Done and Undone

The only way this post will make sense is if I outline it: 

1. Collection soon 

2. Book finished 

3. New project 

1. My mini-collection of short stories, Wire Mothers, releases in just about a week. Confetti emoji! I am long overdue on making the announcement that I'll be appearing in Brooklyn in late June to promote it, but I haven't gotten my ass to Canva to make a graphic for that event, because April was messy (see 2). 

Art by Bri Chapman. Order here.

I've gone on record lots of times that I don't consider myself a great writer of short stories. I have gathered this from the world rather than believing it in my heart. I've tried (a lot) to write New Yorker-style minimalist short fiction, and I just can't do it. My stories, thus, got rejected constantly for the better part of a decade. And yes that is a very normal thing for a writer to report, stories getting rejected constantly for the better part of a decade, but whatever mold I was supposed to be reshaping to pour my short-form fiction into over all that time, so as to make it suitable for magazines - I never managed to find that mold's schematics. My acceptance rate didn't improve post-grad school, post-having a firmer grip on my craft. I write what I write, and magazines rarely like it, and I've accepted that (even if they won't, ha HA). 

So these five stories are the result of that process, of figuring out what kind of writer I am and accepting that I'm unacceptable. I like them a lot. I like how they turned out. I hope you will, too, but I long ago stopped believing that people who like regular American short fiction will like my stories, so it's OK if you don't. 

I'm moaning about lack of publication but the fact is, three of five of the stories in Wire Mothers were previously published. (This is not the average ratio for the stories sitting in my hard drive.) Fun fact: the editor who published "To-Do" in 2015 wanted to remove the bullet points. If/when you read that story, enjoy thinking of it without them. Editors can be idiots. 

2. For the first 12 days of April, I was at a residency, my first ever. It was at Yefe Nof, which is located at Lake Arrowhead, California, which is 5,000 feet above sea level. I did not think this would be a problem, because I've visited Denver multiple times, did a long weekend in Colorado Springs, etc., and never noticed the altitude. But I was increasingly ill the entire time I was there: digestive problems, anxiety, poor sleep, shortness of breath, et al. I pushed through and wrote a staggering number of words, successfully finishing a draft of my novel, Men from Other Countries. Then I went home early and hugged my husband. 

For the following couple of weeks of April, I stayed more or less in the zone, revising and rewriting and working through the draft, until I had something I was ready to give Matt. He read it, and gave me useful feedback, and now it's with my second reader. The door isn't completely open to more reader-friends yet, because I need one more line edit plus more feedback re: Matt's points before I can consider it really a finished draft, but it's functionally finished, and I'm so relieved. 

I started this book in 2017, but then I got sidetracked by Ceremonials and Junk Film. Gun to my head, I'd say I've been working on it for about two years, especially considering research, but the majority of the word count was written in two huge bursts in November 2023 (30k) and April 2024 (40k). I'm explaining this for transparency, and because when the book gets published, people are going to ask how long I worked on it and I want to have an answer to hand. It's not an answer that lines up with the historical record of me working on this book, but it's spiritually close to say two years, on and off, with inconsistent work and gaps in between for other priorities. 

It's a good book, and I'm proud of it, but it was rarely fun to write the way Highbinder was (and nowhere near as fun as Junk Film was). I remembered the fun I had with that book as I was reskimming it the other day, and the comparison was stark. Other Countries was serious business, and I only enjoyed myself on a handful of occasions (eg I came up with a reason for my gay character to hide in a closet). So, for my next trick... 

3. ...I'm going to write something that I hope is a lot more fun: a series of essays to form a character study of Tom Paris from Star Trek: Voyager and explore my stupid crush on him. 

just look at this idiot. God I love him so much

The project is also intended to reflect some more light on Voyager as a metaphor for family relationships and a much better Trek show than it's given credit for. But mostly it's about Tom. 

I'm a little concerned that it's my rebound project after working on Other Countries so intensely, and that it won't amount to anything. This concern is amplified because I'm telling people about it, instead of waiting to see if private work on it comes to something. That tends to be a jinx. But my list of undone projects includes this Tom Paris thing, a really dark hybrid essay I'm not ready to write yet, a very annoying revision of my grad school thesis that I have to read philosophy to do, and a huge undertaking about Jean Harlow's husband, which is likely some years away from being ready to write, if I even decide to do it. So I thought I'd start rewatching Voyager and taking notes and going from there instead of just waiting for my second reader to get back to me (hellish), or getting a real job (equally hellish). Very casual work for a possible fun-writing reward, no pressure. 

4. Misc: I've been wishing I had something good to write about re: movies, like the essay I wrote about The Zone of Interest here, but I haven't happened upon anything just yet. I gulped the entirety of the Hannibal TV show in less than a week, but most of what's generally useful criticism about that show has been said already, whether in words or in fan art. Pretty sure I'll be making this x-stitch pattern, though. 

found here

My Peculiar Monstrosities

Something I learned in 2023, like really seriously learned it, was to slow down. My father said to me so many times when he was teaching me to drive, "Don't get in a hurry." This phrasing stuck in my head and repeated itself to me again and again when I was in Norway and Sweden in September. Writer/editor me would revise him to "don't hurry" or "don't rush it", but "don't get in a hurry" expresses the heart of the advice in a way the revisions don't. Get in a hurry. In a hurry as a state of being, rather than hurry as a verb. Don't get there. Stay out of a hurry. 

I kept trying to rush to and from places, rush experiences, in Sweden and Norway, and the experiences kept going wrong. When I slowed down it was fine. Where I live, I sometimes try to take driving shortcuts when I'm behind, and I wind up being later than I would've been if I'd just gone the normal way. The more I get in a hurry, the worse things go.  

I don't know what this has to do with the rest of the post, but it came up as I was writing about Twitter, and doesn't feel like it belongs somewhere else, so in it goes. 

Lately the films I've been watching are often extreme. I know why - it's self-flagellation, and it doesn't speak well of my mental health, even if it's a better coping strategy than others I'm aware of - but that's not keeping it from happening. 

One direction I considered for this post was writing about Night and Fog, Alain Resnais's half-hour exploration of the concentration camps, blending footage from the 1950s with archival footage that you know exactly what it looks like. (That fucking bulldozer shot.) Having researched WWII on and off for the past...two years? something like that? I knew that some of what was said in voiceover was embellished, if not flat-out untrue. I don't know why, because who the hell needs to embellish what happened at Auschwitz, but I'm sure of it. And I realized as I was listening to the VO and comparing it to what I knew to be true that Resnais had made a propaganda film. In this case the propaganda is for the right side, so it's not objectionable per se, but that's still what it is. 

Another direction is to write about All Quiet on the Western Front, the 2022 version, which I adored even if it was challenging to watch. (If that's a propaganda film, it pushes for full historical contextualizing and to stop shoving children in front of cannons, which are political messages I can get behind.) The main thing I thought about while watching was how world cinema of the 21st century keeps proving that Hollywood has totally lost its way. Not only do we actively discourage the avant-garde in American filmmaking - as we always have - we keep making worse, longer films and elevating filmmakers who focus on narrative/characterization and totally drop the ball on visuals. 

A third direction is to talk about how my book is going. I'm in a strange place. I've written over half of it, and have gotten stuck in a spot where I have to 1) romanticize a character I don't like 2) retcon and fit events into an existing narrative framework, which I thought would be fun, but currently isn't 3) figure out my main character's reactions after she does bad or iffy things 4) write the setting of Paris, which I've only visited once, twenty years ago. A few scenes have been emerging from my pen, but it's a little like gaining ground in a car stuck in the snow - a few inches here, rock back, a few inches there, rock forward. So I went back to the beginning and reread the first 80 pages to start working on the major changes I'm going to have to make (redoing a bunch of conversations, changing the writing style altogether in some parts, altering the main character's age from high school to college). That process was demoralizing enough that after taking notes, I got stuck again on the point of actually doing the revisions. 

I wrote a paragraph on each of these directions rather than going on at greater length on any one of them because I'm considering trying to write something like my peers are writing, a Substackish thing. I think the field is much too crowded for me to enter it the same way my peers are, and I'd have to force myself to write on a regular basis rather than here and there when something comes up. But not being on Twitter means I'm not recording my thoughts on film and the writing process as often as I used to. (Which is good? Fewer opinions on Twitter = a better world?) I was not a wholly unpopular tweeter, so maybe I could grow the audience for my books if I expanded in another place on what I might have tweeted. I'd likely choose Medium if I was doing this. And I opened up a window there this morning with the intention of writing a full post about Night and Fog and propaganda. But again, the field is crowded, and the truth about me as a writer is that I don't want to sharpen my elbows. I just want to do my thing. 

I gained a lot of confidence from staying off Twitter for the past six weeks. I gained a lot of peace. I missed my online friends - I missed their wit, and I missed the reinforcement that I am not alone in my peculiar monstrosities. I missed all the opportunity that grows in that place. It's - this word truly is not an exaggeration - wrenching having to decide between on and off Twitter, and the middle ground of "sometimes" has always been a hard space for me. (And "sometimes" does nothing for literary promotion.) 

I don't know where I'm going. I know I'm not going there in a hurry, or that if I am, I shouldn't be. Twitter is nothing if not fast, so perhaps it's better out of my life, promo be damned. 

Is There a Chance the Track Could Bend?

Migraine is bad today, and I'm feeling vulnerable and foggy but also have the desire to create. 

--

I've been thinking a lot about how my "career" as a writer has developed in the last three years, since Ceremonials was published. Part of this thought was inspired by the Cait Corrain fiasco, which I feel really sad about but have no useful opinions on. Well, no, my sole opinion is that Goodreads has too much influence on major publishing and editors need to stop using it to make decisions, but that leads me back to the main thing I've been thinking for the past eight months: I'm really glad I haven't landed a deal with a major publisher. 

It was all I wanted for a dozen years, all I was writing toward. I perceived a book deal with a real advance and lawyers and a publicity team and all that as a bunch of things at once: a stamp of approval from people who know what they're doing; access to a whole solar system of opportunities that I could never get on my own; and an invitation onto a specific monorail car. That car would take me up the same track as a jillion other writers and all I'd have to do would be to ride, rather than - as indie authors must - be the train conductor, the architect, the security officer, the repairman, the ticket-taker, and the rider, all at once. I wanted to be at ease on the journey rather than be Vishnu. 

Yes, Vishnu on a monorail, just work with me here

I want to emphasize that I wanted this, a Big Five book deal, very badly. I cried about it. I screamed about it. I felt jealousy so hot it left ash in my mouth. Then I hung around the edges of the book world for a few years, with the intent of learning more about how to get what I wanted, and what I observed changed my mind almost completely. 

Watching (from distances ranging from very close up to very far away) dozens of other people take this ride, I am so glad I'm on a different train. By riding passively, they have learned a lot less about where they're going and how the monorail works. They are locked into one experience; changing trains is almost impossible. Whoever is conducting the train takes riders into whatever neighborhoods the conductor needs to go, rather than what the rider wants to see. Sometimes you're riding in comfort and you get booted off the monorail for no discernable reason, and you have to walk all the way home. 

I didn't know any of this when I was yearning for that agent-contract-advance cha-cha. I learned a lot about the publishing industry and how it grinds up debut authors while I was a freelance critic, but I also watched a number of colleagues from my debut year go from hopeful and lucky to stuck and lost. Or just disappear. Because the rewards of publishing are great, but the disappointments can be greater, especially if you aren't emotionally prepared. 

Putting something into the world that you have created, but not healthily disconnected from, can be wrenching rather than joyful. (Ask any parent.) It can make you never want to do it again. If you can't maintain reasonable expectations, if you don't have someone telling you to calm down it's just a book there are hundreds every year, the process can turn you into a monster. I watched it happen in slow motion over Facebook with an acquaintance a couple of years ago. She forgot that it was about the writing. It's gotta always be about the writing. She hasn't published anything since. 

All that said, I wouldn't mind getting a big advance and a splashy marketing campaign for which I only have to show up, rather than create my own graphics, print my own postcards, arrange my own interviews, etc. One of my books that's out on submission, I'd like a large deal, please and thanks. But the cost of such money and idyll is significant, and I can never lose sight of that. 

--

On the book I've been researching and working on for about two years (not counting when I actually started it, which was 6+ years ago), I've now written 60,000 words, most of them in the past six weeks. I think I'm about 2/3 through the draft, but it might be closer to 5/8. The book uses Casablanca as a jumping-off point (forgive me if you're hearing this for the 80th time). That movie takes place in December 1941 and I started the story in 1935. Now it's 1939, and although I've seeded in many aspects of the movie, I've finally gotten to a place where I need to weave the movie's story more directly into the book's story. That's exciting, but it's also briefly stalled me out with how. 

I keep thinking about Wide Sargasso Sea and how angled and obscure it is, and how little I liked that quality when I read the book. (One of my secrets is how confusing I find Jean Rhys, because she's a writer's writer that a lot of folks speak of in reverent tones. I read two of her books and floundered through both.) I keep thinking about Alexandra Ripley's Scarlett and how much I enjoyed it despite it being critically trounced. I keep thinking about all the Pride & Prejudice Universe books (Mr. Darcy's Daughters et al) and how yes I like them, but stylistically they stick to the script. 

Among these choices, I'm not sure what kind of book I'm writing. I had a big dramatic conversation with Matt about this a few weeks ago, because I'm afraid I'm writing a commercial novel with transparent prose (Scarlett) rather than a literary novel with lyrical sentences (Sargasso). The former wouldn't be bad (and I've written work like it that I'm proud of), but it doesn't last beyond a few years. Then I get to thinking about whether I care if I have a legacy as a writer, whether it matters to me to be read after I'm gone or whether I want to be a perfectly fine contemporary writer who's suitably forgotten, and I don't know the answer to that. Not that I can really control it, who can control their legacy?, but I can decide what kind of book I want to write now, and that choice will ripple into the future. 

Ultimately the answer to this dramatic conversation was predictable: write the book the way the book comes out of your head and don't worry about your future. That's the advice I give to everybody and I'm usually able to give it to myself. This book has been so immersive and so challenging, and I've been so full of anxiety about whether I'm writing a book that belongs to me or not, that I forgot it temporarily. 

Anyway, now that Ilsa has moved to Paris and she's about to meet Rick, after I established so much about who she is and how she acts and what she wants, do I go impressionistic on the parts that were already laid down by Warner Bros in 1942? Or do I tell it from her POV as meticulously as I've told the story up to now? I started with the latter, but I'm pretty sure that day's work is bad for other reasons so I want to throw it out and start over anyway. 

--

We announced officially that I'm leaving XRAY in February. I learned a lot there, but it's time for me to go. Among a bunch of reasons, it was too much to promote Junk Film, write steadily, and also keep up with XRAY responsibilities. In fact it's still too much, right now, to do everything on my plate as a writer and still do XRAY, and I'm behind on stuff for it and Barrelhouse and my regular fucking life. Next year I've got at least one book coming out and possibly two (the Poltergeist anthology is the other) and I had to give myself more room. 

I know it's the migraine talking, but I really hope 2024 is better than 2023. I had a good year in a number of visible ways, blessings I do definitely count, but emotionally, internally, it was an extraordinarily difficult period. I'd like to spend less money and be in less pain, all around. And I didn't do a lot to uplift other writers this year compared to previous years, so I'd like to do better at that. 

Spite Is a Shallow Well

I write this from Portland, Oregon, where the majority of my writing community lives. I was here for a trio of excellent events: a concert, a film screening, and a conversation at Powell's. Luck that the first two were 24 hours apart; guided luck that the third occurred soon after. 

The conversation was between me and Shawn Levy, a fairly eminent biographer of famous actors who happens to be in my Portland friend group. (Not the Canadian director of the same name.) He was fresh from the clusterfuck of Burning Man 2023, but we had a good conversation nonetheless. I sold and signed a bunch of books and gave away a bunch of handmade chapbooks. Folks asked engaged questions and I had fun. 

To promote this event, a local TV station in Portland interviewed me. That clip is here. I thought the segment was happening because of Shawn, so the fact that they never mentioned him surprised me and stroked my ego quite tenderly. I don't know if it brought anyone in to Powell's for the event, but it did notch up the markers of eminence I can claim as a writer: sold books to strangers, was recognized by reputation during group reading event, appeared on TV to promote book. 

And it was part of the general cascade of good news that has drenched me since the release of Junk Film. It's continuing to discover new readers and (important distinction) new corners of readership. I feel happiness about this, but I also feel a particular emotion that surely has a German word attached to it: the fulfillment of spite. 

I wrote previously about reaching the end of the line on a book of essays (although I haven't, in fact; it's out again to two more presses), and mentioned that I did reach that point on JF. The rejections I got for it weren't as numerous as for Ceremonials and the essay collection - not even in the same neighborhood - but they were painful anyway because I homed in on suitable presses so carefully. And yes, I'm still obsessing over the agent rejection I got in 2021, the person who told me a big press wouldn't take the book. Perhaps they wouldn't've, but this book has proven it has an audience, and the money being made by Castle Bridge and by me - she could've had a piece of that. 

Agents always gamble, in rejecting as well as accepting; it's the nature of the job. She was always going to be the wrong agent for the book if she couldn't see its potential. These are the reasonable reactions to how events have unfolded. The unreasonable reaction is

Emoji Middle Finger GIFfrom Emoji GIFs

(couldn't get Blogger to center this!) and that is increasingly how I'm feeling about it, as I get incredible, unexpected emails from people who want to work with me or the book goes through cycles of selling copies on Amazon every time I appear on a podcast. You coulda had a bad bitch. Maybe at some point I'll grow up enough to stop feeling that way, but I'll be 42 in just over a month, so...probably not. 

This is the part where I turn my personal lesson into an overarching writing lesson. I think it's not a bad thing to be motivated partially by spite, and to feel an ugly, satisfied thrill when that spite works out for you. But it's a bad way to live your entire artistic life. You've got to find a deeper well than that. The shallow well works when you're writing a CV or a book proposal and you have to let your ego out on the page, but the deeper well has to remain accessible for when you write the next book. 

The other thing is, life happens the way it happens. Wishing it would've or could've happened another way is not as fruitful as working with the way it did. In my case, that means analysis of what "the way it did" has to teach me as well as simply counting the blessings of it. 

Appropriately, I have a bounty of other good news. I can't share any of it; nothing is finished enough to be an announcement. I can tell you that I'll be on the Dana Gould Hour again, soonish, to talk about my book. And about the inimitable Ormonds, filmmakers of, consecutively, exploitation films and religious films in the two epochs of their lives. I recorded something like six or seven podcasts in August and they're trickling out over time. 

Oh, but there is news that I want to share as far and wide as possible: I'm co-editing an anthology of Millennial writing and art on the 1982 film Poltergeist. General submissions open in October. More info about that project is here, including a link to sign up for our newsletter so you'll know the moment we open subs. 

Lots of changes coming in the spring. I hope you'll stick around until then. 

The End of the Line

 

Almost three years ago, in late 2020, I finished the final essay in a collection of them that I'd been working on since around 2015. I started shopping the full manuscript in early 2021. The essays, nine of them, are hybrid: they contain creative nonfiction, film criticism, fiction, and various textual strategies (collage, list, diagrams). I know that my work in this book is rare and I know it's good. 

I've sent the manuscript to sixteen presses, not counting the half-dozen presses and scattering of agents I pitched with a proposal. All have rejected it (except the two who are currently In Progress on Submittable, along with the ones who never got back to me). 

I chose these outlets carefully. I wanted:

• presses that routinely submitted to book awards, because I think this is an awards-type book. 
• presses with a history of publishing bold hybrid work, because I knew I'd encounter fewer editorial obstacles when working with folks who knew what my manuscript was doing. 
• presses that had had at least one hit book (covered by major critical outlets or sold well, one or the other), because just in case my book was a hit, I wanted a press that had experience with that. 
• presses that didn't publish mostly white men. 
• should be obvious, but presses that hadn't been determined to be fraudulent or run by shitty people, per Writer Beware and my own whisper network. 
• presses that accepted unsolicited/unagented manuscripts, whether through open reading periods, contests, or an open-door policy. Because I don't have an agent and I think I've exhausted the relevant favors my network owes me. 

When I sifted the gigantic list of presses I'm aware of through the mesh screen of these priorities, it narrowed out my choices to a couple dozen presses. And I've submitted to nearly all of them over the last two and a half years. So I've almost reached that dreaded place: the end of the line. 

Both of my previous books also reached this place. For Ceremonials, the criteria included a press that'd publish a very short prose manuscript as a book, which is harder to find than you'd think, and with Junk Film, the list of presses that wants such a particular kind of nonfiction is shorter than I'd ever imagined. For Ceremonials, only complaining about the manuscript on Twitter led me (miraculously!) to the right press, and for Junk Film, I decided to work with someone I knew and liked, even though his press had different priorities than I had envisioned, rather than keep trying to sell the book to a dwindling list of possibles for another year or two. 

These were harder decisions than they sound like in that practical little paragraph. The despair I felt at the end of the line on Ceremonials was mammoth. It took me months, and a wholescale rethinking of my trajectory as a writer, to mentally accept the conclusion I came to with JF. In both cases, these were the right choices, and my reservations proved totally unimportant in the end. But it could've gone the other way. With two other projects I won't specify, it did, and I suffered heartbreak and hard lessons. 

I'm writing this post because the end of the line is a hard, lonely place to be as a writer with a worthy manuscript. I want to offer sympathy, but also options, based on what I did with the prior books and what I'm doing next with my hybrid essay manuscript. 

One option that's always available is to give up, either temporarily or permanently. As Gus tells Tina, 

Maybe you don't quit being a writer, or give up on the manuscript entirely; maybe you set the manuscript aside for a while and try to find a home for it later. Maybe you write another book, an easier one to publish. I firmly believe that opportunities come up at the time they're supposed to, especially in writing. So if you haven't had success at chasing down those opportunities, sit for a minute and see if they arrive on their own schedule. Success at publishing a project doesn't always have a lot to do with how worthy the project is, and giving up temporarily or permanently can be about time, place, and available opportunity rather than writing quality. 

Another option is to ask around. Go to AWP and visit press booths. Go to readings. Join writers' groups on Facebook. Look at the spines of books that resemble yours to see if you've missed any presses in your research. This might be very frustrating advice to some of you - it would be for me, as I'm very tuned in to the small press world and do not need help finding presses - but for others it might be the window to a new round of submissions. 

The third option is to change your standards/priorities/criteria for presses. Right now, I'm leaning toward removing the "submits to awards" and "hit book" criteria from my list. This means I'd start from the top again: first I'd pitch the manuscript to friends who run presses, then to presses that know me from my time as a reviewer, and then cold-submitting. I already did that process for this book to presses that met all the above criteria, so I'd have to do it again once some of the criteria have been eliminated. 

A strategy related to this option is to shift your goals for the eventual book. My initial goal with a manuscript is always to sell half a million copies and win a MacArthur Genius Grant. As I gather up rejections, that goal shortens and narrows. The end of the line is the place where the goal shrinks to bring this book into the world. For some books I've written, that goal is not sufficient for how far I think the manuscript can go. The urban fantasy book, for instance, would find a great home on the Barnes & Noble SFF shelf, and I'm sure that goal is reachable, so I'm not going to submit to presses that won't suit that goal. I won't lower the goal for that manuscript to bring it into the world, because I don't think that's enough. 

For this hybrid essay manuscript, I'm almost, but not quite, at the point where I need to decide if my goal is going to shrink any further. It started out enormous, and now it's reasonable, and I really don't know if I want to make it smaller. I have to decide within the next couple of months, after the final two presses respond. 

I'm not quite at the end of the line for this book just yet; these last two presses have it, and after that I still have some options, even if they aren't ideal. But I remember the sensation I'm feeling right now from both of the prior books - the mentally looking around at an emptied room that was once bustling with possibilities. It's almost time to close the door on that room and open a different one. 

I will weather it, because it's my job to do so, but it would be a mistake to minimize how difficult this process is. You feel helpless, and angry, and sad, and indignant, and maudlin. You feel the train coming to a gradual stop, the stuff that was whizzing by now moving so slowly that you could put your head out the window without any danger at all. It's frustrating to be moving like that, not able to accelerate or hit the brakes yourself. 

Toot toot. 

JUNK FILM DROPS TODAY!

Today, my third book releases: Junk Film, the product of about five years of research and writing about bad movies. Aside from this obvious fantastic news, I've had a streak of bad days and annoying problems lately, so I'm a little distracted. Trying to focus on the positive and be happy about the book being out. So far I've heard nothing but joy from friends who've received it and/or read it, and I'd like to think those trends will continue. 

Consider this a placeholder for a post later in the week where I share the related stuff that's going up this week (a piece in the Economist, unbelievably, which is previewed below; a podcast episode; an interview in a Kansas City paper; something in LARB related to another topic but which I suspect will sell books anyway). In the meantime, if you haven't bought the book, go here to do so. Amazon is bad for indie presses, but can be good for indie authors, who don't necessarily have other distribution channels. For this book, Amazon is the place to buy. 

Click to embiggen

I'm going to be doing watch-alongs to promote the book, probably one per month for the rest of the year, and the first one will be After Last Season on May 18. Stay tuned! 

stitched by me, designed by someone else

Bounce Back Strong

Half-jokingly, I've been calling 2022 my year of rest and relaxation. I spent a lot of days last year unable to get out of bed until after 9, even when I woke hours earlier. I spent a lot of afternoons dozing on the couch to reruns of a show I know by heart. My inbox had somewhat fallen asleep, too; I submitted things now and then, got solicited for things occasionally, but for most days of most weeks, nothing came in or went out.

this blog post is not to be construed as an endorsement of this book or its author

Most of the big stuff I do as a writer is early in the year. A book prize I read for is mostly active in January; AWP is in March; and the time-consuming work I do for a residency committee is largely in April. Everyone will tell you that publishing is least active during the summer, and fall is so frantic that I have no interest in ever publishing a book then, or really in doing anything else notable as a writer. 

Last year, once AWP and the mini-tour I did for the Plan 9 book were over, I found myself idle, and I couldn't rustle up any motivation to break the inertia. In late summer I researched for the novel I'm trying to write. That occupied me for a little while, but it wasn't a reason to get out of bed. Nor did I/do I yet have a significant schedule or deadline for anything related to that book, so there was no rush. 

In all, I'd say that I did very little of significance for about seven months of 2022, nonconsecutively. 

I can't complain about this, per se. What most Americans wouldn't give for that kind of leisure - to have nothing pressing to do for half the year. My therapist wasn't worried. But I was. It seemed unnatural not to produce anything for such a long period of time, to find myself with no logical argument for spending the day upright instead of horizontal. And I felt vaguely, minimally unhappy. Not much, not to a clinical point, but like a narrow vein of obsidian in an otherwise buff-colored stone. Something was wrong. 

There's more for me to think and say about all this looking back than there was as it happened. I kept checking and couldn't find mental illness at the root of all this, but I'm still a bit suspicious, because the behavior ticks a few boxes for depression. A thing that occurred in late 2021 harmed and affected me a lot more than I realized at the time, and those effects reverberated in my disposition for most of the next year. (Curious, in fact, how it took exactly a year for the effects to start to fall away, one by one, in succession.) Some of how I justified my inactivity was rebellion against the capitalistic work structure, and some was that I was intensely resting after a period of intense physical activity (while I worked at the barn). Still more was that I watched movies almost every day, which counted as work for a film critic, even if the movies weren't attached to a particular project. 

My year of rest and relaxation was probably sustained by all these reasons in different quantities. It didn't feel good while it was going on, but like any not-so-good experience, now I know what that feels like, and can recognize it if it ever shows up again. Plus, the rest fueled me to bounce back strong. 

Which I think I can safely say is what's happening now. February has been bonkers, full of opportunities and heartbreak and frustration and celebration, but particularly the past week has given me the feeling that I've come back to life. My inbox is hopping. My list of responsibilities is extensive enough to be written out instead of remaining in my head. The interactions I'm having with fellow writers sparkle and hum. I have ideas for books again. The feeling of dark dormancy, the heavy nadir of motivation, has lifted. 

Not gonna lie, I'm pretty sure my work with X-R-A-Y is the biggest part of the change. My book publicity machine having to start churning has helped, too, because it's forced me to take some action instead of staring at the wall, but X-R-A-Y has given me a purpose, a set of daily activities, I simply didn't have for most of last year. In joining the team there, it feels like I reached up very slowly and weakly for a handhold, and what I seized conveyed me out into the sun from a room I didn't even realize was dark. 

Which brings me to the carnival-barking portion of this post. I'm teaching the very first class X-R-A-Y is offering, ever, and you can sign up for it right now, if you'd like. It's on a Sunday afternoon next month. Payment slides from $75 down to $25, and if you as a writer are stuck in the mud (kinda the way I was last year, in fact), this is a great way to get unstuck. Hence the name of the workshop. 

Also, if you are headed to AWP, I hope to see you kind of generally, but I also hope to see you at one of the two readings I'll be attending. The first one, on Wednesday, I'll be a reader; the second one, I'll be handing out promo stuff for X-R-A-Y and probably myself too. 

reading at this one

attending this one

See you there. XOXO