Beginnings and Endings

Some experts would argue that the most important part of a book is the first sentence. Without a good opening, or hook, as we call it, we authors risk losing our readers right off the bat. But how many books have any of us read where we actually remember the opening line? Or even how the story begins?

For myself, I love a book beginning. When I’m in a bookstore or at the library, I don’t waste time reading the jacket copy on the back of a book. Instead, I toss open the cover and go straight for the first line. If it grabs me, I’ll pick up the book to bring home. But if that first line doesn’t stop me dead in my tracks right there, the book doesn’t stand a chance.

Usually the first line is a precursor to what’s to come in a novel. There is a certain tone to the writing, or the main character speaks with a voice so unique and compelling that we have to turn the page. These are the books that become our favorites, the ones that stay with us through our lifetime as key markers along the paths of our personal development.

We all have a few favorite opening lines. One of mine is the beginning of Barbara Kingsolver’s haunting novel, The Poisonwood Bible, which tells the story of an American preacher, who leads his family to tragedy and death as he descends into madness in the jungles of Africa. The first sentence prophetically reads “Imagine a ruin so strange it must never have happened.”

Another one of my favorites is the opening line to Sena Jeter Naslund’s novel Abundance, which tells the story of Marie Antoinette in the doomed queen’s own voice. “Like everyone, I am born naked,” she states. How can any of us put down a book that begins this way?

And who can forget “Call me Ishmael,” Herman Melville’s famous opening to Moby Dick? Or Humbert Humbert’s painfully obsessed beginning words in Nabokov’s Lolita: “Lolita, love of my life, fire of my loins. My sin, my soul.”

Likewise, I am fascinated by the last lines of certain books, especially those that have kept me spellbound for hours and made me loathe to have them end. One of my favorite endings appears in the title piece of Flannery O’Connor’s short story collection, A Good Man is Hard to Find. After brutally murdering all but one member of a Southern family stranded on a country road, a psychopathic killer called The Misfit shoots the opinionated grandmother who, in a moment of redemption, has reached out and touched him after recognizing him as one of her own.

“She would have been a good woman,” The Misfit says to his accomplice, Bobby Lee, “if it had been somebody there to shoot her every minute of her life.”
“Some fun!” Bobby Lee replies.
“Shut up,” The Misfit says, “It’s no real pleasure in life.”

Another favorite ending of mine (this one a bit more lyrical), lies in the final paragraphs of Norman Maclean’s A River Runs Through It. They read:

Like many fly fishermen in western Montana where the summer days are almost Arctic in length, I often do not start fishing until the cool of the evening. Then in the Arctic half-light of the canyon, all existence fades to a being with my soul and memories and the sounds of the Big Blackfoot River and a four-count rhythm and the hope that a fish will rise.
Eventually, all things merge into one, and a river runs through it. The river was cut by the world's great flood and runs over rocks from the basement of time. On some of those rocks are timeless raindrops. Under the rocks are the words, and some of the words are theirs.
I am haunted by waters.

Recently, I had the pleasure of reading Gil Adamson’s marvelous debut novel, The Outlander. Everything about this book is wonderful, including the suspenseful plot and the unforgettable characters. Most memorable is Mary Boulton, the young widow at the heart of the story. But it’s the novel’s ending that nailed me to my chair (even though I suspected what was coming). Turn away now if you plan to read the book. If not, enjoy the delightful and chilling last words Mary leaves in a note for the lover she’s finally located after a desperate and eerie journey through the woods of Montana:

“Find me.”

Rituals

When my friend, Pam, called to cancel on our movie date tonight, I was glad. Not because I didn’t want to go out with Pam – I relish our nights out, partly because I enjoy her company and partly because we share a love of indie films (something our husbands don’t have much interest in). But tonight I was glad we weren’t getting together because the unexpected block of time became an opportunity to bake holiday cookies with my son, Max.

Baking cookies may not seem like a big deal to some, but to me, it is. That’s because Max is sixteen years old now and between his interests - the homework, driving lessons, basketball and volleyball practices, and flag football games – and my own, there isn’t always a lot of time left for us to spend together.

We had made the dough last night, at Max’s urging. To be honest, with all I have going on with my publicity work and fiction writing, I could skip the whole Christmas-cookie-baking gig. I could skip the tree and the lights and the presents, too. But my kids, who are now fourteen and sixteen-years-old and straddling that gap between adulthood and childhood, won’t let that happen. So, with Max pestering me to pull out the New York Times Cookbook (we love the gingerbread recipe) and even reminding me to let the butter soften before he left for school in the morning (how many teenage boys do that?), the dough was ready to go.

After I hung up the phone with Pam, I called Max into the kitchen and said, “Let’s hit it.” My daughter, Sasha, and husband, Dan, made us promise that they could help decorate when they returned from softball practice, so Max and I were on our own to bake. We put some mood music on the CD player (A Charlie Brown Christmas, one of my all-time favorites), sprinkled the table with flour, pulled the cold dough out of the fridge, and selected Christmas and Hanukkah (for Dan, who is Jewish) cookie cutters from the drawer that only gets opened once every year in December. There were the old favorites – the rusty gingerbread man, the plastic Christmas tree, the rocking horse, the teddy bear, the holiday wreath, the Santa, the dreidel, and the six-pointed Star of David – along with some new ones: a Texas longhorn and a cactus shape that Dan had brought back from a business trip to Dallas this year.

And we baked. I rolled out the dough, and Max positioned the cutters and pressed them down, then peeled the excess dough away and transported the newly cut cookies (the longhorns gave us some trouble) to the new baking sheets the kids gave me for my birthday this year. Max and I shoved the filled trays into the oven and loaded up empty ones, working together in a rhythm based on years of doing the same sprinkling, rolling, and cutting Christmas ritual, on the same kitchen table, since he was a toddler.

We didn’t say much, Max and I, but as we worked together, gathering the loose scraps of dough to press into a ball and roll out again, I held my breath. I know that there won’t be too many more of these times. In two years, my son will be off to college, studying, working, falling in love and, some day, developing his own holiday traditions. But for now, I’ll treasure these stolen moments in the kitchen with flour on our hands, the scent of warm gingerbread in the air, and the fullness of this comforting winter ritual in our hearts.

Routine Matters

My son, Max, attends a local Sunday morning basketball clinic put on by Jim Brogan, a former NBA player and current coach/motivational speaker. Those who are familiar with Jim know already that he has an unorthodox and eclectic style. He pushes the kids – literally and figuratively – to be leaders as well as good athletes. And he does it with a mix of interactive coaching, conventional shooting and ball-handling drills, and bold “in-your-face” challenges and questions. At the end of each Sunday workout, the kids cluster on the gym bleachers, all sweaty and sucking on their water bottles, to listen to Jim’s “Thought for the Week,” which he prints out on colored paper and distributes after his talk. These talks are the best part of Jim’s Sunday sessions because that’s where he draws on his celebrity status as an NBA player, along with his fiery and determined personality, to drive home important truths about basketball and life.

Jim has been a fantastic source of inspiration and learning not just for Max and his fellow athletes, but for me and all the other parents who huddle close to the kids at the end of the Sunday workouts to hear the weekly thought. Of course, Jim doesn’t just aim his talks at the kids – he focuses on the parents, as well, and there are some weeks when his words are meant more for us than for our offspring.

Today’s talk was one of those “Parents, listen up,” lessons. Jim spoke about a former student who had stopped by and confessed that he was failing his freshman classes at UC Berkeley. The former student told Jim that he was partying until three in the morning every day and had lost his motivation and his ability to stay on top of sports and classes. Jim pointed out the obvious lesson for the kids – that we all have choices to make about how we behave and what we do with our time – but he also mentioned something that made me sit up and listen a little closer.

And that was the concept of having a routine. As Jim told the kids, any of us can go out every night and party and hope we get by on talent and luck. But, he asked, wouldn’t it be better to commit to a routine that’s good for you? He made some suggestions (ones that he’s mentioned before) about good habits for basketball players, including coming to the gym every morning before school and shooting one hundred free throws. But, he also pointed out that having a routine is an important part of life. Even more important, he said, was to use our routines to build up our lives. When life gets boring, or throws us a tough curve ball, Jim suggested that the best way to adapt and adjust is to add a new routine to our repertoire.

This idea hit home with me, especially after a holiday week, when a lot of my normal routines were disrupted. My husband was out of town, the kids were home instead of being in school, and my writing group, which normally meets on Thursdays, had to skip because of Thanksgiving. Even worse, I was involved in some pretty hairy dental work, which left me with a misaligned bite and a lot of soreness. All of this put me off my usual routine of making calls for clients every morning, working on my novel, meeting with other writers, and spending time with my family. I hadn’t realized how much I treasured those daily rituals until they were disrupted this past week.

But most striking to me is the idea that when things get tough, and the going gets boring, one option for getting over the hump is adding a new routine to our repertoire. Who among us writers hasn’t hit the proverbial wall when working on a book? And how many times have many of us, especially after a rough critique or another rejection, considered giving up all together? Jim’s solution, which can keep us in the writing game, is to add another routine. Stuck in the middle of that nonfiction draft? Add a routine of writing an essay or a blog entry on a similar topic every week. Can’t come up with a subplot for that historical novel? Consider adding a daily research or reading timeslot that might provide some answers. Run out of images for that new short story? Why not spend fifteen minutes every day reading a poem by your favorite poet. Creating new routines, I’ve realized, is just as important as having some in the first place.

We writers have all heard about the importance of writing every day as a means of becoming better at our craft. Even those of us who can’t, or don’t care to, write daily usually have some kind of ritual and/or routine that keeps us on our game. A weekly free-writing session, a meeting with a group of writers, an annual retreat or residency – there is typically something we do regularly that keeps us in touch with ourselves and gives us the momentum to keep moving forward with our work. I hadn’t realized how crucial my own routines were until this week, when they were disrupted. Thanks to Jim Brogan, I’m reminded of the value of the every day routines in my life, and how much we all stand to gain by doing those same things – as long as they’re things that are good for us – over and over. Even more important, I’m now going to consider adding new ones when the old routines wear out.

What Makes Writing Worth Doing?

In one of my favorite Woody Allen movies, Manhattan, there's a wonderful scene at the end of the film where the main character, Isaac, a neurotic, divorced television writer, finds himself alone at home on the couch, holding a tape recorder. His teenaged girlfriend, Tracy, has left him, he’s blown a relationship with a woman his own age, he’s lost his job and his apartment, and has discovered that fears about his health were unfounded. In that final scene, alone and hopeless, he turns on the tape recorder and asks himself, "What makes life worth living?" He then answers the question, mumbling into the microphone in his hand: Groucho Marx, Willie Mays, the second movement of the Jupiter Symphony, Louis Armstrong's recording of Potato Head Blues, Swedish movies, Sentimental Education by Flaubert, Marlon Brando and Frank Sinatra, the incredible apples and pears by Cezanne, the crabs at Sam Wo's, and, finally, he adds, "Tracy's face." These last words hit him in a way the others don't; he gets up and, in true Woody Allen fashion, runs through the streets of Manhattan to find Tracy before she leaves for college in England.

I won't tell you what happens at the very end (I’ll save that for those who haven't seen the movie), but I love the fact that the final realization in this film comes because of an image. The picture of a young girl's face in a man's mind summarizes her whole being for him: her sweetness, her radiance, her intelligence. It reveals these characteristics in a way that is so monumental that Isaac has to act. And off he goes, to whatever resolution the story has in store for him.

We writers deal in images. And like Isaac, we often find ourselves at a point in our writing lives where we’re on the couch, alone and hopeless, wondering if we can continue to pour our hearts out on the page year after year.

Most of us have been in the situation where something that was at one time important to us - our job, our marriage, a sport, a hobby - changes, and we suddenly find ourselves asking, Why am I doing this? What’s in it for me? In many marriages, this moment tends to occur after some years together (we’ve all heard the warnings about the seven year itch). We reach a point where we ask ourselves why we married our spouse, why we chose to have kids. We imagine what our lives would be like if we hadn’t gone down the marriage path. Or maybe we meet someone who seems like a true soul mate and wonder "what if?"

Writers often experience a similar pattern. We take some classes, win a few awards, find a good writing group, maybe even land an agent. But our first and perhaps even our second book doesn’t sell, so we doggedly write another one. And halfway through that next one, after maybe five or six or seven years of writing and going to classes and conferences and meetings with other writers, we ask ourselves, why are we doing this? Why spend so many hours away from our spouses, children, and friends, to slave over pages of words? Is it worth it?

And this is where our inspiration falters. Some writers stop writing. They begin to doubt themselves, they become more critical and anxious at their group meetings, or they don’t come at all - spending their creativity on inventing excuses: "I had too much work this week," "I’m not feeling well," "I have to go to an event with the kids," "I can’t find the inspiration/motivation/courage,"etc. Even published writers go through times of doubt, wondering why a book hasn't sold despite good publicity, successful book tours, and decent reviews. Why do any more book signings, they ask? Why write the next book? What makes writing worth the effort?

As in a marriage, when a writer's relationship with his/her work starts to falter, it might be time to examine the situation and get some counseling. A good conference or class can be the answer for some, providing a new way of looking at our writing, or offering new grounds for inspiration and camaraderie. Perhaps a stint at a writing residency might do the trick, providing some needed time for soul-searching and reconnecting with our creative selves.

Or maybe it's time to talk with a spouse, trusted friend, writing expert, agent, even a publicist. Anyone who’s a good listener can act as a sounding board. Have that person ask (or just ask yourself), "What makes writing worth doing?"

If you're honest, your answers might surprise you: maybe it's worth it because you love creating a world all your own from your own imagination; maybe it's the exhilaration you feel when you find that perfect word that illustrates exactly what you’re trying to say; maybe it's the admiration you receive from your friends, your family, your readers; maybe it's the friendships you've formed with other writers like yourself; maybe it's the voices of the characters you hear in your head, begging you to bring them to life on the page; maybe it’s an image of a young girl's face. You don’t know what that image means, but you feel driven to write about it, to find out why it haunts you, to discover what impact understanding it might have on your life.

Listen carefully to your answers. If you’re lucky, you just might discover an idea, a thought or, possibly, an image so powerful that it gets you up off the couch and running to create your next scene.

Oh, and for Isaac, I would have added one more thing that makes life worth living: writing.

Confessions of a Library Lover

From the time I was old enough to hold a book in my hands, I’ve been a huge fan of public libraries. Some of my earliest and best memories are of trips with my mother to our local library, where I could pick up to seventeen books at a time (the maximum allowed then) to take home and read. I was seven years old when I got my first library card, and I still remember my first selections: a couple of Nancy Drew and Hardy Boys mysteries, a Zane Grey novel (pushed on me by my mom), a collection of Greek mythology, and what was to become my all-time favorite book, Louisa May Alcott’s Little Women. I was a voracious reader and blew through so many books that sometimes we made two trips to the library in one week.

When my children were little (they’re both teenagers now), I continued the tradition and brought them on outings to our public library here in Rancho Penasquitos every week. We checked out all their favorites and read every book that had a series: Curious George, Dirty Harry, Dr. Seuss, Corduroy, Babar the Elephant, Madeline. As my kids got older, we graduated to Harry Potter and the Narnia series. My son doesn’t read as much now as he used to, but when he does, he goes for fantasy and video-game related novels. My daughter enjoys young adult fiction and will often read a book in one day.

Now that I’m a publicist and writer myself, I confess that I don’t get to read as much as I would like. But I still visit my local public library and do my best to get my kids to go with me (harder to do now, with their busy schedules). The Penasquitos branch that I frequent doesn’t open until 12:30 p.m. on Mondays, Wednesdays, and Fridays. On those days, I’m often one of the twenty or so individuals congregated outside the door in the sunshine, eagerly awaiting the moment when the librarian slides the Closed sign to Open and lets us in.

When I’m away at an artist residency or on vacation, my first priority is checking out the local library. One of my most treasured possessions is my Hawaii state library card, which is good on any of the islands. Last year, while staying on the Big Island for a residency, I visited five branches during my trip. Some, like the Na’alehu branch, are housed in tiny trailers. The Hilo branch has a huge central open-air courtyard encased by windows and visible from all four sides of the stacks and Internet carrels that surround it. I’ve been to some equally gorgeous and unique libraries in California, Oregon, Florida, Hawaii, and Vermont, and can’t wait to pick up library cards in trips to future states.

As a book publicist, it’s no surprise that I urge my clients to hold signings at public libraries. These institutions offer terrific opportunities to reach an entirely different audience than those that authors meet at bookstores. Many libraries are willing to order books for signings and do great jobs of promoting events through newsletters, flyers, press releases to the media, and email outreach. Some libraries will showcase authors, placing books, posters, and signage in their lobbies or designated areas for announcements or featured items. And they’re open to all types of writing, embracing traditionally published, self-published, and print-on-demand authors equally.

Many libraries have dedicated sections for local authors, so every writer with a published book should be sure to get it housed in at least one branch in the local system. Authors can introduce their books to other libraries across the country by sending email inquiries and/or visiting the library websites for submission requirements. A great resource for locating libraries across the country can be found at http://www.publiclibraries.com/.

The Take-Away

I recently spent two weeks at an artist residency at the Vermont Studio Center, a large compound in the quaint northern town of Johnson, which caters to artists and writers who seek a get-away place to work, reflect, and experience a sense of community. My time there was a strange mix of esoteric highs and lows. On the low end, I found the place to be a technological twilight zone, with limited Internet capability, printers that didn’t work, and cell phone service that ranged from intermittent to non-existent. My calling card number wouldn’t go through on the local land line, my key to the writer’s studio building had to be replaced three times, and the light bulbs in my dorm room mysteriously flickered on and off the entire length of my stay, keeping time to the beat of some unknown rhythm they alone heard.

Compounding these technical difficulties was a distressing lack of sympathy by most of the VSC staff. In one instance, I made the mistake of asking for help with my Dell laptop, which refused to boot up. The staff member I approached sniffed disdainfully at me and suggested that since I didn’t own a Mac, which is the VSC computer of choice, I should just go out and hire my own technical support.

There were other lows: hot and hectic work shifts in the dining room kitchen; a floor mate who sang and/or shouted into her cell phone until two o’clock in the morning; models who didn’t show for scheduled life drawing sessions; the ophthalmologist back home in San Diego who refused to call in a prescription to the Rite Aid drugstore in Morrisville.

But the high points more than made up for the lows. The legendary Vermont foliage put on a spectacular display of yellows, oranges, and reds, and the Gihon River burbled merrily outside my studio window. The campus meditation house was a practitioner’s dream – situated in a quiet garden, it exuded peace and tranquility, and came furnished with candles, incense, and rows of comfortable meditation cushions. The food was plentiful and the conversation lively during mealtimes, and the resident presentations at the Center’s lecture hall provided fascinating glimpses into each artist’s personal view of the world. I managed to scratch out four new scenes for my novel; met with literary great, Antonya Nelson; took day trips to Burlington and North Conway, New Hampshire; saw a charming local production of 1776 in Hyde Park; and hiked the surrounding area in perfect 57-degree fall weather, photographing winding trails, flowers, green fields, and waterfalls.

But what I’ll remember most about VSC are the incredible voices of my fellow writing residents. There were eleven of us, and though we were outnumbered by more than forty visual artists, we emerged as the most vocal and boisterous segment of our creative community. We met as a group under our own reconnaissance in the Mason House conference room, a small living room area in one of the residence halls. Armed with wine, tortilla chips, and M&M’s, we read our poetry and prose aloud, shared constructive feedback, and exchanged observations about the writing life. The more the group met, the more we bonded, and our deepening respect and appreciation for each other made this residency one of the most profoundly memorable I’ve experienced.

There are many take-aways from this trip, but for me, the most vivid will be the amazing depth and grace of the non-fiction vignettes from Bill, a CPA in Idaho; the gentle wisdom and thoughtfulness of the animal poems by John, a spiritual guide and teacher in upstate New York; Monique’s sparkling wit and fast-paced coming-of-age humor; Nina’s southern twang and heartfelt take on life as an Indian American girl growing up in Kansas; Louise’s British bildungsroman, told in her cockney accent, all flashing teeth and smiles; Cortney’s adult fairy tales, magical and transcendent, punctuated by cigarette breaks and an impish smile; George’s lyrical narrative about the life of a Russian boy during the time of Perestroika; Heather’s dazzling flash fiction; Leigh’s revealing haikus; my own humble take on love and history in the time of Pocahontas.

I’ve measured my other residency experiences in terms of the beauty of the landscapes or the friendships I formed during my stay. But this trip, while mixed in terms of highs and lows, stands out for the deep admiration and tremendous heart and talent shared by the writers there.

To all my VSC friends (including the visual artists, who generously allowed me to participate in life drawing sessions; Gerard Huber, who touched me with his friendship and kindness; and John Fitzpatrick, who willingly shared his healing knowledge), I send my love and best wishes. Namaste.

Signing Trends: A Ground-Level Report from a Publicist's Viewpoint

A lot of writers who contact me want to know what booksellers are looking for these days when it comes to hosting author signings. Unfortunately, there’s no simple answer, since not all bookstores are alike and, thus, sellers have differing views on what kinds of books they allow authors to promote. I am seeing some general trends, though, when I call stores to pitch signings. Here are some items to consider when preparing to contact stores regarding your books:

Paperback Price Points are Lower
I’m seeing a lot of pushback from stores on pricing, especially for paperbacks. A number of stores don’t allow signings for paperbacks, but those that do are concerned about price. Most of my clients have priced their books reasonably, but those with a paperback priced at $16.95 or higher face a tough time booking signings. The economy is a major reason for this trend, and it affects everyone. For example, the B. Dalton bookseller in the downtown Los Angeles Mall says that she’s not selling any paperback priced over $15.99. Another bookseller in Encino, which is more upscale, tells me the same thing – even though their stores cater to two extremely different demographics. Because of our current economic conditions, price is becoming a sticking point, and authors, especially those who self -publish and/or have some say in their book’s marketing decisions, should take care not to price themselves out of the market.

Distribution is All
If your book is not in the Barnes & Noble or Borders ordering systems, many of those outlets will not allow you to sign. Likewise, if your book is not listed with wholesale distributors like Ingram Books and Baker & Taylor, many booksellers will turn down requests to sign. I can’t harp on this point enough – make sure your book is ready to go distribution-wise before you start your marketing campaign, or you may not find many booksellers willing to work with you on a signing.

To POD or Not to POD?
A lot of the booksellers I call these days won’t allow authors with print-on-demand (POD) books to sign at their stores. This situation is frustrating to writers and publicists alike, especially when publishers and literary pundits insist that POD is the wave of the future. Many bookstore managers, sadly, have a bias against self-published books and a number of them automatically assume that a book listed as POD is self-published, even though the majority of traditional small presses these days are deliberately choosing to deliver books via POD.

One solution for POD authors is to ask your publisher to do an offset run of 500-1000 books. You or your publicist can then inform bookstore managers concerned about ordering lead times that there are plenty of copies of your book available for purchase. Some bookstore managers find this arrangement acceptable, but others still avoid POD books. Because of this trend, I recommend that authors who can’t decide between traditional and self-publishing try to sell their books via the traditional publishing route first. If an agent can’t sell the book, then self-publishing is always a good fall-back option.

Be Prepared to Sell
A lot of destination bookstores – those in malls and other outlets that depend on location to bring in traffic – will host authors even if they don’t have seating space for readings and signings. These stores usually offer writers a table inside the store, or just outside in a mall walkway, where they can sell directly to store patrons. The booksellers at these destination locations prefer to host authors who are good at personal selling and willing to supply marketing materials for their signings. As always, I recommend that authors think outside the box and try to find other venues besides bookstores for signing opportunities. Some of the more creative destination locales include airport bookstores, book expos, street fairs, and professional organization meetings.

Take Home Your Leftovers
Many store owners don’t have the shelf space to house leftovers from book signings and are asking authors to either buy back books that don’t sell, or arrange a return policy with their distributors. Most of my clients’ publishers are good about taking returns, but authors should know that not having a return policy can be a deal-breaker when pitching signings.