Showing posts with label interview. Show all posts
Showing posts with label interview. Show all posts

Sunday, February 3, 2019

Weekly To-Do, 1/27/19 - 2/2/19

This week hopped and jumped like a Mark Twain frog. I did so much stuff! I got so much good news! I rolled in under the wire on some great opportunities, and I handled a few tasks I've been putting off for a good long while. My February workload looks okay so far, but I might just be looking at physical piles rather than considering the books I've loaded onto my e-reader. Ruh-roh.

Of course, part of February is going to be preparing for AWP in March. Please get in touch if you want to see me there; I'm actually starting to make lists of booths I want to stop by and people I want to meet in person. This sounds hideously self-important and I'm sorry. But it's the truth: if you want to meet up, let me know instead of relying on fortune.

Disclaimer: I'm including selected names of pubs and books because making this list would be ten times harder, and therefore not worth the effort, to anonymize them entirely. Any of the acceptances could fall through at any time. By naming them, I am not badmouthing the publications who rejected or didn't reply. This is data, not trash-talk or promotion.

Writing:
S. Allen review
GAITR review
Davis paired review
The Body Myth review
Blog post

Reading:
Labrador
Revenge of the Translator
The Silk Road
The Body Myth

Pitching/Queries:
Ramadan interview to V1B (accepted)
Ramadan interview to Fanzine (withdrawn)
ASFM to Slate, Nation
Two books to Daily Beast
AGNI (answered)
Two titles to Prairie Schooner (accepted!)

Followups:
WSJ (answered) (!)
Hyperallergic (rejected)
TWRP (answered)
TNR
Graywolf

Correspondence:
Locus business
Barrelhouse business
Sophia & her publicist
Will @DV (enthusiasm!)
Cole @TMR
Chad @BWDR
Michelle D.
Christina
Emma

Other:
Promote Books I Hate
Promote Horse Latitudes piece
Assemble & send newsletter
Promote Thirty-Seven review
Apply to Mineral School (finally)
[secret thing]
Barrelhouse editing & selection
Put together materials for workshop
Interview questions for Ramadan, Baker

Sunday, November 25, 2018

Weekly To-Do, 11/15 - 11/24

Week three of my to-do list. I took the opportunity of the holiday to change the pattern of the days the list covers. The list below starts last Thursday and runs through Saturday evening, and future lists will go from Sundays to Saturdays.

As before (I didn't think it would hurt to include this disclaimer in every post): I'm including selected names of pubs and books because making this list would be ten times harder, and therefore not worth the effort, to anonymize them entirely. Any of the acceptances could fall through at any time. By naming them, I am not badmouthing the publications who rejected or didn't reply. This is data, not trash-talk or promotion.

Writing:
Blog post
Poem
Review of Love in the New Millennium
Review of G
Notes on Korneliussen

Followups:
LAR (answered)
Agent LH
Barrelhouse x2 (answered)

Pitching/Queries:
LWS to NPR
LWS to BUST (accepted)
Sissy to Advocate
Ceremonials to KW
Ceremonials to ST
KD to BOMB
CS to Bitch

Reading:
Love in the New Millennium
Virtuoso
Öræfi 

Correspondence:
Email Graywolf publicist
Email NBCC
Emails w/ LD
Email PANK publicist
Email Futurepoem about G
Emails w/ Locus eds
Email Tor publicity
Emails from GC, WD publicists
Email WRB x2

Other:
Promote Biss review
Promote Lubchansky interview
Promote Johnson interview
Promote Sonenberg review
Website updates
Check Pleiades, Locus for reviews
Edits on Scribe review
Edits on Nemett review
Research on TLM
Edits on Love review
End-of-year Locus business
Read mentee's work, make notes
Update Duotrope with rejections
Submit "What We Left in the Caf" x4

Next week I'm planning to do a little less. December is going to be plenty full, but I worked steadily enough through most of November that this last week of it is shaping up to be calmer than usual. Yay.

Saturday, November 17, 2018

Pests

One summer I lived with my mother in Baton Rouge, Louisiana. For a period of that summer, she left town, left me alone in her apartment. I was nineteen years old. I neglected to take the trash out for several days, because the trash can sat in a pantry and didn't noticeably smell, and I wasn't amassing enough garbage to need to take it out. There was food in there. The next time I threw something away, I found that maggots had infested the plastic waste bag. They looked like moving grains of rice. I was disgusted, and then deeply ashamed. The shame burned my face as I took out the trash, hosed out the bin, sprayed Lysol, put the bin back in the pantry. I never told her.

*

That same summer, I worked at a rundown movie theater. I started out in concessions, and then I was trained up to tickets and eventually projection. (Which I loved. Projecting movies was one of the most remarkable collisions of cerebral passion and tactile pleasure I've ever known. I didn't get to splice very often, but sometimes I did. I stole a metal reel that was broken and unusable, and I hung it on my wall, over the TV, for years.) But when I was still downstairs, I learned that the concessions booth was inhabited by mice. We never saw teethmarks on any food containers, and we never found droppings. But at the end of the night, cleaning up, we invariably saw small gray blurs darting from corner to corner. They were unmistakable, even if not fully visible. The leadership of the theater chose not to act on the mice. They didn't do any harm, didn't interfere with the stock. We thought they probably ate the popcorn we dropped and that was it. Plus, it was a rundown theater, one of the least busy in town. I imagine it has since closed.

*

In high school, my bedroom was in the basement of a ranch house in Maryland. The finished part of the basement was separated, by thin walls and thin doors, from an unfinished portion. Boxes occupied it. So did crickets. Dozens or possibly hundreds of shiny black crickets, noisy and quick. Sometimes they made their way into the finished part, a.k.a. my bedroom, and I'd find them, antennae twitching, on the beige carpet, or on the linoleum glued to the cold concrete of the bathroom. Trembling, sneaking up, yelping when they moved, I would trap them under water glasses and leave them there to suffocate. It would take a couple of days. At first I tried to shift them onto pieces of paper or cardboard and release them outside, but they'd just return to the basement, and on more than one occasion, a cricket leapt inside the glass, scaring me, and I dropped it. The unpredictable movement of the crickets was more frightening than I can communicate. They terrified me, to the point where I lost sleep worrying about them. To this day I am afraid of crickets. Not spiders, not beetles, but crickets.

*

Sometime in August of 2016, I found a baby cockroach in my kitchen sink. It was the first of several. I am a poor housekeeper, but not that poor; it was part of a general downward trend in the quality of that kitchen, and generally, the living experience in that apartment. I was less disgusted than I was disappointed: this place, too, was subject to pests. I tried to keep it safe, but I should have known that was impossible. I contacted the management company and they came and sprayed, but the roach incidents increased, coming closer together in time, the roaches bigger and bolder, and about a month later we moved out. It was the last kick out the door we needed from that complex, which was awful, but which gave me a whole lot of writing material. Including this.

*

Part of the reason I hate the holidays - the seven weeks from mid-November to the beginning of January - is the energy in the air whenever I'm outside my home. The general public is emotionally raw, whether they're nervous or angry or joyful or something else. Everyone is excited in some way, like a molecule is excited: quivering under the influence of an energetic force. Their emotions are large and exposed. It's extreme. I hate it.

At the end of last week and the beginning of this week, as you may know, major fires erupted in my area. By the grace of the Santa Anas, we never had to evacuate, but we had a couple of scary days; one of the fires was only a mile or two away. On the third day, the winds died down and our air quality declined, so we went to Lowe's to see if we could get some filtration masks and potentially a purifier, if we could find one of reasonable price and functionality. Within a few minutes of going in the store, I felt mean and angry. I snapped at Matt and got so impatient that I walked away from him when he wanted my help. I was tired and unsettled and just mad. And as soon as we got back in the car, I felt better (and regretful).

It was the people, I realized. The stress of the fires caused people to buzz with such bad energy that it turned me into Mr. Hyde.

We went home. We went out again a couple of days later and the very same thing happened. I felt rude and short-tempered and mad at the whole damn world. "I'm not going out again," I told Matt after we got back in the car. "Not until this is over." He nodded fervently.

I can't hide from the world forever. And I can't perceive human beings as pests. These two sentences are almost perfectly opposed and both true.

I tell people fairly often that part of what I love about working at home is that when I do go out again, the world seems nice. I greet people happily instead of seeing them as obstacles. Slow clerks are worth my sympathy. Bad drivers are cute. The more I'm out and around people, the more they seem like they're in my way, instead of going their own way.

One year, I hope, I'll be monied and isolated enough to stay home for the entire seven-week period of the holidays. At that point, the only thing I'll have to worry about is crickets.



Out in the world:

For sinkhole, I reviewed Eula Biss's Notes from No Man's Land, which was rereleased in a ten-year anniversary edition by Graywolf. In the process of reviewing this book, I wrote about whiteness in America at perhaps unwelcome length. I hope you read it anyway.

I reviewed a fascinating book, Beyoncé in Formation: Remixing Black Feminism by Omise’eke Tinsley, for the Houston Chronicle. Almost everything I have to say about the book is in the review; almost everything I have to say about placing the review is unsayable. The Chron was great to me. Very sharp, very nice people there.

For Western Humanities Review, which is working to beef up their critical section, I reviewed The Making Sense of Things by George Choundas. This was one of a really small number of books by straight white men I've read or reviewed this year, and so far it's the only one that didn't make me roll my eyes at least once because patriarchy. I'm glad I broke my rule for it, and I give it my highest recommendation.

For Books I Hate, I interviewed Matt Lubchansky. I've been a fan of theirs for a long long time and I was really happy to add them to the roster. They're totally right about The Canon.

Thursday, October 4, 2018

Natural Causes

There's a dead fly on my monitor stand. It's been there for weeks. I think I haven't moved it out of some morbid urge, well-buried in most circumstances, to be aware of dead things, of the brevity of life - particularly for a fly, which lives a few days at best.

Despite this dead fly I can't bring myself to remove, I don't like taxidermied animals. I went in a shop once that was full of desiccated lizards, pinned insects, frozen furred creatures. I don't know how this shop was categorized in the retail world, because the only thing that bound all of its wares was death. A friend came with me. She is an artist and I think that she was not squeamish because she saw so many of the things in there as useful references.

I was squeamish. I saw life, flattened out and lost for butterfly after butterfly. The furs hanging on the wall once quivered above warm flesh. I did not like being in there. Uneasiness hovered like a greasy wad of dark matter in my gut.

We project peace onto our dead, when, most probably, what is there is nothing. Does a fly have a soul to be at peace? It's a husk, there on my stand, a carapace, decaying dryly. A cheap life, I think, but it meets the scientific definition of life. And who's to say that life genuinely lies along a spectrum of value? Flies are better at flying than humans are, even if we're better at thinking. Probably.

Maybe the fly reminds me that my existence is small, too, and I ought to write faster. Maybe I'm vaguely worried that if I try to remove it the fly will disintegrate and bits of it will get caught in the wire mesh of my monitor stand. Then there will be a mess, when at present there is an assembled carapace. (The fly must have died of natural causes, because I did not kill it.)

Or maybe I'm a very lazy housekeeper and I'm coming up with high-minded reasons why my attention drifts to this dead fly when I'm sitting at my desk, writing, and the real reason is that the time is long past for me to slide it onto a piece of paper and drop it into the trash, and it embarrasses me that I haven't done this yet.

I don't know.

by Karl Addison


Out in the world:

I worked extremely hard on a review for LARB of Sjón's three-novel trilogy CoDex 1962. It was not an easy book to review, given the wide differences between the literary tradition I understand and the one Sjón is working from; in addition, there was just...a lot going on with the book. I was profoundly uncomfortable saying even the mildest bad things about it, because it's been so revered across the world. But my editor supported me, and it's important to me to speak as I find, as a critic. If I don't, I oughtn't be a critic.

[Sidebar: this book + Stormwarning has engendered for me a strange little specialty in criticism of Icelandic literature. I have two more Icelandic books on my desk for review, and I've requested one more. A happy, if unexpected, development.]

I reviewed Amy Pence's hybrid poetry collection [It] Incandescent for the Bind, an outlet that's quietly doing terrific and unusual work. The review I wrote is itself a hybrid piece, and I'm very satisfied with it. I liked Pence's work so much that I also interviewed her for Books I Hate.

Bits and pieces of my interview with Alice Hatcher didn't make it into the final version, but I still wanted to get them out there, so I posted them on Medium as "outtakes."

One bit of ego inflation I want to share. Last week I was browsing the internet for information on when the third installment of the Encircling trilogy would finally come out in English, and I discovered that, when you click on the second book's page at Graywolf, my words, from my review, are blasted above the book's summary in huge letters. My heart flipped over when I saw that.

There's good stuff coming in October; I've filed seven reviews in the past couple of weeks, so once those get through editing they'll start rolling out. Also, a piece for the Establishment is coming soon, and it has outtakes I'll probably post here. I'm incredibly excited about that one. I hope you'll like it, too.

Wednesday, September 19, 2018

My Week in Backstory

Hi, here's a post that's backstory on the things that went live this week. It's helping me procrastinate on two essays I'm scared to write. Yay! 

Queen Mob's Teahouse published an essay I assembled from the work of five different writers: me, Lucas Mann, David Shields, David Foster Wallace, and Kate Durbin. This piece started out as a book review of Mann's book, Captive Audience, a memoir on reality TV, but I got really, really carried away. I took angry notes in the margins of his book and when I started typing quotes from him into the Word doc I had set up for the review, I couldn't stop. Somewhere in there I realized I needed help if I was going to critique the book as thoroughly as I wanted to. So it became a collage. Shields, from whose 1996 book I took some of my material, also blurbed Mann's book positively. 

Although the book did make me angry, it also baffled me - so far was it from the values I live within that I sometimes had to stop and squint to make sense of what Mann had written. If he was putting on a more-filtered-than-usual writer's persona for the book, rather than telling the unvarnished truth, the whole thing would make more sense - but it didn't read that way to me. It read as honest, if bizarre. 

I don't feel perfectly good about taking aim at a fellow writer this way, but the book felt that irresponsible to me, was that infuriating. I still don't understand how an examined, educated life can reasonably include reality TV, which exploits and exposes and never enlightens, and I don't understand how Mann can reasonably write what strives to be a memoir of an examined life and not acknowledge the other side of what he's endorsing. 

Also this week, the Rumpus published an interview I conducted with Elissa Washuta in which I talked about some things I rarely talk about - why I never cry, for example - and some things I talk about constantly - women's glossies, for example. I emailed Washuta initially because I've been wanting to have a conversation with her since I read My Body Is a Book of Rules, which I didn't fully understand but which I knew was important. She mentioned on Twitter some months ago that she was looking for promotion for Starvation Mode when it came out in paperback. 

When I reached out to her, I had no idea where I was going to send the resulting interview. Once we were both working on the interview, I pitched a few places (pies in the sky, mostly), but they either ignored me or turned me down. Time grew short, so I reached out to the Rumpus, with whom I have kind of a flexible, friendly relationship. I didn't know that Elissa had previously been on staff at the Rumpus, so I wasn't exactly reaching new audiences with her words by placing it there, which makes me feel bad, that I couldn't put it someplace that would help her more (and stupid for not researching this). I cherish the Rumpus and what it does, of course - I owe a great deal of my current reputation and workload to what it and its editors have given me, and the chances they've taken on me, and I will never stop pointing that out - but it would have brought me (and Elissa too, I think) a new line on the CV to appear in BOMB instead. 

Anyway. All possible credit to Elissa and Monet P. Thomas, the new Rumpus interviews editor, for helping this interview to be something special. Which I think it is. 

Also also this week, Submittable put one of my reviews in its newsletter. I had no idea this would happen until I opened the newsletter, and I was shocked to find my own words there. 


I read this newsletter closely every week, and it gives me all kinds of great leads and information, so I am honored and very pleased. Here's the review they're referring to, of Night Moves, by Jessica Hopper. I loved the book, even if it put the song of the same name into my head intermittently for months. University of Texas Press is doing remarkable work, very little like the average scholarship-oriented university press, and I recommend keeping an eye on them as you would a regular indie press. 

In other news - and I'm kind of burying the lede, if you live in LA - I'm reading this Saturday at the Poetic Research Bureau, a terrific little place in Chinatown, with two artists who are much fancier than I am. Here's the Facebook event if you want to RSVP. I am genuinely thrilled and I hope to see you there. I'll bring chapbooks. I owe this good fortune to Kate Durbin and to this t-shirt made of V.C. Andrews book covers. No foolin'. 

Wednesday, September 12, 2018

The Constant Everything

WOW THERE IS SO MUCH NEWS but it's not time to tell you it all yet. I've been out of the office on and off for two weeks, traveling and learning and doing all kinds of fun things, and in the meantime a bunch of fun stuff I wrote has been released and the ARCs have been piling up.

not actually all of them

I am finally listening to Lucas and my husband about the book thing and I really am going to start stopping reviewing any month now. The problem now is I keep saying yes to books that add to my existing oeuvre in some way (for example, picked up two Icelandic novels following the Icelandic book of poetry and the Icelandic novel I reviewed), that are by authors of color or women, or that are fun, quirky genre fiction no one else wants to review for one specific magazine (staring at two long novels like this right now). There are so many more books in those categories than I believed possible, so I keep saying yes to them because surely there can't be many more Icelandic novels in translation that editors really want me to write about? (Turns out, yes, there can.) I'm still oddly unbooked (ha HA) between mid-November and January, but maybe that's an opportunity for me to relax on it.

I've stopped asking for galleys of books out prior to January. This is a step forward.

I want to blog for you about a couple of specific topics (release/looking away from the horse, driving in California/landscapes of belonging), but I have some other things to tell you about in the meantime. They are out in the world things, but they're more thoughtful than the usual litany of announcements.

1. Quite at random, Medium picked up and featured my story about "the new normal of retail" - indeed, they renamed it that - and I'm so glad they did. I'm astonished at the bump they gave, how positively it's affected my numbers on Medium and spreading out to other social media. If you're reading this because you read that story, well, hi and thanks. If you're from Medium, reading this, I'd really like some more information on how to get this kind of bump on other stories. I mean, text me at 3 AM if you'd like. The piece got thousands of views, which is thousands more views than any story I've ever done.

2. Today, Memoir Mixtapes released its new issue, "Guilty Pleasures," and my piece about Celine Dion, "If You Whisper Like That," is the closer. This is the first catered thing I've written in a long time (i.e. a thing I wrote specifically in response to a call for themed submissions), and I had a blast writing it. I hope you have as much fun reading it. I also want to point out how incredible the Memoir Mixtapes project is, how useful it is to wrap memoir around music. It makes the memories easier to write and shape, and the connection with readers stronger. I hope the editors keep publishing this magazine forever.

3. I interviewed Alice Hatcher, debut author of The Wonder that Was Ours, for the Masters Review. I couldn't place a review of this book, for whatever reason, but I was not willing to give up on promoting it to the world somehow. It was a book that I couldn't stop thinking about for weeks, one of the most interesting books I've read this year, and not being able to review it was super annoying. I also wanted, very much, to give Alice the opportunity to speak about the race issues swirling between her and her material. I felt concerned, when I read it, that many readers (progressive readers who mean well) would dismiss the book out of hand as inauthentic and co-opt-y. I knew from reading that it was not those things. Getting out ahead of this accusation with an on-record interview felt like the right thing to do, and I was very happy to do it.

4. I was featured on horoscope.com! I really was! The piece is a little more commercial and plain than the kind of thing I normally write (especially with the added section titles), but it's about something I did with tarot cards on New Year's Day which I really wanted to explain in detail. I'm not always this kind of person, this horoscopey taroty person, but sometimes I am, and here's the proof. Also, I'm telling you, every one of the monthly cards has been correct. September is the King of Wands, and I'm scared to death of what it could mean. There's a couple of personal projects that could explode into merriment and success, but I don't want to assume and be greedy. I'm so excited that my name is on horoscope.com, though. I don't know why; it just feels really special. Also, I got to commission/pay/promote a friend for the graphics.

5. In the next week or so, an interview I conducted and an experimental essay I wrote will go live. The interview is pretty amazing, but if its flavor is cookies and cream, the essay is salmon-pickle-pistachio. It takes on an established writer with a degree from Iowa, and it quotes a few popular writers at enormous length. I'm worried about pushback, and/or that no one will read it. I'm worried that I've said some stuff I can't take back or contextualize. At the same time, I'm really proud of the piece; it garnered a handwritten rejection from Conjunctions before it landed where it did.

I've learned that being away from routine as a freelance writer is a WHOLE DIFFERENT BALLGAME from being away from routine as a regular worker, or even a copy-editor-from-home. I'm troubled enough by everything on my to-do list that I'm kind of procrastinating finishing this blog post, because then I'll have to start on tasks. A friend said about freelancing that she stopped doing it in part because she was "tired of the everything." Yes. That is exactly it. The constant, neverending everything.

Thursday, August 30, 2018

The Best Rejection I Ever Got

This morning I set out to write a post to sum up a conversation Matt and I had this week about why the most unusual character in a given universe is obligated to be the narrator of the story. Why not tell the story of the Death Star from the perspective of a random Imperial officer, for instance? But as I wrote I got hopelessly tangled, and I do not have the concentration to untangle it all today.

Tomorrow I leave for a weekend away, and as soon as I return I'm leaving again for a week away. The destinations are different, and I have two fully equipped sets of anxiety about the trips. Yay.

So instead I'll tell a story I meant to tell some weeks back. One of my planned tripartite film essays is about Last Tango in Paris, a film I don't particularly love but which gave me an incredible epiphany when I was about 20. There's this wonderful film site, Bright Wall/Dark Room, which publishes long, thoughtful, specific, intelligent essays about film and media. The site put out a call a while ago for a themed issue on "Body." This is the precise theme around which I had loosely assembled my ideas for the Last Tango essay; it was the focus of my epiphany.

I was pretty slammed at the time, but I didn't want to miss the opportunity to match a tripartite essay with a market and themed issue that coincided with it. So I emailed the editor to say hi, I'm Kat, I write weirdo essays about film, I really want to work with you, I have this idea but no time to execute it, how strict is your deadline for this themed issue? I included links to the tripartite essays I'd previously published, in the hope that the editor would see how neatly my work matched with his site.

He wrote me back promptly, and I hope I'm not misinterpreting his email to say he seemed as excited about working with me as I was about working with him. However, he said, the deadline is moot. After he and the other editors at BW/DR found out about Bertolucci's treatment of Maria Schneider during the filming of Last Tango, they decided never to feature an essay about that film on the site. They didn't want to break that rule even for a promising and/or feminist essay. He said he was sorry about it, but would love to see other work from me in the future.

I was overcome. What a refreshing, ethical, transparent, reasonable rejection. What a splendid perspective! What a fantastic team of editors. Whatta mag.



WHERE MY WHATTA MAN GIFS, INTERNET
COME ON

I legitimately bounced up and down in my chair. And I wrote back as effusively as possible to say thank you all for being goddamn human beings and of COURSE I'm not upset to get turned down for that reason. And let me figure out a way to work with you soon.

The following month I pitched another idea, which the editor showed interest in, and which I have since failed to write timely. Way to go, Kat; sabotage a relationship before it's a relationship. I really do mean to write it, but my discipline bucket is totally empty at the moment.

Two of the books I reviewed at the beginning of August seem to have taken all the air out of me. I've blogged about them before, but I'm still kinda blaming them for my inertia during these last couple of weeks. I haven't read any books this week, and I think it's because of the page count of those others. Also, I was disappointed in both books (in very different quantities), and usually it takes me a bit to get going again on reading after a couple of books I don't like.

Plus, as I told a client in the process of explaining why I completely failed to meet a self-imposed deadline this week, I conducted a handful of interviews this month that I wasn't expecting to, upping my workload. I think I've mentioned this before, so forgive me, but I don't understand why I've started getting requests to interview authors (sometimes completely out of the blue). My mentor Chris was entirely right to say that doing an interview series would help me a lot in terms of contact with authors and general circulation in the literary world, but I don't think interviewing is a particularly strong skill of mine. I'm grateful for the work and the confidence, and I'm also a bit baffled. Does it seem like I'm good at interviewing? Does this appearance of competence merely come from being a good reader?

As literally everything else successful this year has come, for me?

Out in the world:

I reviewed a book by Dawn Raffel with fascinating implications - The Strange Case of Dr. Couney - for the Mantle. I'm planning to work with them some more in the future. Very nice editor and wonderfully thoughtful site. The book is well worth checking out, and if it seems like it might even be a little interesting to you, grab it.

For this month's Books I Hate, I interviewed Kelcey Parker Ervick, the author of one of the finest hybrid texts I've ever read. She was lovely enough that the parenthetical part of the interview was really the primary one.

I reviewed a novel, Summer Cannibals, for the Arts Fuse. I liked the book, but my reviewer side had to be honest about its flaws. I'm looking forward to more work from this author - she writes extremely well.

And I reviewed a pretty difficult memoir, A Certain Loneliness, for River Teeth. I'm excited about appearing in River Teeth, where I've tried my essays a bunch to no avail, and I'm pleased to be able to give this book some attention. As with the other two books above, it's a flawed piece of work, but well worth reading. This book, like Dr. Couney, has more important qualities than whether it's perfectly crafted or not.

Friday, August 17, 2018

This is My 500th Post on This Blog

click to embiggen these 500 chickens; credit

I don't know how that happened, except one bite at a time. It amazes me that I've been keeping this blog for seven years, when it still feels...supplemental, I guess, like an appendix to my old anonymous blog. I would write anything in that blog, anything that came into my head or heart, at very great length. This one has such a different texture. I miss the freedom, but it's better that I no longer have an outlet for that level of self-indulgence.

So, happy 500th post to me. In celebration, I'm going to...write a blog post about writing.

#ShareYourRejections has been moving around writer-Twitter this week, and although mostly, people seem to be getting succor and relief from hearing how much rejection you face as a writer (truckloads), even or especially as a good writer, the people reacting ungenerously to it are doing so in predictable but still bothersome ways. I feel like this is expressive of Twitter generally: there's a pattern to how a topic moves through the Twitterverse, and I continue to hope people will break out of it, and they don't. I'm still learning how to use Twitter, and because I've never been very good at following patterns, I'm pretty sure I get it wrong a good part of the time. It feels simultaneously more confining and more dangerous than Facebook. I'm trying not to use either one too much, but what is too much?

I've read the two major books I needed to read for this month's work, and I feel so relieved. I'm lying to myself that it's still early August when it is clearly not, but the fact that I got both books read and at least one of them reviewed before August 20 feels like a major accomplishment. I'm allowing it to feel that way even if I have to pretend it's earlier in August than it is.

One book was the third in a 1,400-page trilogy, all of which I had to read, and the other was a 500-page Icelandic book that, oddly enough, is also a compiled trilogy. They both have skewed approaches to Christianity and creation, and they have a similar attitude toward WWII (as the primary wound of the 20th century). I'm thinking seriously of writing an article that compares them, although it's sheer chance that I noticed they have anything in common. Comparing them to each other mentally has been an interesting way to read them both, and I'd like to share that - although it's not perfectly fair to either, since they have totally different provenances and intents and moods and nationalities and etc. Dunno. I might wind up with nothing more to say about either once I've reviewed them both.

Contra last week's post, this week was not wall-to-wall promotion, because the two most significant bylines got bumped to next week. Which is probably fine; two reviews I didn't have definite dates for are live this week, so there's plenty to read (see below). Generally I try not to announce things that are happening or changing until they're irrevocably happening, because I have wound up with egg on my face too many times, having to walk back big announcements (or even medium-sized intentions). It's a unique species of embarrassment, and one that makes my skin crawl. So I play things close to the vest unless I am too excited or too certain not to.

On that note, I'm going wandering at the end of August. I signed up for an opportunity to spend time with wild horses outside of Bakersfield, got in on the waitlist, still can't believe it's happening, trying not to lean on it too hard as something to look forward to because it seems too beautiful and unlikely. After that I'm driving north to spend some fairly idle time in Portland and outside of it; I think I have more friends in Portland than in LA at this point, so I hope to see (or meet) as many of them as possible. In hindsight, I didn't plan my freelancing around my July vacation especially well, and I hope to avoid that mistake this time. September is looking okay, only two books I haven't read, but October is heavy.

However, the date of the very last ARC on my desk is November 13. I have nothing for later in November or for December. I've been asking around for titles, and I keep getting sent books that are already out, instead. I'm thinking I might take this as a signal to use that time in a different way, whether I write more tripartite essays, work on interviews, make progress on the Casablanca novel, look for residencies to apply for...I don't know. Maybe something will change in September.

Out in the world:

I reviewed Kristi Coulter's Nothing Good Can Come From This for the Chicago Review of Books. Kristi and I have gradually developed a friendship across 2018, but I wrote this review before I lost objectivity (if I did lose it; if I ever had it). We have a lot of acquaintances, followers, and friends in common, so you may already have read this book. But if you haven't, I hope you do.

I reviewed This Mournable Body, by Zimbabwean author Tsitsi Dangarembga, for the Masters Review. I'm surprised at how widely reviewed this book has been, because I found it almost impenetrable. It'll go well on syllabi.

I reviewed Vanessa Blakeslee's short story collection Perfect Conditions, and then interviewed Vanessa herself, both for sinkhole. Vanessa was every inch a pro, both within her stories and when we exchanged emails about the interview. She writes exactly the kind of prose I've failed at repeatedly.

I reviewed SELF-Ish, by Chloe Schwenke, for the Los Angeles Review. I was genuinely sorry to write a mixed review, because Schwenke's story is important and difficult and necessary. But she needed more guidance than she got in turning that story into a memoir.

Next week: two fun articles, one sourpuss book-related piece. See you then, for my 501st post.

Tuesday, February 27, 2018

Byline Extravaganza!

Newsy/statusy post. Deep-thinking post probably soon.

This has been an extremely difficult month, for emotional reasons that are inappropriate to describe here. As well as the flu. As well as all the deadlines and bylines and accompanying promotion. As well as missing friends because I'm too frenzied to see them or answer their texts, but being in the awful position to consider them irritations because too much on my plate. I'm excited to say so-long to February and hello to March, in which I will be exchanging good criticism for good pay at least once, and in which my heart won't be cleft so bloodily in twain.

Depicted: Beatles fans and a security guard who forgot his earplugs.
Their noise = my brain. 

In the meantime, I opened a Ko-fi. This is a small-change donation site where you can chip in $3 for my Fund To Not Get Thrown In Debtor's Prison. The idea is that you're buying me a coffee. I appreciate any generosity you toss my way, but you're certainly not obligated to contribute. I've been blogging for free since, oh God, 2006? and don't plan to stop anytime soon.

I'm hoping to assemble a long-distance writing workshop for mid-March over Google Hangouts. I don't know how I'll do this, but so many people in places other than Los Angeles have told me they want to work with me that I don't want to put off any longer trying to make that happen. If anyone has insights on how to assemble a multi-person Google Hangout, or if you want to be part of a beta test team to see if it even works, PLEASE get in touch. I'm ready for any advice/help at all.

I believe I'll do How to Get Unstuck. I have plans to teach The Unwritten Scene and The Heroine's Journey, but because the tech will be new, I thought teaching something I've taught previously would be wiser.

Out in the world (it's a lot this time, but there'll be even more in a week, which is why this post isn't deep-thinking, because I didn't want to wait any longer to have time to think deeply in fear of overloading this section even more) (wow, parenthetical much?):

My review of Kingdom of Women by Rosalie Morales Kearns. Probably the best book I read in 2017, and I am pleased beyond measure to have placed my review in VIDA. It's still a bit surreal; even though I've had a lot of bylines in the past six months, the ones that have meant something to my nerves and bones have been rarer, and this one is like that.

My review of The House of Erzulie by Kirsten Imani Kasai in the Adroit Journal. I loved this book as a reader more than I loved it as a reviewer (it was right up my personal alley, but that's not a wide alley). I tried to communicate that by not being as rapturous as I felt about it but still indicating what the intense pleasures of the novel were. If you like Gothic lit and/or melodrama, this is your book, but if you don't, you won't like this.

Books I Hate (and Also Some I Like) with SAMANTHA FUCKING IRBY. I wish this byline indicated that we had met in real life, but as the title of her book promises, that will probably never happen.

"The First Snow" was published in Storm Cellar. As my work goes, this is pretty straightforward short fiction. In my dotage I grow increasingly grumpy about short stories, whether reading or writing, and I shouldn't make predictions that are unlikely to come true, but it feels like I won't be writing another short story for a damn long time. I wrote this two+ years ago, and I haven't felt called to short fiction since. So I hope you like this one. There's a paywall, but for the PDF it's pretty low.

My review of Anca L. Szilágyi's Daughters of the Air. Locus published it in their paper magazine last month and in their online arm this month.

A personal essay on Medium in the form of a letter to my teenage self, who was anorexic. I believe in this essay, even though certain parts of it are sentimental and other parts are controversial. Over the years it's been rejected by every single place I thought would want it, including a few once-prominent mags that have since folded or lost their good reputations. That's how long I've been sitting on this thing. So up it has gone, at long last, on Medium, on the first day of 2018's National Eating Disorders Awareness Week. Share it, please, with #NEDAwareness. You never know who will need to hear it.

Monday, January 8, 2018

Spinning Wheels/Plates

First on the agenda: I am starting a column at Occulum under the pseudonym Valkyrie 13. It's called Victorian Spam, and it will appear every Tuesday under "Ragtag" at Occulum.net. If you follow Occulum on Twitter you'll get notifications about the column every time (I think).

To tell you more would spoil the fun. Except: if you run a small press and you like what I'm doing there, get in touch with me.

Second: I'm losing track of, among my published/accepted items, what I've promoted on this blog, what I've promoted in my newsletter, what I've shared on Facebook, and what hasn't gone out into the world yet. This is a terrific problem to have, though the inherent joy there makes it no less frustrating. I'm including a list of links at the bottom of this post in case you missed anything recently, but I'm not specifically jockeying for you to read any of them. A thing you should definitely do if you're interested in all things me is subscribe to my newsletter.

Third: In truth, all the writing problems I'm having lately are good problems to have. I'm having simult sub problems, which means more than one market wants my work instead of no one wanting it. This is good in the abstract but awkward in fact. I'm having problems finding time to read everything I want to review and keeping straight for whom I'm writing reviews and from whom I've requested ARCs. This is terrific but stressful.

Fourth: I finished two long essays, made major progress on a third, and wrote easily half a dozen short essays/book reviews across the end of December. It was such a productive period that I'm feeling disappointed I haven't gotten much done yet in January. I have interviews to prepare, but I'm stuck feeling unready. There's so much planning taking place for the year ahead that I can't seem to actually do. Y'know?

Fifth: At some point I'll stop spinning my wheels like this and actually have something to say about writing, so stick around. XOXO

Out in the world:

An interview with ME on the Collagist. First time I've ever been interviewed as a writer. I had fun. I'm sorry I didn't like The Sellout.

Listish essay on the art of bad men, "Famous Men I Have Been Asked to Forgive (Abridged)," on the Offing. The editors are some large percentage responsible for what's in this piece, because what I submitted had not a single word in common with what was published. Originally, it was just about Woody Allen and was more esoteric. I rewrote it inspired by #metoo. I am hoping to do something else with what I submitted, but in the meantime this was very satisfying to write and to see in print.

Sort-of review, sort-of CNF exploration of Claudia F. Savage's Bruising Continents on Anomaly. As I write therein, I am bad at understanding and/or reviewing poetry. The review was commissioned so I couldn't bring myself to say no. When I came up with this and sent it to the editor I was worried she would be mad at me, but I was also a little panicky about what I'd do if she asked me to rewrite it into a straight review. This book was so deeply sensate that I couldn't think of how I'd talk about it in reasonable terms. Thank heavens, she liked it.

Straightforward review of Malu Halasa's Mother of All Pigs at the Los Angeles Review. Really recommend this book, even though it's hard going sometimes.

Review of my friend Claire's wonderful memoir, Imprint, at the Wisdom Daily. They asked me to write for them again, which is flattering, but I have no idea what to send them.

A six-word story on Medium. The process of finding markets for six-word stories is surprisingly difficult, so after an initial 160-day rejection, I just posted it myself.

"YA as an Impediment to Reading" on Medium. I thought this one had legs for the internet, and that most of the readers in the world would want to argue with me about it, but so far, few takers. I sent it to a few places that publish articles about education, and in reply I heard either that it was too focused on college or too focused on high school, so I threw up my hands and out it went on Medium.

Books I Hate interview with duncan b. barlow. This may be my favorite of the series so far, although one I'm preparing at the moment mentions Over the Top.

Upcoming:

Reviews of Tomb Song, Nothing Good Can Come from This, Daughters of the Air, Animals Eat Each Other, Everything Here is Beautiful, and I Wrote This Book Because I Love You. "The American Way of Work" (CNF) and "The First Snow" (fiction). Medium post about my (former) eating disorder. Many more Victorian Spam columns. Books I Hate(s) with an editor and two writers. Nervous collapse?


Tuesday, December 26, 2017

Year of the Journeyman

On December 15 I posted this picture on Facebook, with the caption "Thank you, Kristi, for making me popular."

Two friends (# s 10 and 11) were also on the list, which is nice.

Circulation-wise, Entropy is not the New Yorker, but honestly I'd prefer to be popular at Entropy.

I noted in the comments of this Facebook post that the ninth Books I Hate interview, with duncan b. barlow, was coming soon. When I counted back to realize that yes, it was the ninth, that I had coaxed nine published writers to talk to me about books they disliked, and then had published the results on a site that has well over 10,000 followers on Twitter - when I thought about how close this interview series came to never happening at all - when I realized that I'd made this idea up out of nothing and it'd become something real, something with nine notches on it and many more to come - and then when I thought about all the other belts I'd added notches to over the course of 2017 - I got overwhelmed and I had to stop thinking about it until I had more room.

Here's the room. The empty blog post window, right here.

There's this concept in publishing I didn't understand for a long time: the "emerging writer". I thought at first that this simply meant any writer, any writer at all, who was not famous, or making money with her writing, but who was trying sincerely to get published at any level. Obviously, this definition covers a lot of ground. Later I learned that "emerging" means a specific category of unfamous writers: those who are starting to get publication in larger magazines, who are starting to get attention for their writing from strangers, who have maybe gotten an MFA or a book contract or a few contest prizes, but who are not "established" writers, or people whose authority as writers is worth attention.

I am bothered that there's no category prior to "emerging" for people who have written some stuff but haven't heard "yes" enough times to fully emerge. I've spent ten years writing, but 2017 is the year I am sliding into the "emerging" category. Who was I before that? Was I still cocooned? That seems unfair; I worked hard to be a writer all that time, but "emerging" was decided by someone else (really a whole lot of someone elses), not me.

Skilled trades have different categories for "apprentice" and "journeyman", and that seems way better than the categories of "--" and "emerging". Less insulting, less vague, no aroma of futility or tautology.

Here are some aspects of my experience as a journeyman in 2017:
  • I wrote an email to an established editor asking for advice. 
  • I felt sure that my interview series was a good idea even though people told me it wasn't. 
  • I asked for galleys of forthcoming books. 
  • I applied for half a dozen full-time editorial jobs and half a dozen more unpaid jobs as columnist, editor, reviewer. I applied for half a dozen fellowships. 
  • I treated pitching and reviewing like a job. 
  • I learned to pitch anyway, even if I didn't think I had time or if I felt scared to. To treat editors like human beings instead of scary, naysaying gods. 
  • I stopped thinking it was me when they said no. 
  • I hustled like hell during the last few months of the year. I researched markets like crazy and pitched endlessly. 
  • I thought big: David Shields as subject, the Sun as market. 
As a result:
  • I got it. 
  • It was. 
  • Because of previous reviews I wrote, I got them. 
  • I didn't get any of them, not one. 
  • I got paid for some of my reviews. 
  • I landed a lot of those pitches. 
  • I considered it a combination of me and not-me when they said yes. 
  • The more I hustled, the better I did. The more I thought toward audience for nonfiction, the better I did. 
  • Most of the biggest stuff didn't come to fruition, but some of the second biggest stuff did. 
  • And, symbolically, I had too many publications in a single week to reasonably share them all on Facebook. 
I leaned on my contacts without shame. I never would've reviewed The Book of Joan, a review that on its own opened many doors for me, if a friend hadn't asked me to. About two weeks ago I recorded an insanely long interview with a writer known by many in avant-garde circles, and I have hopes of placing the result somewhere good on the strength of his name, not mine. I emailed my conceptual novel to a friend with a much more expansive knowledge of small presses than I have, and he mentioned a press I never would've known about that looks just right. I'm planning to ask a friend about manuscript review at a press that doesn't accept unsolicited submissions, but where he knows people. [redacted because the first rule of Fight Club is you don't talk about Fight Club], which got me most of the galleys and therefore most of the reviews I've had published. Reviews didn't come directly out of that, though - it was my pitches, endless endless pitches.

In considering my success in 2017, though, I keep coming back to the interviews. I'd had the idea for Books I Hate since late 2016, when my friend Chris asked me if I wanted to do an interview series for Entropy. I told him I didn't know anything about interviewing people and I wasn't sure I should. He coaxed me into agreeing to the series, but when I told him my idea for the theme, he seemed dubious. He was worried the interviews would be too negative. (Many of the writers I've approached turned me down because of this same anxiety.) I believed that I could figure out a way for writers to talk about books that got on their nerves that would reveal something important about the writers' personalities, and even perhaps the kind of writer they were, without just slagging on books that they thought sucked. Part of the theory of art I've been developing for half a decade now is that art we don't like influences us as much or more as art we do like, and here was my chance to show it. 

Now, nine interviews later, I still agree with myself. And even though Chris brought the ability to implement the series, the place for publication, to me, I thought up the idea and approached the authors and wrote and polished the interviews. I did that. I made that. From nothing. It emerged from me. 

Maybe that's what "emerging" means. That the work is starting to come out of its cocoon. That I feel confident enough, now, that something useful will happen when I sit down to the notebook. 


I've shared with friends that I feel uncomfortable with everything good that's happened to me in 2017 simply because it's happened in 2017. For many, this has been an abysmal year, with curtailment of rights, serious ideological schisms, little progress on infrastructure, and unjust death after unjust death from guns and drugs and fires and bombs. But I can't ignore all the good things. At least half of the total publications I list on my website happened in 2017, most of them in the latter part of the year. I got a nibble from an agent for the KUFC novel and positive feedback on my book proposal. I completed an unexpected novel, half a dozen in-depth essays and stories, and more reviews than I can even count right now. I made a writing newsletter, because I had enough news to warrant a letter for the first time. All that stuff in bullet points above, and all the stuff on my website.

It keeps accelerating. There will be workshops and publications in 2018. I hope, I wish, I grit my teeth and pray there will be a book contract (I'm circulating four manuscripts and hope to finish one, perhaps two others). There will be more teaching, and maybe there'll be teaching for money, if I'm lucky. I am uncomfortable with this kind of success, because of the year and because I am inordinately afraid of things tumbling down (what if it's been Lady Fortune instead of me being any good? what if I'm not emerging, but still just --? what if I'm getting cocky and all this is stupid small potatoes and I sound like a total idiot? what if I can't pay my student loans? what if I never get a fellowship?). But I shall stride onward, not letting up, not looking back, a journeyman on the road to Oz.

Friday, October 20, 2017

Things that Are Happening

Earlier this week I wrote a scary post about a big change I'm initiating gradually over the next few months, a change that's directly related to privileging creativity in my life. Which is basically what this blog is about. But I chickened out on it at the last minute. There are good reasons why I should not put up that post, and I decided to acknowledge them instead of going forward and possibly ending up like this


. But there's so much stuff I want to write about in this space that I kind of have to start blogging after a three-month break so here's a post and I'm sorry it's not the more daring one.

So! Here we are!

1. I have made a zine, and it's called Aphorisms on Surrealism, and it's $3. Please Paypal me, masonklc at gmail dot com, if you'd like one. Include your mailing address and I will send it to you; if you don't include your mailing address I'll just keep your money.

I've never seen zines bound with safety pins, but it was what I had on hand.

In case you know a thing or two about surrealism, yes, the project of writing aphorisms related to surrealism is by its very nature contradictory and improper, and that is the point. You, sir, will enjoy my zine. Three dollars, please.

Another zine, even shorter and only a single dollar in cost, will be coming along shortly. It's called How to Be Cool. There's a longer one I'm thinking about making, but I want it to round up a rejection or two from actual markets before I try and print it myself.

2. I missed the opportunity to share this essay with you. It appeared in the Los Angeles Review in August. I am exceedingly proud of it. There'll probably be a whole post about it sometime, because it came to be in a series of events that are pretty instructive.

3. I am teaching a workshop about sentences on November 11. If you're in the Los Angeles area, please email me, either at the address above or at the one in the sidebar, and we'll talk about whether you would enjoy attending. It's $35 for three solid hours of conversation and guidance regarding sentences. That's a very low hourly rate. Take advantage of it while I'm still cheap. Someday I'll be famous and expensive and then you'll regret not taking a class from me when I was still charging less than $15 an hour for my time, won't you? Yes, you sure will.

4. You may have missed a couple of Books I Hate (and Also Some I Like) interviews that dropped since the last time we were together. Here's one with Zoe Zolbrod, here's one with Jessica Piazza, and here's one with Kristi Coulter. Coming up soon are duncan b. barlow (a very, very nice dude and a fine writer who I thought was British for no reason I can determine) and Genevieve Kaplan (whose interview is different from literally all the others). Plus a couple of other writers who have expressed interest but haven't gotten back to me. As soon as I nag them into getting back to me, there will be more interviews.

Also, I reviewed Alice Anderson's new memoir, Some Bright Morning, I'll Fly Away, for Fiction Advocate.

5. I received two acceptances within a week of each other: one for a pure-fiction short story (the only one I've written in the past couple of years), and one for the Kathy Ireland story, which was a real treat to receive after a pile of rejections on that story. I'm really looking forward to sharing those pieces with everyone once they are published. I also received a painful rejection for the secret project and a colorful assortment of other rejections for various essays. And two rewrite requests: one that I haven't gotten back to, and one that hasn't gotten back to me.

I'm listing all this because people have started to ask me if I've been doing any writing lately, in a tone that makes me feel sort of guilty and idle, and I can say well, not really, but there's been a reasonable amount of activity in my writing life nonetheless.

6. The amount of reading in my life has been minimal of late, because I read a long book I strongly disliked in midsummer and it put me off reading, the way eating an entire pan of brownies will put you off brownies for at least a little while. (Probably.) I've got to roar back to it, though, because I have a special bookcase now for my not-yet-read books and it's completely full.

7. Last week it was my birthday. I am 36 years and seven days old. I believe I've officially passed the common age of rom-com heroines, which is honestly kind of a relief.

Friday, June 16, 2017

Next Up: Bricolage?

Right now, as I write this, you can read a written collage I assembled at the Collagist. I am thrilled about this publication, for so many reasons that I need a list:
  • I ever want to cast more light on Mega-City Redux 
  • My friend Julie wants everyone on earth to read Other Powers 
  • This is the first written collage piece I've ever made, and it found a home in a (terrific) magazine called the **Collagist**, too cool 
  • The Ride of the Valkyries is about female power, and it's commonly associated with male power, and that is dumb and annoying and I want to reverse it 
  • I managed to say something important and interesting about feminism in a way that looked new to me 
I assembled the piece without much method, except for trying to shift from source to source with a fairly regular rhythm, and stretching out with my feelings, as Obi-Wan exhorts me to do. I chose these three sources because they seemed to have something to do with each other in my head - no greater or lesser intention than that. I plucked out portions I'd marked as I was reading, but I had many more than are in the finished piece. I trimmed based on what felt right. 

My favorite part is "[blank sentence]." It's so very Magritte. 

Earlier this week, Entropy published my most recent interview in the Books I Hate (and Also Some I Like) series, with the redoubtable Lynn K. Hall. I had fun putting this interview together, and I assuaged my guilt about not having read her book at the time I started the interview with gulping it nearly whole when I sent her my follow-up questions, and then confessing to my failure, and then salving the guilt with a positive Amazon review. 

I highly recommend her book, and not just for people who commonly read this kind of memoir. It's a tightly written piece of work, a model of structure and efficiency. Beyond the book's craft, Lynn's story is phenomenal and necessary.

Lately I've been brewing ideas without executing them, and submitting work all over, which is my favorite phase to be in. Brewing feels so necessary and correct, and submitting work reminds me that I have indeed written things, which makes me feel accomplished. Actual writing phases are filled with uncertainty and the feeling that I'm floating through life without really living it, which sucks. Brewing and leaning on finished work is nicer. Of course, I risk treading water too long in the red section of this handy diagram.



Now that school's out (for summer / for ever) (?) I'm reading a lot. But the pile never seems to get smaller. I've started a sub-pile beyond the "to be read" pile: the "READ THESE NOW YOU JERK" pile, composed of friends' books. It's also pretty tall. 

Tuesday, May 2, 2017

News & -Letter

Holy moly there's so much to share with you. I went for a writing weekend and picked up a great little shift in perspective. I finished my feminist manifesto after five months of not finishing it. I am three weeks away from completing my master's degree (AND NO I'M NOT PANICKING OR ANYTHING).

But, far more importantly, I reviewed Lidia Yuknavitch's new novel, The Book of Joan, for the Rumpus.

"Joan does not participate in the binary. She does not play the patriarch's game."

I truly do not know how this happened, except that it did. I am honored and astonished.

Also! My interview series at Entropy continues. The most recent interviewee was Teow Lim Goh, and the interview ranged into deep stuff. I've got a few more terrific thinkers lined up to interview, so stay tuned.

And finally, I've started an email newsletter, Fictator's Digest. The idea of it is that I'll email you every so often (every couple of weeks? maybe?) to let you know about publications, what's going on in my world as a writer/reader, if I'm doing events or reading anything interesting. You can subscribe to it here. (It's a free MailChimp account, so if you see ads or PRESENTED BY MAILCHIMP!!!!! all over the emails, my apologies.) I'll send out the first issue tomorrow, so roll up, roll up, roll up!

Tuesday, April 4, 2017

Me (and Alyse Knorr) on Entropy!

Today marks the launch of an interview series I'm doing for Entropy called "Books I Hate (and Also Some I Like)". The idea is that I interview a bunch of authors about books they hate, and thus comes fruitful conversation about books and perhaps writing generally. This one's been in the works for a while, so I'm thrilled to share.

My first interview subject (and I believe the first person I have interviewed since, oh, 1999) is Alyse Knorr, a poet whose book Mega-City Redux I have been giving to all my friends since late last year. Up next on the interview docket are two more poets, which is appropriate, since 



Because this is the Fictator, and it's what I do here, I'm going to explain how this thing came together, and how what happened to me can benefit you if you are a not-yet-famous writer.