afraid to let it be what it was.
Sometimes I think “religion” tries to manhandle who God is, and having faith is the opposite: letting God be God, and finding rest because of it. For me, that meant letting Mr. Lotte be held accountable for what he did. It was not “Christian” for me to try to hide away his transgressions, even if some people in my community swore it was. When I was writing the book, I came across this verse in Proverbs 17:15:
“Whitewashing bad people and throwing mud on good people are equally abhorrent to God.”
I’d never heard that before. It’s not an exaggeration to say it changed my life to see that God has no interest in camouflaging a man’s true character for the sake of fake peace.
You were a student of ballet, growing up. Had you known the true story you present in your essay, “Body on Fire,” of Emma Livry, a young ballerina whose costume caught on fire during a performance at the Paris Opera in 1862, or did you come upon it more recently? Can you talk about this idea of burning or “consuming” of women with respect to today’s #metoo movement?
I came across that story about two years ago, and I still can’t stop thinking about it. Emma Livry had GUTS as an artist and as a woman, and I think she probably felt just as frustrated to perform for an audience full of men she didn’t trust as so many women still feel right now. Livry’s biographer, a male, seemed to suggest she was a victim of her own making, that it was her own vanity in wanting a certain kind of ballet skirt to wear that ultimately killed her when her tutu caught fire. I call foul! I think she knew her patrons saw her as nothing but a body for consumption. She fought to dance the way she wanted– wearing what she wanted–for herself, first and foremost. She paid a price for it. Livry wasn’t spared because of her talent or her drive. Instead, she was treated like a piece of machinery. That’s what resonates for me with today’s #metoo movement–she was blamed for choices that were never really hers to make.
Have you changed as a writer since becoming a mother, besides having less time and energy to write?
Yes! I wanted to finish Cinderland before I had children because I thought parenthood would make me overly sentimental. I didn’t want to write about my own childhood with too much nostalgia. It’s funny, though, because the opposite has been true. I’m much more raw as a person and as a writer now that I’m a mother, and I like it. My sense of self has totally shifted. I’m constantly becoming someone I’ve never been before, which is weird and wonderful and a little scary. There’s a new urgency to what I write now, like I’m trying to capture each meaningful truth before it disappears.
Also: now I write while Paw Patrol plays in the background. I gave up on trying to find the ideal working environment. It doesn’t exist. That helps me value my writing time without letting it become too precious.
What can you tell me about your forthcoming novel, Shiner—about moonshining, is that right? How different was the writing process for fiction, after writing a memoir and essays?
Shiner is set in West Virginia, and it’s about moonshine, snake handling, and the secrets women keep for each other. I’ve really loved writing it, and it gave me such a burst of energy after finishing Cinderland. I was so, so sick of writing about myself! As far as the difference between genres, I’ll put it like this–novelists suffer from having too many choices, and memoirists suffer from the lack of them. I think I’ve used the same kind of creativity to solve both problems, but the boundaries are very separate.
I hear a lot of writers say that there’s no difference between writing fiction and nonfiction, but for me, the difference is pretty essential. Cinderland has weight as a story because it’s true. I had to put myself at risk to tell it fully, exactly as I remembered it. I don’t think I’d be able to write any kind of worthwhile fiction if I hadn’t first been honest, mostly with myself, about what Mr. Lotte did to me and my town. In that way, I hope that my work in fiction and nonfiction will always strengthen each other, like iron sharpens iron.
Many thanks to Amy Jo Burns for sharing her time and insights with Rust Belt Girl. Find her at her author site, which includes links to her recent work and interviews. And be on the lookout for her forthcoming novel, Shiner.
Like this interview? Comment below or on my fb page. Find more author interviews under this site’s category with the same name. And please share this post and others with your friends and social network. Want more? Follow Rust Belt Girl. Thanks! ~ Rebecca
*Photos provided by Amy Jo Burns