Posted by: Glenda Bailey-Mershon | January 23, 2012

Agents are like minnows

That is, fascinating to watch, hard to catch. Two agents who battled over my book at a conference, both turned it down, though one insisted she couldn’t put it down. Another agent who asked me to rewrite the first chapter suddenly went out of business. Recently. An agent who professed her interest in commercial fiction such as mystery and romance asked to see my mainstream literary novel, I think simply on the basis that she liked my choice of shawls. Or maybe she liked my description of the novel.

My point here is that, despite all the published guidebooks and the occasional speeches given by agents, they are human and thus as unpredictable and subject to inspiration and whimsy as the rest of us.

Now if I can only find the reachable moment. I’ll keep you posted. Meantime, I continue to submit to small presses, which also have their quirks.

Posted by: Judy M. Goodman | September 28, 2011

I used to think naming the character was the hardest part of writing. My characters were always complaining I’d given them the wrong name. I had not yet realized that a name can inspire characterization.

On a road trip last year, I noticed that the exit signs giving the town names seemed to suggest character names. For example: Mason Watson, Bradley Bourbonnais, and Fern Clyffe (That last is sort of a cheat – it’s the actual name of one town in Illinois, but the principal is the same.) I even got short story out of Alma Herrin. As I looked at the name, Alma Herrin, I remembered a lone paragraph in an aborted short story. Something clicked, so I put the dialog in her mouth. With that, the story unwound of its own free will.

Recently, I was introduced to the six word memoir. For those of you who like writing prompts there are a couple of fairly new sources in town. Though they may not have intended this perk, Not Quite What I Was Planning: Six-word Memoirs by Writers Famous and Obscure: from Smith Magazine (New York : – Harper Perennial, 2006 21st Century) and It All Changed in An Instant: More Six-word Memoirs by Writers Famous & Obscure (New York : – Harper Perennial 2010) are goods place to start. By design, these bite-sized characterizations will stimulate your writing bone. Examples: “slightly psychotic in a good way;” “afraid of everything, did it anyway;” “She walks barefoot in wet cement;” to name a few. However, once I had done some as exercises, I was more intrigued by creating them.

Mason Watson: no deductive reasoning, will not write.
Bradley Bourbonnais: loves winter sport, can’t tolerate cold.
Marion Harris: would be Rabbi but is Presbyterian.
Fern Clyffe: to her, “Green” is only unfledged.

I bet you could come up with better! Frankly, I prefer some of the ones I came up with from names I found during my unfruitful search for my grandmother’s birth certificate. She was born around 1884, so some of the names were fascinating.

Adam Cully: their first son–their last hope.
Elijah Knox: If door is closed, Elijah Knox.
Joseph H. Newton, MD: wanted a wife a cut above.
Christopher Benton: studied for priesthood–lord have mercy.
Sisters Bonnie and Ida Mason: loved for 19 years, met Louis.

As always, more questions come from answers. The jury is still out whether “William” is the same character as “Wm,” but surely “Will” is a different character than “Willie” and both are different from “William.” I wonder if phonetic clues work the same way? Would Jeanette, as Mom’s cousin in Chicago said it, be a different character that one who calls herself “Je’NEET,” the way an acquaintance from South Africa pronounced it?

Hmm?

William: Wall Street maven, jumped on Friday
Wm: good family man, moved by beauty
Willie: is his own favorite body part
Will: loves good chili, hates bad breath
Jeanette: warm smile shines, open hand holds
“Je’NEET”: wanted more money, got more love

Whatever we eventually decide, one thing is clear: Names are a deep source of characterization. Perhaps, from now on, I’ll opt to let the name choose the character.

s 482×480 pixels.

Posted by: annemartinfletcher | June 9, 2011

JSPF Nonfiction Contest!

Have you seen the submission requirements for our Nonfiction contest? The theme this year is “Bridges and Borders.” Do you have a story about how you bridged  a physical, emotional, cultural, or social border? We want to read it! The prizes are good too–cash and publication. Write on.

Guidelines

The 2011 Nonfiction Award from Jane’s Stories Press Foundation will be awarded to the best original and previously unpublished nonfiction work of any form written by a woman and submitted by September 15, 2011.  The contest results will be announced in October, 2011.  A First Prize of $200, a second prize of $50, and third prize of $25 will be awarded, and the winning entry will be published in our forthcoming anthology and promoted on the Jane’s Stories Press Foundation web site.

1.  Entries should be no more than 5,000 words, double spaced, one inch margin and 12 point font.

2.  Entries should speak to the Foundation’s special interests in work by and about women as well as the 2011 theme, “Bridges and Borders.” We are looking for work that addresses women in conflict and conflict resolution, and that addresses cultural, historical, political, and social boundaries.

3.  An entry fee of $10 for each item entered must accompany each submission, up to a limit of 2 entries ($20) per person. A list of the winners will be posted on our web site.

4.  All entries must be submitted using our on-line submissions manager, http://janesstories.submishmash.com/.

5.  The entry/entries submitted must be unpublished.

6.  For additional information see our website, www.janesstories.org, or contact Jane’s Stories Press Foundation, 5500 N 50 W, Fremont, IN, 46737.

JSPF follows the CLMP Contest Code of Ethics

Posted by: annemartinfletcher | June 6, 2011

YIPPEE!

My association with the Jane’s Stories Press Foundation recently paid off “Big Time.” I just signed an agreement for representation from Rachelle Gardner, Literary Agent for WordServe Literary and the writer of a popular blog, “Rants and Ramblings: On My Life as a Literary Agent.” A large part of my success is due to the writing critique I received from Jane’s Circles and advice I heard at their retreats, as well as experience I gained from representing “Jane’s” at the AWP Conferences.

You, too, can get this kind of mentoring from the Jane’s Stories Press Foundation. A recent rash of deaths, births, personal successes, and general life, has interfered with our new board publicizing all the things we are setting in motion to support our membership. Please “keep the faith” that we are here to help you, too. You can read a little more about my success on my blog. After that, stay tuned to “See Jane Write” as I serialize things I did that helped and hindered me on the path to representation.

Posted by: Glenda Bailey-Mershon | May 29, 2011

How to Create Audio to Market your Business (Blogtalkradio.com & Talkshoe)

How to Create Audio to Market your Business (Blogtalkradio.com & Talkshoe).

I will be pulling together my online presence using the tips in this article. Wish me luck!

Posted by: bluelinda | February 22, 2011

Starting again and again and again

Today begin a new chapter in my writing life.  I have not written much in about a year and yet have enough poems to finish that will make up my next book.  Just not focused on poetry lately.  Hope with the sun coming out I will start again.

I have gathered all of my journals to review and organized all of my current poetry and songs on my computer to facilitate this new resolution.  Of course, I have resolved this in the past and will probably do so again. But here goes!

Photo by Barbara Verba

Posted by: Glenda Bailey-Mershon | February 10, 2011

WHY NOT, JANE?

WHY NOT JANE?

The web is abuzz with talk of Vida’s count of women published in literary magazines and review journals. As you might intuitively guess, the numbers are not good for women. Some of them are shocking, such as how few women are reviewed in the New York Times Review of books. (Think about that next time you rush to pick up that section of the newspaper lovingly called The Grey Lady. Grey it may be, but perhaps not a lady, or even female, according to Vida’s numbers.)

Oh––VIDA is the name given to a relatively new organization of women writers founded by a group including Whiting Award winner Cate Marvin; Erin Belieu, Director of Florida State University’s Creative Writing Program, herself a winner of several important awards; and other writers. All but one person on their Board of Directors is an academic professor or university administrator. Just setting the field.

Below are some links to the original Count and a couple of responses to it. However, I’d like to change the topic to “Why doesn’t Jane get more support?”

There are only a handful of women’s literary organizations that expressly address the career concerns of women writers. Jane’s Stories Press Foundation (Jane) has been around longer than most. Jane is unique in that it addresses women writers of all experience levels and specifically provides opportunities for women to get their work into print with much better odds than those of the various publications mentioned in Vida’s report. Also, Jane’s mission specifically includes promoting diversity in all ways in the publishing industry. We do not require you have an MFA, or even sound as if you do, to be published by us; we want excellent work. For writers who are already accomplished and well-published, we offer many opportunities to grow your readership.

It is a long-known and well-documented fact (by the NEA and others) that women comprise most of the purchasers of all literature, including literary fiction and poetry. So why aren’t women buying our books in sufficient numbers to help us provide more support to women through significant prize money and publishing opportunities? Instead, we are scraping together money for our next anthology and our Board members and volunteers have to mostly pay their own way to venues such as AWP. Virtually every cent of every donation, workshop fee, or book purchased from Jane goes directly to supporting women writers. Why aren’t women writers rushing to support this foundation?

My dream is that every woman who is shocked by VIDA’s Count will buy one book from Jane’s Stories this year. What we could do with that! Why, we might even be able to pay our printing bill without borrowing money. And we could add considerably to the more than 200 authors already in print through Jane. On the drawing board: a chapbook series and a new literary journal expressly for writing the illuminates women’s lives.

Want to help? Ask for our books at your local feminist store, or check them out at www.womenandchildrenfirst.com. Or send a donation to JSPF, 5500 N. 50 W, Fremont, IN 46737. Oh, and if you are part of another prominent women’s lit organization and you haven’t answered our call offering support and collaboration, please do that, too. This problem of women breaking into print and being adequately reviewed is bigger than any one organization can handle.

The Count 2010s
by VIDA
“Numbers don’t lie.” “What counts is the bottom line.”

http://vidaweb.org/the-count-2010

Women at Work
A new tally shows how few female writers appear in magazines.
By Meghan O’Rourke

http://www.slate.com/id/2283605/

WOMEN WRITERS
Literature’s gender gap
Women are underrepresented in literary publishing because men aren’t interested in what they have to say
LAURA MILLER
http://www.salon.com/books/

http://www.salon.com/books/

Posted by: Judy M. Goodman | January 15, 2011

Late Bloomers

This morning, I watched part of a documentary about photographer Eve Arnold, a nice Jewish girl from Pennsylvania who, despite her Orthodox raising, became a photographer. [Auth. Note: Orthodox Jews do not believe in creating images of people – something about stealing their soul. Very tradition Jews are apparently worried their souls can somehow go walkabout. They won't look into a cat's eyes for the same reason.]

Her choice of profession was almost accidental. When given a camera by a friend, Arnold left medical school to learn about photography. Her extraordinary work made her the first woman allowed in Magnum Photos agency, a previously all male bastion devoted to helping photographers keep control of their work.

Her photographic career didn’t actually start until her late thirties, which seemed kind of late for a career change of that magnitude, especially given the heights to which she rose. Shooting everyone and everywhere from Mongolia to Hollywood, she photographed all the nobs and Nazis, starving children in Africa, and a load of movie types. In 1996, at 83 or 84 (depending on the source,) she was interviewed by Angelica Houston for the documentary by Beeban Kidron. At that point, she was living in a nursing home in England and could no longer hold a camera steady. [Author Note: I haven't found any reports of her death.]

While I shuddered over the cliche, “late bloomer,” the next question struck me like the ex deus machina sixten-wheeler. Why did 32-years-old seem like such an advanced age to someone nearly thirty years older than that? Perhaps because, about fifty years ago, some shortsighted dork made a name for himself declaring “Never trust anyone over thirty.” Though not long after, at the beginning of his third decade later, it was reported as, a footnote to history, he was asked if he had reconsidered the position. Naturally, he was quoted as saying, he hadn’t and no one should believe anything he said. I didn’t.

Still, the notion had taken hold in an already youth-obsessed society. Moreover, the computer revolution has made millionaires out of teenagers, Hollywood continues to glorify precocious youngsters with extraordinarily bad habits, and the anti-aging industry is booming.

Okay, thirty-eight imaybe somewhat early for a midlife profession metamorphosis. So, what about “Grandma Moses?” She left her embroidery behind in her mid-seventies to take up painting. Whether she was primarily concerned about her embroidered compositions in worsted wool being eviscerated by moths, as Judith Stein postulated. Or her arthritis slammed the lid on needle work, she had something to say. Going on to became an icon and a phenomenon, she said it with vigor. Similarly at 85, Jeanne Calment took up the sport of fencing at 85, and lived to the age of 122.

Then there are all the entertainers who suddenly appeared – some as overnight successes after 25 years in the business. A few were actual late bloomers. Margaret Rutherford did not start acting until she was over thirty. Still, she went on to have a decades long career, an Oscar, and the undying love of audiences around the world. Also, Phyllis comedienne Diller, was 37 when she started her career.

Before her forty-ninth birthday, Susan Boyle seduced the world with her voice. Yet, the A-K1 crowd will remember retired manicurist Clara Peller of “where’s the beef” fame from half a century early. Even with no experience before her TV commercial debut, found her self, at more than 89 in demand for series guest shots. Zelda Rubinstein of “Poltergeist” fame was 45 when she gave up a steady, long-time career as a medical lab technician. After retiring from accounting, Peg Phillips of “Northern Exposure” became an actress. And BAFTA winning British actress Liz Smith did not become a professional actress until the age of 50.

In business, 95-year-old Irene Wells Pennington became best known in her nineties when she helped straighten out problems in her husband’s oil business after he went senile in his 90s. Marjory Stoneman Douglas’s first environmental work of note occurred when she was almost 60.

Melchora Aquino was an uneducated Filipino peasant woman, the mother of six children, who became an activist in the fight to gain independence from Spain. Known as the Grand Woman of the revolution, she was 84 when the Philippine Revolution broke out in 1896.

When they should be retiring to the good life, many women have left tradition existences to take conquer the world. At 39 with less than a sou to her name, ‘Mother of Women’s Suffrage’ Louisa Lawson left her farm and husband. She took four children hundreds of miles to a Sydney, Australia and created “Dawn,” the suffragette magazine which existed for 17 years. Moreover, Mother Jones (‘the Miners’ Angel’ known as ‘the greatest woman agitator of our times’), Irish-American anti-war activist and labor radical; at 37 years of age she became active in the union movement following the death of her husband and was active for many of the next 63 years.
Writers, too, have published their first major work late in life.

Mary Wesley wrote two children’s books in her late fifties, but her writing career did not take off until her first novel. She wrote it at 70, after the death of her husband. At age 74,Harriet Doerr published her first novel which was very well received. Laura Ingalls Wilder. Though a columnist in her forties, she did not publish her first novel in the Little House series of children’s books until her sixties. While she first published in her thirties, we remember memoirist and novelist Flora Thompson, for her semi-autobiographical Lark Rise to Candleford trilogy. She did not publish the first volume until she was 60.

Children’s author Mary Alice Fontenot wrote her first book at 51 and wrote almost thirty additional books, well into her eighties and nineties. Maya Angelou – was in her 60s when her poetry and books became popular. In philosophy Last, but never least, Jessica Mitford, British author of the international best-seller, The American Way of Death, in her 70s had a cabaret singing act in San Francisco. The reviews weren’t terrific, but you can make your own decision here.  This website has more examples of the late bloomers, but lets not forget Julia Child – became a chef after many years as a secret intelligence officer. She was 49 when her first book was published, 51 when her  TV program “The French Chef” first aired.
So, here I am on the sunny side of 62 sitting on four, as yet unsubmitted novels at various stages of “finished,” wondering if I’ll be the next J. K. Rowling. Though the first Potter was written in her thirty-second year, Rowling qualifies as another late bloomer under the pernicious dictum of the sixties. The previous sections of her life included education on the continent and a varied, unrelated work history abroad.

Despite rampant cliches, I look at those harbingers of long and successful living, and know the more rational dictum “it’s never too late” is not just some pie-in-the-sky, sunshine up my skirt platitude from the Pollyanna Academy of Arts. “It’s not over ’til it’s over” is another good one. Let’s keep them, and ourselves alive!

Posted by: Judy M. Goodman | December 1, 2010

Interview With Audrey Niffenegger

This article came from ChicagoPublishes.com.

Artist Story: Audrey Niffenegger

Her Fearless Symmetry: Combining Creative Disciplines
NiffeneggerAudrey.jpg
Audrey Niffenegger.

Audrey Niffenegger is a visual artist who helped establish the Center for Book and Paper Arts at Columbia College. She’s also a writer and the author of the internationally acclaimed novels The Time Traveler’s Wife (2003) and Her Fearful Symmetry (2009). I sat down with Audrey to ask her about working across disciplines, book arts, and the experience of attending art colonies and writers’ retreats. —Laura Pearson, CAR Literary Researcher

As a visual artist, did you always think of writing as being part of your career trajectory?

What I always wanted to do is combine visual art and writing. Originally, I was thinking I’d be some sort of book illustrator, but I’m not good at being art directed. I have a tendency to rebel… In art school, I was always trying to do things to put the [two disciplines] together. I did performance art for a while. But it’s surprisingly not that easy. You’d think that if you have two really closely related talents that you’d easily be able to find the training that you need to do these things together, but it was just nonexistent when I was in school.

Although you’re both a writer and a visual artist, do people ever come up to you and say, “Which one are you really?’

All the time. You apparently can’t be more than one thing!

Where do you think that impulse comes from?

I think sometimes it’s just a really lazy question—people simply haven’t thought it through. There seems to be this notion, though, that you have one calling that you’re meant to do, and everything else is some sort of hobby.

When you started getting a wider audience for your writing, did you feel like you had to assert more ownership over your visual art practice?

Writing gets so much more attention from critics than visual art does. Even now, people will say, “Oh, you’re an artist!” like it’s some quant thing, like—”Oh, you knit!”

Do you think that sort of “hobbyist” assumption comes with doing book and paper arts? You helped found the Columbia College Center for Book and Paper Arts. Do you find that there’s a serious audience for that in Chicago?

There’s certainly a critical mass of artists making book and paper arts. The Center did that; it accomplished creating multiple groups of people—a number of circles of people—who are doing [this kind of art]. Then there are people who came into it independent of the Center… But it’s still something you have to explain to people. I mean, if you say “book arts,” people say “What?” Even artists’ books can be difficult to explain to a general audience.

In balancing writing and visual art, do you have a plan, when you sit down for the day, to create in a particular discipline?

I’m kind of deadline-driven. I know that I’m going to spend most of the summer making art, because I have a show this September [2010]. Whatever hideous, looming deadline is upon me, that’s what I do—which is good, because it keeps me working in different disciplines. I think, in a way, that’s what school does for people: It gives a kind of exoskeleton of deadlines and expectations [that exists] outside of opinions about what you should do.

Are there any artists who work across disciplines whom you especially admire?

Comics people are always inspiring, because they are artists and writers and storytellers all at once. People like Chris Ware, Dan Clowes, Alison Bechdel… Right now is kind of a golden age of comics. When I was in high school, I was always looking for anything that would qualify as an artist’s book, and a lot of what I was looking at was old. So just to see all these examples hot off the press— I mean, you can go to Quimby’s and always see something new. There are certain pockets of publishing that have enabled this renaissance.

Switching gears, I know that sometimes you go away to work. How have art colonies or retreats figured into your creative output and the rhythm of how you produce?

I started going to Ragdale [in Lake Forest, Illinois] in 1996, and I probably knew about it pretty close to when it started in the ’80s when I was an art student. At first, I had no idea why anyone would bother to do that. Then I started doing the Book and Paper Center, and by 1996, I was working 60-hour weeks. There were only two of us on staff, and it was just this overwhelming amount of work. And so I thought, ‘I need to go there—where there’s no phone!’ This was before cellphones, really. I thought, ‘No one will find me if I go there.’ So I actually started going to Ragdale because I wanted to hide! [Laughs]

It turned out to be this amazing thing. When you’re a student you don’t need [a residency], because your life is structured around schoolwork and you don’t really need any help ditching your responsibilities. But when your ordinary life is so overwhelming that you can’t get your work done, the colonies are ideal. Even now, I still like to go because I meet other artists and make friends with people I’d never otherwise meet.

Interviewed in Summer 2010.

Audrey Niffenegger was trained as a visual artist at the School of the Art Institute of Chicago, and received her MFA from Northwestern. She has exhibited her artist’s books, prints, paintings, drawings, and comics at Printworks Gallery in Chicago since 1987. In 1994, she helped establish a new book arts center, the Columbia College Chicago Center for Book and Paper Arts. She taught book arts for many years at Columbia and now is on the faculty in the Fiction Writing Department. She published her debut novel, The Time Traveler’s Wife, in 2003 (MacAdam/Cage). It was an international best seller and has been made into a movie. Her second novel, Her Fearful Symmetry, was published in 2009 (Scribner). In 2008 she made a serialized graphic novel for the London Guardian, The Night Bookmobile, which was published in book form in September, 2010. She is working on her third novel, The Chinchilla Girl in Exile.

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