Monday at the Movies: Stephen King and Ray Bradbury

One of my favorite classes in university had me reading nothing but short stories. More than the longer novels I'd read for my English literature course work, the short stories reigned at evoking emotional responses.

I experienced true terror while reading "Where Are You Going, Where Have You Been?" by Joyce Carol Oates. My heart rate rose and my palms got sweaty. "Patriotism" by Yukio Mishima drew me in with beautiful, transcendent language and then horrified me with a graphic depiction of seppuku. I was completely caught unaware by Ambrose Bierce in "An Occurrence at Owl Creek Bridge." Franz Kafka. Stephen Crane. Flannery O'Connor.

I think I have my reading list for the summer! And I think it's time to try my hand at short stories again.

Here are two contemporary short story writers talking about their craft. Yep, it's a double feature on Monday at the Movies.

Pop the popcorn!

I love this personal look into Ray Bradbury's life. Besides, his legs are whiter than mine!

Anyone inspired to write a short story or two or forty-two?

Creating Our Own Luck

This week, I was cruising Pandora and came across this oft-misquoted comment on the RKO screen test of Fred Astaire, one of my favorite actors:  “Can’t act, slightly bald, also dances.” Six little words that could end an acting career before it begins.  Luckily for Fred, David O. Selznick felt his screen test came off horribly, but Fred’s charm came through all the same and he was willing to take a chance on him. Fred was a tireless perfectionist whose grace and poise made his dancing appear effortless.  He was considered by many to be the greatest popular music dancer of all time, winning multiple Emmys, an Oscar nomination and an honorary academy award.  

When you’ve been writing for a long time without seeing your work in print, success can seem capricious and wholly dependent on sheer luck.  Sure, some people are at the right place at the right time, like Lana Turner who skipped typing class at age sixteen and was discovered by a talent agent at a malt shop on Sunset Boulevard.  But that’s akin to buying the winning lottery ticket, and we all know the odds of that happening.  No, success is a mixture of many variables, as we can see in these highly successful books that almost didn’t see publication. 

• · A Wrinkle in Time by Madeleine L’Engle was rejected by 26 publishers.  They felt it was too different for the 1960s as a science fiction novel featuring a female protagonist.  She happened to meet a guest at her mother’s tea party who knew a publisher and the connection led to a contract. Lucky? You could say so, but she was fully prepared with a polished manuscript when the opportunity presented itself and the right publisher came along. 

• ·Carrie by Stephen King was his fourth completed manuscript and rejected by 30 publishers.  He tossed the manuscript in the garbage, but his wife dug it out and encouraged him to keep trying.  It helps to have someone who knows your writing and really believes in it.  Listen to the people you trust about your writing, and it’s not always family or friends.

•  Chicken Soup for the Soul by Jack Canfield and Mark Victor Hansen was rejected 33 times, primarily because anthologies were not selling and the book was a little too positive.  Their persistence paid off, however.  Sometimes genres are cyclical and though the timing may not be right now, they cycle back around.  The creators also tapped into a new market with a fresh idea.

• ·The Tale of Peter Rabbit by Beatrix Potter began as self-published.  She began in her 20s but when the book wasn’t published, she printed it herself and gave copies to family and friends.  A publisher saw a copy of the book and was willing to take a chance on it, which led to a whole series of illustrated children’s books. Again, perseverance paid off, but being proactive and taking the steps available to her finally got it into the right hands.

• ·The Diary of a Young Girl by Anne Frank had a tenuous route to publication.  Anne’s father, Otto, was the only family member to survive the war, and he was given Anne’s diary by a family friend who rescued it when they were captured.  Her father hesitated to seek publication for the diary, going so far as to censor some passages that he felt weren’t flattering to family members.  But in the end, he believed that it should be read in its entirety by as many people as possible.  At so many points, this book could have faltered.  But when we have a book of substance about things that move us, we work to get it into the hands of readers.  When we have something authentic to say, people know and we gain credibility which creates impetus.

We need to remind ourselves that if we think some authors make success look easy, it’s not.  We’re not seeing the whole story.  Perseverance, preparedness and professionalism are necessary for every writer with a great idea and a love of story. 

We should continue to educate ourselves and remain teachable.  Learn to accept and consider criticism.  Make and maintain connections with other writers and attend writers’ conferences which may put us in contact with agents, editors and publishers.   In this way, we can create some of our own ‘luck.’ 

Are you sitting at the malt shop like Lana Turner, hoping to be discovered, or are you the tireless hoofer who puts himself out there for a screen test?  How do you create your own 'luck?'

The Carpe Annum Interviews: Nicci Jordan Hubert, Freelance Editor

We've declared 2013 as Carpe Annum--Seize the Year! It's our way of encouraging you as an artist/writer to find your own path, listen to your inner iconoclast, and be set free to explore your true writer/reader/human self.

We've handpicked authors and other industry professionals to come onto the blog and share their Carpe Annum experiences. This month we are thrilled to welcome Nicci Jordan Hubert to the blog. 

Nicci Jordan Hubert is a freelance editor based in New York City. She is the proud editor of several New York Times best-selling authors, and the equally proud editor of many more authors who plug away every day, without the glory.

(Full discloser: Nicci was my [Bonnie's] editor on Talking to the Dead, and we've remained in touch since that intense, hilarious time.)

Novel Matters: The theme this year on Novel Matters is Carpe Annum: Seize the Year! Tell us about a turning-point time in your journey in publishing when you took hold of your career. 

What did that look like? 

Nicci Jordan Hubert: You know, I have many flaws, but taking charge isn’t one of them. Or rather, maybe it is. I’d argue that taking charge is something I do a little too easily. Just ask my husband.

Anyway, I can think of two turning points.

Since college (which now seems forever ago), I knew what I wanted. Not specifically, but I knew that I wanted to be in charge. As a publishing intern, that meant announcing to my bosses in a meeting—with several other interns in attendance—that I was determined to work with them permanently, that I wanted to run the place someday. Later, as a new editorial assistant, and as a result of the “entitlement generation,” I made it clear that making copies was not something I would agree to for long. My bosses must have chuckled incredulously behind my back—the audacity! What I hadn’t anticipated was that, although I was a smart kid, it couldn’t make up for my lack of work ethic—I was an assistant and I would have to pay my dues. After almost getting fired for what boils down to total arrogance, I took charge in a new way: I began to work hard and learn the ins and outs of publishing. I decided that whatever I’d gleaned from a liberal arts education wasn’t enough. I had to become a publishing expert. I started coming in early and staying late. Soon enough, I was promoted to senior editor of a new, burgeoning imprint. I was 24.

NM: My hat is off, Nicci. By age 24, I’d learned exactly nothing. What happened after that turning point?

NJH: A couple years after that incredible experience, I was hired as at one of the largest publishing houses in the world, located in NYC. It was a dream come true… until my first day of work. It would be only a matter of days before I learned that the woman and executive editor I worked for was that woefully stereotypical NY editor: cruel, unhelpful, and sabotaging.  After only about half a year, I left my post at the house, took a job as a receptionist at an Upper East Side day spa, and swore off publishing forever. It was, undoubtedly, a turning point.

NM: A head spinning turning point. First you dig in, then you have to bail just to save your sanity. You didn’t stay away from the world of publishing for long, though.

NJH: Some things are just in your blood, are they not? For some reason, I can’t seem to escape publishing. Not even a year after I quit the publishing house, I secured a freelance editing gig that would change my career forever. Nearly ten years later, I am still working as a freelance editor, and now I edit for just about every major publishing house in the industry.

NM: Just the sort of editor every hopeful writer wants to work with. What is the process for an author to come under your direction as their editor?

NJH: Unfortunately, I do not typically accept clients who haven’t been given a publishing or agent contract. There are a few reasons for that. Number one: I hate charging people whose chances of getting published are slim. Number two—and this is the brutal truth: amateur authors often require a heavier hand, a longer editorial process—in other words, much more work from me. And since I can’t convince myself to charge an individual more than a publishing house, I end up working a lot harder for a lot less money. That being said, it brings me a great sense of joy when an author requests me to be their editor, once they’re signed. Other than by author request, I am usually hired by the editorial staff, who pair me with the authors and projects they believe are good fits.

NM: Publishing is changing on every front. What is the biggest change you've noticed in the last few years? 

NJH: Publishing has changed dramatically, to be sure. But to be honest, I’m on the sidelines. As a freelance editor, I’m not in those meetings where the discussion about digitalization and social media takes place. My job—my only job—is to help authors make their books the best they can be. And that process will never change.

Which is what I tell people when they ask me what I think about the future of publishing (which almost never happens, by the way…. Most people don’t care about my freelancer opinion…). I suggest that although the medium may change, the relationship between authors and readers will never change. There is no “end of books.” Books will live forever, of course, whether they’re read on paper, an iPhone screen, futuristic computer-glasses, or perhaps some kind of cool osmosis process.

NM: As an editor, what are always hoping to see when a book crosses your desk? Can you spot a book that has the "it" factor?  

NJH: Almost every editor will tell you that we can spot whether a book is publishable or not within the first 50 pages. Typically, we’re looking for either that “it” factor, or, better yet, just a great book.

NM: Writers tend to hate that phrase because we all think we’re writing a great book. But you mean something specific, right?

NJH: A great book is simply something that’s well conceived and well written. But the “it” factor, that’s a different story entirely. Of course, a classic example is the Twilight series. I devoured Twilight in one sitting, as I’m sure many of you did. I loved it (of course the rest of the series is another matter). But was Twilight a great book? Not really, right? But it certainly had that “it” factor. Which explains why some books, like Twilight, have not only been published but have gone on to sell bazillions of copies. It’s the greatest mystery of publishing.

NM: As much as it drives us all mad, we love the mystery of it all. I think that is what drives so much of the industry; chasing after the mysterious “One”, that novel that will capture the imagination of millions of readers. Should hopeful writers nurture that part of their craft?

NJH: Although there are certainly writers who have “that something” that simply can’t be taught—writers who manage to tap into that it factor without even trying—for those of you who are still aspiring writers, I’d like to suggest you don’t try to go that route. I hate to tell you this, but it’s highly unlikely that you’ve got a barnburner on your hands. You might, but it’s doubtful. You might be the kind of writer whose writing is magical. But you’re probably not; I hate to tell you.

NM: Just give us a moment while we breathe deeply into a paper bag. We. Can. Recover. From. Horrid. Truth. 

Okay. Back on wobbly legs. What if we’re not magical? What if we can't find our unicorn? What’s left for us?

NJH: If you really want to be a successful writer, there are no short cuts. Okay, if you’re related to a celebrity, you’ll have an easier time getting published, but for the rest of you… There is only one path to becoming a good writer: Reading lots of good books. Studying the craft of writing. Practicing writing a lot. Self-editing ruthlessly. And seeking out honest feedback.

NM: Do the work, ask people to kick our butts. Feedback is so often a butt kicking, right? Do we really need it? Isn't it just confusing to a writer's relationships?

NJH: The honest feedback part is important. Don’t ask your friends to edit your work, of course, and make sure the people you do ask have a sense for what makes a good book and will tell you the truth about your work. The last thing you want is to be one of those contestants on American Idol whose best friends told them they were amazing and, yet, they sound like a hyena who just got shot.  Right?

NM: Kapow! (That’s Bonnie imitating a gunshot in a desperate and lame attempt to ease the tension that Nic’s truthful answers are producing.)

NJH: One of Stephen King’s classic lines from On Writing goes, “…while it is impossible to make a competent writer out of a bad writer, and while it is equally impossible to make a great writer out of a good one, it is possible, with lots of hard work, dedication, and timely help, to make a good writer out of a merely competent one.
” Take that advice to heart, and you will either see your dreams fulfilled, or you will save yourself a lot of time and hardship.

That’s a long answer to a short question. So here’s the short answer: the “it” factor that editors are looking for is a book that is either excellent or magical… or both.

NM: I’m just going to go over to the corner here, and have a little cry.

NJH: So don’t. Cut. Corners.

NM: One of the many reasons I love working with you, Nicci, is your ability to tell the truth (even if it stings a little), and your ability to lead by following. You never told me what to do with my story, instead, you offered ideas, you led gently, and when I hit on what I knew would work for the story, you dug in and made it shine. I recall an early morning phone call (someone had forgotten the two hour time difference) after we’d finished the edits on Talking to the Dead, but you were up early rethinking several small but important issues in the manuscript. I recall sitting in bed (it was that early), rather dazed (I repeat, it was that early) and thinking: She’s every kind of brilliant. What kinds of influences do you credit for developing your skills, instincts, and talent as an editor?

NJH: Influences? Well, there are the people I give ALL the credit to in terms of my success. Dan Rich, Terry Behimer, Don Pape, Beth Adams. Then, there are the books I’ve read. The Shining. Bram Stoker’s Dracula. Pride and Prejudice. Franny and Zooey. The Poisonwood Bible. The Time Traveler’s Wife. Life of Pi. Wild. Genre be damned, these books taught me about literary magic.

In terms of instincts, I credit God for that one. I’ve had to trust my gut—along with my experience—in every project I’ve done. Most of the time, it works out okay.

NM: You're a Carpe Annum woman—I know you jump into every year full of enthusiasm and drive. What are you doing this year to seize the year, professionally, personally, or both?

NJH: Well I don’t know if I jump into every year full of enthusiasm. It’s more like fear and trembling. Will I get enough jobs to sustain me financially? Will I continue to grow as an editor? Will my stock rise? A typical NY transplant, I am ambitious to a fault. We’ll see how this year goes. As my best publishing friends here in NY say, “We’re Big in 2013.” 

Thanks so much, Nicci, for taking time to appear on the blog today!

Well, dear reader/friend, have you recovered from the interview? There's nothing like a kick in the truth to motivate a writer. I know that every word from Nicci is delivered with love: love for writers, for readers, and for books.

Thoughts? Reactions? 

Unreliable Pipes & Sippy Cups

On Wednesday, Bonnie wrote, "Creative energy runs in unreliable pipes."  Well, said, Bonnie. I might pin that above my computer.
While searching for equally brainy quotes about creativity, I came upon one that I love by Ray Bradbury, "We are cups, constantly and quietly being filled.  The trick is, knowing how to tip ourselves over and let the beautiful stuff out."

Maybe it's just the way my brain works, but the combination of these two quotes brought to mind the sippy cup I used with my kids, the kind with a tight-fitting plastic lid and straw.  Even when it was full, nothing came out of the cup unless the straw functioned properly.  My son could toss it on the floor or projectile it across the room, but unless he hit the lid just right or learned to utilize the straw or the dog got it, nothing came out.

Sometimes it feels like I'm wrestling a stubborn sippy cup when trying to direct the creative energy to my pages. Wouldn't it be great if it came instead in a Big Gulp cup with a flexy lid like the kind that skids off when you bump it against the steering wheel?

The cup is a good thing. It captures the creativity and holds it until we need it. The pipe is definitely a good thing, because it channels the flow to the page.  What can we do to keep the channel open and functioning? Here are some of my favorite quotes about creativity. It's nice that famous authors have blazed the trail ahead, whacking at thorny shrubs and palm fronds with their inky machetes.  They know what they're talking about.

• Show up.   Same time, same place. Or change the place, but know when and where you're the most creative. "I only write when I'm inspired, and I make sure I'm inspired every morning at 9:00 a.m. " Peter DeVries
• Don't empty your reservoir.  Leave your last sentence or your last paragraph dangling, but don't bring closure to the scene.  "I learned never to empty the well of my writing, but always to stop when there was still something there in the deep part of the well, and let it refill at night from the springs that fed it. " Ernest Hemingway 
• Bring your best to the table. Make it a priority, not the last of your to-do list. “...a writer should not so much write as embroider on paper; the work should be painstaking, laborious."  Anton Chekhov
• Fill up on good writing, not junk food. Read widely and be discerning. “If you don't have time to read, you don't have the time (or the tools) to write. Simple as that.” Stephen King
• Dig deep.  Don't chicken out. Write what only you can say. “Go where the pain is, go where the pleasure is.”  Anne Rice
• Know when to walk away. Got frustration? Go polish the silver or wash the car. Do something that doesn't require thinking but keep your notepad nearby.   “The best time for planning a book is while you're doing the dishes. ”Agatha Christie 
• Write intuitively. Hold a loose rein on your outline and be open to surprises. “The only good writing is intuitive writing. It would be a big bore if you knew where it was going."  Ray Bradbury 
• We repeat, don't talk about your WIP. "I think it’s bad to talk about one’s present work, for it spoils something at the root of the creative act. It discharges the tension." Norman Mailer

I will end with this quote from Anne Lamott that gives me comfort.
For those of us who remember the Polaroid camera...
 " Writing a first draft is very much like watching a Polaroid develop.  You can't - in fact, you're not supposed to - know exactly what the picture is going to look like until is has finished developing."

What does and doesn't work for you when staring into the creative vacuum?  Is there a routine you follow or a special tool you use, a favorite quote above your laptop?  Please, we'd love to hear!

The very real world of make believe

I'm thrilled to announce our June Giveaway is the newly released -- drumroll, please -- Talking to the Dead, by our very own lovely, talented, feisty, Canadian Bonnie Grove. Leave a comment for a chance to win her incredible debut novel.

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I've really enjoyed the last few posts here at Novel Matters, and the comments our visitors have made as well. Bonnie's post on 5/22 was very entertaining, caused us all to laugh. What's especially funny is, it wasn't far from the truth. As writers, we're never "off." We're working 24/7, our minds never quite shutting down. Inspiration can and does strike anywhere, at any time. Those who know us best recognize the moment of inspiration, and patiently wait as we scramble to preserve our thoughts on paper, or, uh, something close to it. Unlike Bonnie, I don't keep a notepad handy (note to self: you should), so in a restaurant or in the car I usually find a paper napkin to scribble on. At church it's the bulletin, in the restroom it's ... well, you get the idea.

Our stories are hard taskmasters -- they never give us a break. Even in our dreams, inspiration prances by like a butterfly looking for a net. I have learned to keep a notepad by my bed, for though I'm personally seldom inspired by dreams, I am terribly inspired in the time before I go to sleep. My mind in its relaxed state is a fertile ground of creativity. Scenes, dialogue, it's all there, like a movie playing just for me. That's when I hear my characters' voices the clearest, when my fictional world comes alive. I used to get up and run to my office to jot down my thoughts, because I've learned the hard way I will lose them if I don't. I was like popcorn, popping up time after time till the taskmaster finally let up enough for me to go to sleep. Then a friend, God bless her forever, gave me a pen that lights up. Now I don't have to get out of bed -- or wake my husband -- to capture the inspiration.

But while a free-wheeling imagination may produce the material for the novel, it takes disciplined time at the keyboard to write it. Latayne said it so well: "I absolutely must have extensive, uninterrupted blocks of time to first travel to, and then reside in, a fictional world. I can’t write a novel in short spurts." I heartily agree. Most of us can't just slip in to write a sentence or two, then slip back out to rejoin the real world. Interruptions can really mess up the flow of things. But neither can we turn off our fictional world just because we aren't at the keyboard. No, the life of a novelist is far more schizophrenic than that.

Our characters, their problems, and the world in which they live must first be real to us in order for them to be real to our readers. We have to know them well enough to tell their story, to make it believeable, otherwise who's going to care?

So I just have to wonder, what's it like to be Stephen King? If you could sit down and chat with any author, living or not, about one of their fictional worlds, who would it be and why?