All is Forgotten, Nothing is Lost, by Lan Samantha Chang

Rarely do I finish a novel and start to read it all over again, but that's what happened with All is Forgotten, Nothing is Lost by Lan Samantha Chang. It wasn't just that I was sorry the book was over, but that I was so engaged with the story, the characters, the narrative arc, that I wanted to experience it all over again.

And it is about writers. A real book about writers, instead of all the phony books and movies about writers. The author is Samantha Chang, who is the author of two previous books: Hunger and Inheritance, and the director of the Iowa Writers Workshop. I took a workshop at Stanford from her on the novel, and she was an excellent teacher.

This is a novel I will be thinking about for a long time. Sometimes when I read a particularly good book I feel intimidated. Not this time. Reading Sam Chang's novel makes me want to work on my own novel, makes me understand how wonderful the novel can be, shows me once again why writing is worthwhile.

BOOMTOWN now available

I have a short story in the anthology BOOMTOWN: Explosive Writing from Ten Years of the Queens University of Charlotte MFA Program.

My story is "The Evangeline," about the WWII rescue at Dunkirk told from the point of view of a woman boat captain. The Dunkirk rescue was in May, 1940, when British soldiers were stranded at the port of Dunkirk in Belgium. The British Admiralty called on everyone who had a boat to get out across the Channel and rescue the soldiers, and the amazing thing is how many did. There are many accounts of this, and many stories, and novels, among them The Snow Goose, by Paul Gallico. Even now, I can't read about Dunkirk without weeping. I was waiting for the emotion to still before I started writing, when I realized that maybe that's now how I write. Maybe I write in the white hot center of the emotion. So I wept as I wrote, and I wept as I researched. (By the time I came to revise, I was dry-eyed, you will be glad to hear.)

Golf books for women

Yes, the rumors are true. I have taken up golf, or more accurately, golf has taken me over. Who knew it would be that enjoyable to smack a little white ball with a metal stick? So, of course, I've been reading up on golf. Here are the golfing for women books I like. I buy all that I can, whenever I am in a bookstore. That's right, I just march up and purchase every single golfing for women book I find. So now I have all three of them. Clearly, a need exists for more.

Golf Girl's Little Tartan Book: How to be true to your sex and get the most from the game, by Patricia Hannigan, amusing and useful, well-organized, suggests focus on short game is best strategy for most women, clearly true for me, as I'm not going to be a power hitter in this, or any other sport.



A Girl's On-Course Survival Guide to Golf, by Christina Ricci, spiral bound, designed to fit in the golf bag, and be hauled out when confronted with particular problem on the links.



The Women's Guide to Golf: A Handbook for Beginners, by Kellie Stenzel, simply the best place to start.



And although by a man, very important bedside reading, Golf Without Tears: stories of golfers and lovers, by P.G. Wodehouse, helps to keep the maddening qualities of golf in perspective.

British animal voiceovers

This made the rainy morning all the more pleasant.

book trailer for Midge Raymond & John Yunker

This is a hoot! Oh, and their books are good too!

submishmash

Submishmash is a web-based submission system that is getting quite a good bit of buzz.

From the interview with one of the founders of Submishmash:
"So slowly it became clear we should focus on publishers, not writers. If we could solve a problem for independent publishers, then their writers would do well. If publishers had more time and money, then writers would. The present version of Submishmash came from that."

Help is here

Sometimes we just need a little help....

Ron Butler's Obama in the manner of Gilbert & Sullivan

Artist Trust EDGE Program for Writers - applications due Dec 6th

I was delighted to be part of the 2010 Artist Trust EDGE program for writers, and I cannot say enough good things about the program. This is all the business side of writing that never (or rarely) gets covered in MFA programs, or other classes. Artist Trust has been doing professional development programs for visual artists for quite a few years, added filmmakers recently, and then expanded to writers in 2009.

For an application, go here.

"Literary artists who reside in Washington State are encouraged to apply to participate in the 2011 EDGE Professional Development Program for Writers, made possible by generous funding from Amazon.com.

The EDGE Program provides artists with a comprehensive survey of professional practices through a hands-on, interactive curriculum that includes instruction by professionals in the field, as well as specialized presentations, panel discussions and assignments. The EDGE Program focuses on supplying artists with the relevant and necessary entrepreneurial skills to achieve their personal career goals and with the opportunity to develop peer support and exchange.

The EDGE Program for Writers is open to emerging or mid-career writers of poetry, fiction and creative nonfiction. Applicants must be residents of Washington State but cannot be students enrolled in a graduate- or undergraduate-degree program. Applicants must commit to completing the entire 50-hour program."


Contact: Nirmala Singh-Brinkman, Program Manager
nirmala@artisttrust.org; 206/467-8734 x20; toll free 1/866/218-7878

rain gardens

The city of Seattle is getting behind rain gardens in the outer Ballard neighborhood, and with any luck, will continue to support them in the rest of the city.

Opera Company of Philadelphia "Flash Brindisi" at Reading Terminal Market (April 24, 2010)

I particularly like the delighted faces of the onlookers, as they realize what is happening. This is the way to grow an opera audience.

Oscar Wilde 1854-1900

Oscar Wilde, the great dramatist and poet, died in a shabby hotel room in Paris.
Reputedly his last words were, "Either that wallpaper goes, or I do."

Andrew Bienkowski & Mary Akers on the radio June 30th

Andrew Bienkowski and my pal Mary Akers will be doing a radio interview on Wednesday, June 30th, for their fine book One Life to Give: A Path to Finding Yourself by Helping Others.

I'm teaching this Saturday, June 5, at the Hugo House Write-O-Rama

I'm teaching at the Hugo House Write-O-Rama this Saturday, June 5th. A full day of writing workshops, $50 for the whole day, 10am to 5pm. The lineup of other teachers includes Wendy Call, Midge Raymond, Ann Teplick, Dickey Nesenger, Roberta Brown Root, and Judith Roche.

Details and registration at Write-O-Rama.

Postcard Secrets with Linera Lucas
This is a three-part exercise. The first part is to write as the person who sent the postcard. The second is to write as the person who received the postcard. The third part is a secret, to be revealed only in the workshop.

Roy Zimmerman at Phinney Ridge Saturday, May 8, 7:30pm

I heard Roy Zimmerman last night at Kenyon Hall, and laughed so much I actually slapped my thigh. The woman next to me laughed and cried. This is political satire at its best. Zimmerman is the heir to the crown of Tom Lehrer.

Roy Zimmerman: Real American
Saturday, May 8 7:30 PM
Phinney Neighborhood Center
6532 Phinney Ave
Seattle, WA
$14

from Seattle Folklore Society site:
"Ever wonder who was the composer/lyricist behind that hysterical Colbert Report skit? Who was that fabulous voice Amy Goodman played between guests? That featured blogger for the Huffington Post? It was Roy Zimmerman. Just check out his videos on You Tube...Roy has been actively touring the country for 20 years, producing numerous recordings, countless YouTube videos and a host of satisfied listeners. He’s even better in person!"

Hugo House class Saturday, May 15, 1-5 pm

I'll be teaching a one day class at Hugo House on Saturday, May 15, 1-5 pm.

Reading Like A Writer (a reading class)

As readers, we want to know why we let dinner burn while we turned the pages of one book, but left another unfinished. As writers, we want to know how to effectively steal the shiny bits. For both readers and writers the key is in understanding how to read like a writer. In-class readings will be from contemporary and classic masterworks.

Instructor: Linera Lucas
Meets: Saturday, May 15, 2010
1:00 PM to 5:00 PM
Min: 5 Max: 15
General: $96
Members: $86.40

Sign up online for spring classes here, or call Hugo House at 206.322.7030.

UW spring quarter class May 3 - May 24

My spring quarter class through the UW Women's Center runs from May 3 - May 24, 2010, four Mondays, 7-8:30 pm, $45.

You can register online here,
or call the Women's Center at 206.685.1090.

Writing Your Story, Finding Your Voice
Every woman has a story to tell, in her own voice. In this four-week session we will release our stories, silence our inner critics, and have a good time! Come prepared with pen and paper, your imagination, your fears and joys, your secret expectations. We will focus on short pieces of prose and poetry, using lively free-writing exercises. For those new to writing, and those who want to revisit the freedom of the beginner.

more from Flannery

"The type of mind that can understand good fiction is not necessarily the educated mind, but it is at all times the kind of mind that is willing to have its sense of mystery deepened by contact with mystery."

Flannery O'Connor 1925-1964

"It is said that when Henry James received a manuscript that he didn't like, he would return it with the comment, 'You have chosen a good subject and are treating it in a straightforward manner.' This usually pleased the person getting the manuscript back, but it was the worst thing that James could think of to say, for he knew, better than anybody else, that the straightforward manner is seldom equal to the complications of a good subject."

Bette Davis 1908-1989

from The Little, Brown Book of Anecdotes, edited by Clifton Fadiman.


"Bette Davis's attorney told her a rumor was spreading throughout New York that she had died. Miss Davis was unworried: 'With the newspaper strike on I wouldn't consider it.'"

I'm reading Friday, March 26 at Jack Straw

I'll be one of the readers at the Final Presentation for the 2010 Artist Trust EDGE Professional Development Program for Writers, along with my fourteen other classmates.
Please join us for an evening of readings. The event is free.
DATE: Friday, March 26, 2010
TIME: 7:00–10:00 pm
LOCATION: Jack Straw Productions, 4261 Roosevelt Way NE, Seattle, WA 98105

Literary EDGE Program Graduates:
Lana Ayers, Ellie Belew, Amelia Boldaji, Sarah Callender, Katy Ellis,
Lauren Fink, Robert Flor, Linera Lucas, Larissa Min, Jennifer Munro,
Jessica Murphy Moo, Ruby Murray, Cody Pherigo, Ann Teplick,
Elissa Washuta.

Pilot Books

Take a look at the newest bookstore on the block, I can't wait to go there -
Pilot Books. Capitol Hill, natch, upstairs in the Alley Building, 219 Broadway East.

And check out this article on them from Reading Local: "In the entire month of March, Pilot Books will observe a daily celebration of small and independent presses as part of Small Press Month."

Midge Raymond teaching at Richard Hugo House

Midge Raymond is teaching the Master Class in prose at Richard Hugo House, starting Monday, March 22, and running through May 24. Midge is a fine teacher, and I highly recommend her class. For more information, see the class listings here.

From the Richard Hugo House site:
"The goal of this workshop is for writers to complete, or fully revise, at least one short story or essay. With an emphasis on the short form, we’ll look at the elements of good narrative—including character, story, dialogue, setting, and voice—through examples and discussion but primarily in the context of student work. Each writer will have the opportunity to workshop a story or essay twice during the duration of the class, and we’ll discuss revision and critiquing methods, as well as how to gain insight into one’s own work through reading and responding to the work of others. The first portion of class meetings will be devoted to writing exercises and readings, with the majority of each session devoted to workshops."

Mararet Atwood

So all around the blogosphere, (the lit-blogosphere that is,) those ten rules for writing fiction from The Guardian are buzzing and droning on. I like Margaret Atwood's. If you want to read the whole list of authors, go here.

Margaret Atwood

1 Take a pencil to write with on aeroplanes. Pens leak. But if the pencil breaks, you can't sharpen it on the plane, because you can't take knives with you. Therefore: take two pencils.

2 If both pencils break, you can do a rough sharpening job with a nail file of the metal or glass type.

3 Take something to write on. Paper is good. In a pinch, pieces of wood or your arm will do.

4 If you're using a computer, always safeguard new text with a ­memory stick.

5 Do back exercises. Pain is distracting.

6 Hold the reader's attention. (This is likely to work better if you can hold your own.) But you don't know who the reader is, so it's like shooting fish with a slingshot in the dark. What ­fascinates A will bore the pants off B.

7 You most likely need a thesaurus, a rudimentary grammar book, and a grip on reality. This latter means: there's no free lunch. Writing is work. It's also gambling. You don't get a pension plan. Other people can help you a bit, but ­essentially you're on your own. ­Nobody is making you do this: you chose it, so don't whine.

8 You can never read your own book with the innocent anticipation that comes with that first delicious page of a new book, because you wrote the thing. You've been backstage. You've seen how the rabbits were smuggled into the hat. Therefore ask a reading friend or two to look at it before you give it to anyone in the publishing business. This friend should not be someone with whom you have a ­romantic relationship, unless you want to break up.

9 Don't sit down in the middle of the woods. If you're lost in the plot or blocked, retrace your steps to where you went wrong. Then take the other road. And/or change the person. Change the tense. Change the opening page.

10 Prayer might work. Or reading ­something else. Or a constant visual­isation of the holy grail that is the finished, published version of your resplendent book.

the novel is about other people

"I don't know why so many writers, unpublished and published, should find this so hard to grasp: the novel is about other people. A first novel must always be about other people. The function of the novel isn't self-expression: it isn't to sort out your life, it isn't to change society. Above all, it isn't about you. You must use your own experience, direct and indirect, but only as the purposes of the story dictate. You must realize that you yourself don't matter. Only the work matters. You have to get rid of yourself, or at least try to."

-John Braine, How to Write a Novel.

Mr. Braine wrote Room at the Top, The Crying Game, and eleven other novels.