|can't sleep, CNN'll eat me|
That said, the news from the creative side is largely good. I'm relieved to be running slightly ahead of schedule on books for review - have read all the July and August releases in the pile, have reviewed almost everything with a deadline, am working on reading and placing September and October releases now. With two exceptions, one of which is 450 pages and already out, one of which is 530 pages and due in August. So I'll be okay, but I can't exactly relax.
I wrote a tripartite essay that I've been prevaricating about since January, so I feel great that it's done (though not without whining). I'm waffling on whether to try and write another one before July 5. There's a deadline that day that suits the essay very neatly, but I really don't know if I can put it together in a week.
A crème de la crème publication expressed interest in a pitch but is taking an anxiety-inducing amount of time to get back to me about the finished piece. A publication that's a big goal of mine for essays accepted a review pitch. (Subtopic: I feel weird about saying in bios and pitches that my work has appeared somewhere when it's a review, and the pub is best-known for a specific genre. Especially a genre in which I write. But it's technically true.) A publication that's almost as big a goal of mine accepted a regular pitch and I'm deeply afraid I'll fuck it up. Two! two! editors responded to my pitches saying they'd read my reviews. My response was this tweet:
Swerving between feeling bigheaded with proof that my writing strategy of the past six months is working, and feeling naked and weirded out and terrified that I probably just put sawdust in my gas tank and it's going to sputter and stop any time now— Katharine Coldiron (@ferrifrigida) June 25, 2018
And for the past couple of weeks I've been participating (very badly) in the #1000wordsofsummer project, where Jami Attenberg writes us a note of support every day and we hold each other up on Twitter. I thought this project might, at least for a couple of weeks, get me to work more consistently, instead of the way I do it now, where some days I write morning and afternoon, some days I read in the morning and write in the afternoon, and some days I read both morning and afternoon and don't write at all. And it isn't predictable or dependent on a schedule, it's just what seems like the right thing to do that day. I also hoped that I'd be writing purely creative stuff for all of the daily pages, preferably all on the same project.
None of which happened! I didn't write every day, I "cheated" by writing reviews on some of the days (it's way easier to make myself write reviews than creative work), and I varied what I worked on, depending largely on fancy. I think this might've been my last major attempt to train myself to write every day. My one half has tried to teach my other half that I'm untrainable in this regard many, many times. Maybe this time my other half will goddamn listen.
But I did finish that essay during the two weeks, and wrote something fun about Celine Dion. It was a helpful exercise to participate even as much as I did, much more so than not doing it and being petulant and snotty about it, which is what I always do when NaNoWriMo comes around.
Out in the world:
This month's Books I Hate (and Also Some I Like) was with Eileen G'Sell, whom I admire a lot for her astounding fashion game as well as her skill with words. Check it out.
I reviewed my mentor Dr. Haake's book for Anomaly. I filed this review in late 2017, but delays on one side and then another have pushed it to now. I think it was worth the wait.
I reviewed a fascinating thriller for LARB, The Captives, by an author who can boast a gap of 20+ years between her first book and her second. The gap reminds me of Tillie Olsen, but the book sure doesn't. It's an extremely good thriller and I'd love to mail you the ARC if you want it.