What Do You Eat When You Write?

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This article over at Catapult Community interviews their program instructors about their favorite writing snack. As a writer who loves snack food, it's cracking me up.

Read more here.

I also laugh because I have a weird quirk when it comes to food and writing. Whenever I set a scene in detail and describe my characters' meals, ten times out of ten that item of food is the one thing I end up craving for days afterward. This is why people find me baking cheese danishes at 10pm or running to the grocery store for butterscotch pudding after I've already been to the store twice in a week.

What kinds of things do you guys snack on when you write? My go-to is always tea and a couple of cookies or a handful of chips.

"The Importance of Bitch Planet's Backmatter"

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This article from Graphixia delves into the gloriously feminist comic book Bitch Planet and its "backmatter" pages, which include guest essays from writers and scholars, letters to the editor, faux advertisements for in-world products or spaces where fans can interact.

Read more here.

Personally, I think it's a brilliant approach. Structuring the backmatter as a forum of ideas gives people a way to engage with all or parts of the text without feeling like passive listeners. It gives authors and artists a way to talk about evolving story and visual elements in a casual space. And after the story presents tough ideas and images, the backmatter picks up that lead, and encourages people to consider what those stories mean in a larger world context.

Also, I LOVE seeing people talk about Kelly Sue and Val's amazing series - it gives me so much joy to know Bitch Planet resonates with so many passionate fans! Can't wait to see what happens next for Kam, Penny, and the rest of our badass ladies.

Happy Thursday,

CL

Image credit: Graphixia.

"The PEN Ten With Stephen Graham Jones"

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Guest editor Natalie Diaz has a gorgeous interview with Blackfeet writer Stephen Graham Jones up over at PEN America. They talk obsessions, linguistics, writing process, and more. But I think this quote is my absolute favorite:

While the notion of the public intellectual has fallen out of fashion, do you believe writers have a collective purpose? To say the truth, or something in the arena of the true. Something that feels true. To carve down to what’s real, and then fold the reader into that spot for a couple hundred pages. To write for the people of today, not the ones who aren’t born yet, and not the ones from generations ago, who can no longer be impressed with your talent. To—to be one of the ones Plato would have kicked out of his republic, because we won’t shut up, because we won’t stop stirring things up, because we insist on rousing emotions and thoughts in people that are inconvenient for those in power. And to do all this without seeming to be trying to do all this. Mostly, if we have a collective purpose, it’s to dream on the page, such that others might subscribe not so much to that particular dream, but just to dreaming in general. To asking What if? That’s the most dangerous question. The most necessary question.

Read more here.

Last night, I couldn't sleep because I had a story creeping into my head. Let's hope we can all hit the page running today.

Happy Wednesday,

CL

Image credit: PEN America

"After 75 Years, The Cheese Stands Alone"

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This beautiful article about an heirloom wheel of cheese - frozen and kept fresh by a New York family since the 1940s! - reminds me of the tiny morsel of fruitcake my mother still keeps in her fridge; has kept safe in her fridge for over twenty years.

Read more here.

That little sliver, which gets smaller and smaller every year, is taken from one of the last fruitcakes my grandmother used to make and serve at Christmas. Spiced with blackberry rum (a special, holiday-only treat) and filled with candied fruits and other spices, she would prepare it around Thanksgiving, and then leave the cake to "season," wrapped safely in cheesecloth, until Christmas.

Describing the little intricacies of meals or food is such a visceral part of my writing. It's one of my favorite ways to get into characters' heads. I hope you have the same kind of luck with your stories. Imagine the kind of food or drink that would spark a new experience for them, and for your work as a whole.

Happy Monday,

CL

Image Credit: The New York Times

"How the Writer Researches: Annie Proulx"

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I love, love, love behind the scenes looks into the processes of different writers, so this recent LitHub interview detailing Annie Proulx's method and overall career is fascinating.

Read more here.

Right now, I'm waiting for a word processor update to download so I can get back to writing. Hope you guys are having better luck with your work today.

Happy Sunday,

CL

"On The Slow Pursuit Of Overnight Success"

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Victoria Schwab, on the heels of her first #1 NYT debut The Savage Song, has a great post on her blog about how failure and success throughout her writing career, and how the big successes don't happen overnight -- even when they seem instant to your readers.

Read more from Victoria here.

Her post reminds me of what my friend Aaron used to say about writing:  basically, that "you have to write a million words of crap in order to start getting good."

So, fellow authors and writers, let's keep plugging away toward those million words!

 

Happy Friday,

CL

Poetry Project #4, Louise Erdrich

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Louise Erdrich (b. 1954) is an Ojibwa writer who writes poetry, novels, children's books, and more. "Jacklight" shares its name with her first critically-acclaimed collection of poetry, published in 1984.

Jacklight

The same Chippewa word is used both for flirting and hunting game, while another Chippewa word connotes both using force in intercourse and also killing a bear with one’s hands.

-R.W. Dunning, Social and Economic Change Among the Northern Ojibwa (1959)

We have come to the edge of the words, out of brown grass where we slept, unseen, out of knotted twigs, out of leaves creaked shut, out of hiding.

At first the light wavered, glancing over us. Then it clenched to a fist of light that pointed, searched out, divided us. Each took the beams like direct blows the heart answers. Each of us moved forward alone.

We have come to the edge of the woods, drawn out of ourselves by this night sun, this battery of polarized acids, that outshines the moon.

We smell them behind it but they are faceless, invisible. We smell the raw steel of their gun barrels, mink oil on leather, their tongues of sour barley. We smell their mothers buried chin-deep in wet dirt. We smell their fathers with scoured knuckles, teeth cracked from hot marrow. We smell their sisters of crushed dogwood, bruised apples, of fractured cups and concussions of burnt hooks.

We smell their breath steaming lightly behind the jacklight. We smell the itch underneath the caked guts on their clothes. We smell their minds like silver hammers cocked back, held in readiness for the first of us to step into the open.

We have come to the edge of the woods, out of brown grass where we slept, unseen, out of leaves creaked shut, out of our hiding. We have come here too long.

It is their turn now, their turn to follow us. Listen, they put down their equipment. It is useless in the tall brush. And now they take the first steps, not knowing how deep the woods are and lightless. How deep the woods are.

Paris Review - The Art of Fiction No. 208, Louise Erdrich

Great interview with Louise Erdrich from The Paris Review:

There’s something very wrong in our country—and not just in the book business. We now see what barely fettered capitalism looks like. We are killing the small and the intimate. We all feel it and we don’t know quite why everything is beginning to look the same. The central cores of large cities can still sustain interesting places. But all across our country we are intent on developing chain after chain with no character and employees who work for barely livable wages. We are losing our individuality. Killing the soul of our landscape. Yet we’re supposed to be the most individualistic of countries. I feel the sadness of it every time I go through cities like Fargo and Minneapolis and walk the wonderful old Main Streets and then go out to the edges and wander through acres of concrete boxes. Our country is starting to look like Legoland.

Poetry Project #3, Edna St. Vincent Millay

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Edna St. Vincent Millay (1892-1950) was from Rockland, Maine.

 

I Think I Should Have Loved You Presently (Sonnet IX)

I think I should have loved you presently,
And given in earnest words I flung in jest;
And lifted honest eyes for you to see,
And caught your hand against my cheek and breast;
And all my pretty follies flung aside
That won you to me, and beneath your gaze,
Naked of reticence and shorn of pride,
Spread like a chart my little wicked ways.
I, that had been to you, had you remained,
But one more waking from a recurrent dream,
Cherish no less the certain stakes I gained,
And walk your memory’s halls, austere, supreme,
A ghost in marble of a girl you knew
Who would have loved you in a day or two.