Tuesday, December 23, 2014

On...Intersections: where writing and the rest collide

Born in the sixties, I grew up--or began to grow up--in the seventies. In 1972, I was snogged in the kiddies' wooden fort up in Bedmond by a boy old enough to shave and to know much better. All bets were off and by '74, I discovered disco. I remember standing at Carey Place's warehouse disco in Watford in a haze of weed smoke, wearing second-hand jeans and a brown mohair cardigan I had scored at the Abbots Langley jumble sale earlier that day. I was coveting not only the bloke on the stained sofa (who was all over a girl from the sixth form) but also the psychedelic scarf his girl was wearing: it was silk and pink and mauve...and I was fifteen. My life was all about glam rock and Slade and David Essex and sex and not getting pregnant.


It's no surprise then that my first novel is set in London in the seventies and that the next one moves on just a few years to the end of this decade I claim for my own. I have no time for my contemporaries who bemoan the seventies and all it stood for. I would have willingly stayed there for another twenty years at least...although the eighties and nineties were pretty good, too!

So when I happened upon the Facebook group Mid Century Modern Kitsch I was stoked. The group's all about buying, selling and collecting furniture and furnishings from the 50s and 60s, and they put up with people like me who really love the seventies. The posts are full of the trappings of my teens: Pyrex, hairpin leg coffee tables, tasteless ornaments, plastic pixies, posters of David Cassidy and copies of The Joy of Sex. I have found my home :) and am toying with a third novel that maybe features Elaine, a divorcee in her fifties, who finds what she needs on the second floor of an old tobacco warehouse. Maybe she finds a set of Mikasa Ben Seibel bullseye serving platters, or maybe fifteen Ecko canoe muffin forks...or perhaps she finds a woman who's hiding a silver 1962 aluminium "pom-pom" christmas tree inside a walnut "waterfall" tallboy...

I'm heading out on retreat in the New Year, so maybe I'll play with Elaine and that tobacco warehouse idea. More on that later maybe. In the meantime, why not take a look at a few of the really neat pieces that my pals are flogging and that keep unwrapping memories for me and making me think, "Hmm, I wonder what Elaine would make of that?"

Ah! Glitter Christmas cards! Christmas always takes me to my best mate Moira and me going through our “Twenty-five Glitter Christmas Card” selection box working out which of our friends would get the best…and which would get the worst… (from Modclaudia)
) Vintage Green Kitsch White Kitty with red, orange ornaments, gold white stars Christmas Card - Digital Download Customized PrintedVintage Crochet Handmade Purple Orange Blue Afghan Blanket With Fringe
Who didn't have an afghan that her nan crocheted...or who didn't start to make one only to give up fourteen squares in? (from LivingaVntgLife)

). Kitschy 70's era foam owl plaquesAnd if Nan did crochet the damn thing, she probably did it under the gaze of wall art, like these two owls silently hooting from the kitchen wall (from Mad4ModMalissa

) VIntage PAN AM Flight Bag Airline Travel Bag purse carryall With tags & metal zipper~Unused and ready for your adventures!And who doesn’t remember lusting after one of those PanAm bags…and pretending to serve drinks on either side of the upstairs hallway J (from RetroPulpVintage

)Ever frugal (or was it just poor) I made my own choker with a length of brown velvet ribbon and a dingle-dangle from the Haberdashery counter at Clements on Watford High Street. Moira had one, too, but hers was tartan . “Because of my heritage” she said (from Angliezillasboutique

)Clockwork Orange Soundtrack LP Vintage Seventies Stanley KubrickAnd of course there was the rite of watching of Clockwork Orange and wishing the boys at school were like those boys and how that made us all feel the next day sitting in double chemistry and wanting out…(from SpaceModyssey

(All items for sale at my pal's Etsy stores. Click the links :))

Wednesday, December 03, 2014

On...Submission Strategies

I weighed into a Facebook conversation recently about how we choose where we submit. I explained my "league system" which probably comes from a childhood of Saturdays spent watching my dad check off his pools in front of the telly. I learned which teams were in the first division and which were in the second. My home town Watford were always third division, and I always dreamed of them topping the third and moving up. I was a dreamer then, and I'm a dreamer now.

My submission league system is based on nothing more than the literary journals in which I would love to appear. My top three are Shenandoah, Connecticutt Review, and Blackbird. They're my top of the crop because I respect them as journals, the print the kind of stuff I like to think I write or could write, and they carry some cachet. Blackbird is a relatively recent addition. Mid American used to be up there, but I realized that after four years of rejections, I was keeping them in that spot purely out of dogged determination - not because they were a good fit for my work. I kicked MAR out of my league, and I gave their position to Blackbird.

So I send work first to these three, my First Division. If they reject (I cracked Connecticut in 2011), I make sure I'm still in love with the work, and then I send it out to Division Two. Currently Division Two are magazines I absolutely adore, but that maybe don't have the same academic "tenurish" gravitas as the top division. My Division Two are Zone 3, River Styx, Cave Wall, Cream City, and Rattle. When they're rejected from Division Two, they ARE FREE! I can send them wherever I please for no other reason than the submission pleases me.

The Divisions shift as I read great journals. Some are wonderful but outside my circle. For example, I love Poetry, but I'm not going to send there. I also respect Beloit, but I don't understand much of what they print.

It interests me that I have a certain relief when poems don't get taken up by my preferred journals. I think it's because Division One and Division Two represent to me the titles that would look great in my annual reappointment application. They'd also look great on my resume if I ever managed to strap myself to the tenure tracks. But they  might not represent the best places in terms of audience. I love poets reading my work and liking it. And much of the audience of Divison One are academics and fellow writers. But Division Two and beyond, I feel, have a roomier readership. And that really pleases me because if I'm published there, I touch more people.



Monday, November 24, 2014

On...if I knew then what I know now

So books two and three are coming out in 2015. I learned a little from book number one:
  • Short titles you can shout out at loud parties are best
  • There is no such thing as enough pre-release marketing
  • Be prepared to promote, promote, promote and sell, sell, sell even when the idea fills you with dread. (You can buy Sticklebacks and Snow Globes by clicking on the picture below!)
  • Book signings without a tandem reading are the kiss of death
  • Not all your friends read books
  • Nothing beats opening your first box of books
But I know there's so much more I need to know. So let me know. Educate me. What advice would you have paid good money for? Who dished you the dirt on the publishing game? What mistakes will you not make again? Leave me a comment and we'll play this game together!




Sunday, November 09, 2014

On...the book as artifact: Etsying our titles and our dancing hippos

When your publisher is a small independent, selling books becomes something of a game. You've exhausted all your friends, your students, your fellow writers. Your mum has handed out novels as Christmas presents for the past four years. What on earth do you do next to shift stock and generate new readers?

I've offered books here on the site, but I've not sold one so far. I think Amazon is just the easier "click" for many of us: we have our account set up, our credit card logged, and if we can add another book/expensive shampoo/joint tablets for the dog/chatreuse shoe polish to the order, we can even wangle free shipping.

The book isn't the only thing I tout for online sales. I have an Etsy store that allows me to believe my obsession with thrift stores and all things mid century is not a symptom of hoarding: it's stock adjustment. Etsy has three categories: craft supplies, vintage, and homemade. Most of my stuff goes in the "Vintage" section: all manner of silks, 70s clothing, even the odd Kreiss dancing hippo. And I have a few odds and ends in "Craft Supplies"--mainly vintage zippers and bindings. But nothing in "Homemade." That is, nothing until last week.

Last week, I posted my novel "Sticklebacks and Snow Globes" on the store under "HomeMade." It wasn't an "under-the-counter" or  renegade step. I contacted Etsy and put my case: I "made" the book in that its characters and settings came from my imagination and the words were produced by the action of my fingers on my keyboard; and I sign each one, so each "unit" is inscribed by hand. I was impressed by their reaction. "Of course," they said. "Post away!"

So Sticklebacks is now up with the hippo, some Don Draper ties and a kickin' suit from the 60s. I've sold one so far. I'm hoping to sell a few more. I'll let you know how it goes. Because if it flies, it might be the way to go for those of us with small independent publishers with not much marketing money. It might be of interest, too, to the self-publishers.

Monday, August 18, 2014

On...Decluttering: our homes, our lives...our writing?

Joshua Becker's article "Don't Just Declutter, De-Own" made me come over all virtuous. Last year, I moved from an 800sq ft home to a 1500 sq ft home, and it's still relatively clutter free. I haven't found myself desperate to fill every corner and each wall just because they're there.

I'm a thrift store junkie. And I don't say Junkie lightly. I know addiction. And it's sneaky. Whether it's alcohol, or prescription drugs, food, sex with strangers--or a strong desire to visit Goodwill each day just in case someone has dropped off something I think I need--the behavior is there because something in our lives is not there. We can stop the behavior, but unless we tackle the underlying issues of our addictions, the behavior pops up somewhere else. At different times during my recovery, the need has manifested in ice cream (butter pecan, eaten with a particular spoon while sitting in a particular chair),  then a spate of working out, and more recently, in extreme thrifting. I know this latest compulsion (there's a Goodwill pusher on every corner) is an addiction in the making. I could go cold turkey and stop, but today's not the day for that. But Becker might be proud of me: I keep a box on the basement steps and for every "thing" I bring in, I put something in the box to take out--to the tip, to a thrift store, or to a friend I think might like it. Addiction's forever. But so's the treatment.

Post Becker, I found myself wondering if addiction might work its way into my writing. Were there themes, characters, settings that came back in my work time after time? Did I find it hard to not write about, say, the working class life? I suppose the perpetual "I" might be a constant in my poetry, that the kid continually trying to make sense of life and its options might be another. Becker tells us that simply going through the stuff of our lives and finding better ways to store it isn't a solution to our clutter. He advocates amputation, not ointment, saying that getting rid of our possessions  forces us to question both our passions and our values.

Perhaps I'll put the "I" and the working class in a box on the stairs for a while and see what percolates in their absence. I don't think I'm up for the actual amputation just yet, but from what I've heard, the drugs they give you pre- and post-op are pretty good, and that, for an addict in recovery, could be reason enough to flirt with the idea of surgery even if I don't go as far as the knife.



Wednesday, August 13, 2014

On...the Mo and Kitty Story

Follow the link for an update to the Mo and Kitty story, where early April, the cruelest month, blooms with misunderstandings and hurt feelings...



Monday, August 11, 2014

On...cover artwork: nightmares and dreams



I can't say that I'm overjoyed at reading online. I do it and find the libraries' Overdrive software brilliant: there's never a reason to be without something good to read. But I'm still in love with the physical book. It doesn't have to be glossy and expensive--in fact, I'm not so keen on the coffee table book because it seems more mere object than reading experience. No, for me, the Dover Thrifts are just dandy. In fact, I like the way the cheap paper "gives" under my ballpoint pen's scratchings.

And unit price has (or should have) no bearing on the quality of covers. Take the Penguin series. My pal Kay had a whole stretch of these in her downstairs cloakroom, and I adored them, both in terms of their iconic beauty and for what was held between them. Who could resist the crayoned blurbs of To Kill a Mockingbird or the fiery phoenix of Lady Chatterley's Lover

What makes them gorgeous, for me at least, is their simplicity and their quality. Everything is sharp, sharp, sharp. There's no awful gilt or silver embossing, no shine, nothing unnecessary.

With my first novel, I loved the quality of the hard back with its glossy dust jacket and the purple flysheet. When it came out in paperback, I liked the folded front and back cover, the way the plot summary and the bio came as a little surprise when the reader opened the book. When Scribe published, I adored the new artwork and the way the designer had included little hand drawings of the street in which the story took place.

I wonder if the cover on an electronic book is as important. I don't tend to "run my finger" down the online spines as I do in the store. I tend to search on an author name or a title or a genre and grab whatever blurb sounds interesting. I suppose I do still avoid the bodice ripper and cute puppy covers. Perhaps the requirement for a great online cover is even higher though, since it costs no more to produce a great design than a crappy one.