What Jonathan Franzen is really angry about

by Sam Thomas

By now, Jonathan Franzen’s essay, “What’s Wrong with the Modern World,” (a.k.a. “Hey you kids, get off my literature!”) has made a couple of trips around the internet, and excited quite a bit of commentary.

Even at this moment, Johan Franzen
is not  as angry as Jonathan Franzen

One interesting response came from Amanda Hess in Slate. In her analysis of Franzen’s ode to the 1950s and ‘60s (except the nasty bits like Jim Crow), Hess writes: “But Franzen fails to draw any connection between the segregated swimming pools of his youth and his own ability to ‘find my place’ as a writer in the long tail of that old world.” This seems spot on, for Franzen’s reaction to the changing literary landscape is conservative in several senses of the word, but Hess goes far enough.

According to Franzen, back in the Good Old Days, “every magazine and newspaper had a robust books section, and venerable publishers made long-term investments in young writers... who wrote when publication still assured some kind of quality control.”

There are a number of way to respond to Franzen’s portrayal of a prelapsarian literary world. First, we could actually have a look at it. While there are works of which Franzen might approve, they are outnumbered by authors along the lines of Stephen King and Clive Cussler; authors whom I loved, but probably do not pass muster with Franzen. And as Sara Gran pointed out (on Facebook, no less), wandering through the ten-cent paperback section of a used bookstore will quickly dispel any illusions of the past’s literary superiority.

As is so often the case, the Golden Age wasn’t.

But I think the more problematic element of Franzen’s lament is that it boils down to this: Literature and literary culture have become more democratic. The advent of self-publishing means that there is no quality control over what finds its way into print, and thanks to Amazon, GoodReads, and the decline of print journalism, “responsible book reviewers go extinct.” (It might be more accurate to say, “responsible book reviewers blog,” but never mind.)

What has happened, of course, is that power has passed out of the hands of the literary and publishing establishment and into the hands of the hoi polloi. This is the true revolution in publishing, and this is what Franzen cannot abide.

To be blunt, serious problems arise when we consider the place of gender and race in Franzen’s complaint. The old order that Franzen is hell-bent on defending was overwhelmingly white, male, and the product of established economic privilege. And with the exception of Bezos, who is only now becoming an establishment figure, the objects of Franzen’s rage are neither white nor male.

This is most obvious in the misogyny that drips from Franzen’s every word, as he attacks Jennifer Weiner, impoverished and elderly German women, and traces the roots of his anger to a woman with whom he didn’t sleep. (Ironically, Franzen resisted this Eve’s temptation, but he nevertheless found himself expelled from the Garden. No wonder he’s so angry!)

Twitterer-in-Chief
Salman Rushdie

Then, when Franzen turns his attention to the baleful phenomenon of self-promotion, the man he singles out is Salman Rushdie with his ungodly 2,525 tweets. As Jennifer Weiner wonders, why not Nicholson Barker or Jeffrey Eugenides? Weiner attributes Franzen’s decision to give Eugenides a pass to their friendship, but that can’t be the entire story.

The fact is that as white men, neither Barker nor Eugenides challenge the established order, and as a result Franzen allows them to flog their books in public. But when Rushdie – and Weiner – do this, they are “yakkers and tweeters and braggers.” The demographics of this double standard are difficult to miss.

As a final observation, it is striking that Franzen’s lament is very much of a piece with conservative rhetoric since 2008. Both Franzen and the Republicans are baffled and alarmed by the rising power of women and minorities, and both have ceded the youth-oriented ground of social media to the enemy.

Like the Romney campaign in 2012, Franzen has no idea how to relate to those who are not like him. And both the Republican Party and Franzen have made it clear that the world would be a better place if these interlopers would go away. If they did, America could return to a time when white men monopolized political power and acted as both producers and arbiters of literary culture.

It’s Not Just Words.

It’s Not Just Words.

Back in the day, almost as far back as when man was first learning to harness fire for his benefit, I used to write screenplays. I started my writing career with a stage play, then immediately switched to writing movies (yes, the play was that terrible). I wrote movies for many years. Had some very small successes, many huge failures, but I loved the heck out of it.

Now I write books. My debut novel, Untold Damage, came out on April 8^th of this year. Next April will see the second Mark Mallen novel, Critical Damage.  A lot of people liked my debut novel, and that is super-duper awesome as it took me about ten years to learn my craft, get an agent, and then get a publishing deal. One thing that everyone who reads the book agrees on, outside of liking Mallen (which bodes well for a series, right?), is that the book is very visual. And that’s where we come to the point of this post: writing with a visual style.

And just how do you do that, you ask?

You write in all forms.

Screenplays. Plays. Even poetry can teach you something. Screenplays are all about movement and action, with as little dialog as possible. Plays are the opposite, they’re mostly dialog, BUT, you also have to have a sense of where you want the actors, what you want them to do as they’re talking. That’s great practice for setting your scenes and writing about things as simple as a character moving from one room to the next. Poetry can teach you how to find the right metaphors, find the BEST possible word to draw your word picture.

You can find screenplays all over the Internet. It’s not a hard form to get the hang of, but it’s a very difficult form to master. Very few ever do. Obviously you can also find plays everywhere on the ‘net. Through writing screenplays, I learned not only how to write in a visual manner, but also how to tell a story that contains a strong forward movement and pacing. Through writing the one stage play that I mentioned earlier I learned SO MUCH regarding what good dialog is, and isn’t. (mostly isn’t). Through writing poetry, I learned how to better use metaphors to make the scene in my head match the scene I was writing.

I’m being very serious here, if not a bit convoluted, hahaha. Bottom line: If you want to be the best, most visual writer you can be, open yourself up to writing in different forms. Heck, even spend some time writing Haiku. Writing a Haiku REALLY shows the power of just the right word.

It’s this looking at words, sentences, and the story form in entirely new ways that will take you far. 

Bay Area resident Robert K. Lewis has been a painter, printmaker, and a produced screenwriter. He is a contributor to Macmillan's crime fiction fansite, Criminal Element. Lewis is a member of Mystery Writers of America, Sisters in Crime, the International Thriller Writers, and the Crime Writers Association. Untold Damage is his first novel. Visit him online at RobertKLewis.com and at needlecity.wordpress.com.

For the Love of Old Books, Sheet Music & Fountain Pens

 by Priscille Sibley

On a recent visit with my older sister, she told me I took all the good stuff from our parents. To be honest, they didn’t leave much behind of value, but as the youngest, I would have traded more years with them for the few material things I received. Honestly though, at the time, my sister could have taken anything she wanted or at least have gotten dibs on it.

My sisters didn’t seem to have any interest in the old books I pulled off the shelves, my grandfather’s sheet music (from his days playing honky-tonk in a speakeasy), or the odds and ends, snapshots, whistles, or an old fountain pen, I found in my grandfather’s desk after he died. At the time these things were trash to my siblings. The junk didn’t go in my oldest sister’s house or into the sleek, newlywed digs of my middle sister. I kept them because I still needed a connection to my parents, and to my grandfather.

Novels are also usually about connections – or disconnects. Human beings push and pull away from each other like protons and electrons in atoms, always circling, always prying and stretching from those connections. It causes tension. In a story, you need that tension. Even if you read the first sentence here, you might recognize that my things, these loose odds and ends, these material mementos I kept to connect were, at least during that conversation with my sister, a source of tension. (It didn’t escalate. I wouldn’t let it that day.)

When we write, there should be tension on every page. Even those things, which can bind, can tear people apart. Let them. As you write, let the tension roar. 

A Few Things Authors Should Keep in Mind While Navigating the Wonderful World of Book Clubs.

If you’re a soon-to-be published author, you’re probably a little nervous about presentations and book clubs. Okay, maybe you’re terrified. (I was!) Among a million other things, you might be wondering…

Do real authors worry that someone will ask a question they can’t answer? Do real authors make sure they're wearing socks with no holes in them in case they’re asked to take off their shoes in someone’s home? Do real authors worry their mind will go blank in the middle of a sentence? Do they worry they’ll be compared to other novelists? Do they spill their wine and talk with spinach in their teeth? 

I’m here to tell you that, yes. Yes, they do.

Before my debut novel, THE PLUM TREE was released last year, my stomach churned when I thought about book clubs and presentations. Although I was excited about meeting readers, I wondered what would be expected of me and worried that people would change their mind about my work after meeting me in person. After all, how could an overweight grandmother with anxiety-flushed cheeks and trembling knees have anything important to say? And her book? It must have been a fluke.

Then I read an interview featuring Jenna Blum, author of THOSE WHO SAVE US, where she said books clubs helped dispel her fear of talking about her novel in front of strangers. What? Über-talented Jenna Blum, one of Oprah’s Top Women Authors, was nervous too? That was when I began to think maybe I’d be all right after all.

Now, eight months after the release of THE PLUM TREE and a dozen or so book clubs later, I’m here to tell you Jenna Blum was right. Books clubs are a wonderful way to ease into the new and often-scary “public” world of debut authorhood. After all, what could be better than having excited readers ply you with delicious food and wine while they chat and ask you questions about your novel? Trust me when I say it gives you a much-needed boost and is a great reminder of why you spent all those lonely months and years staring at your computer and talking to the dogs. And yet, like every author, you’ll eventually learn that not every book club experience is the same. To give you a heads up, here’s a list of a few things my fellow debut authors and I have learned while navigating the weird and wonderful world of book clubs.

1) Book clubs are not always about books. Although it might seem a bit strange, some book clubs don’t read the books they’ve chosen. For them, it’s a reason to get together with friends—for food, wine and conversation. While that’s all well and good, and people are certainly free to do as they please, it can be a bit awkward for an author who expects to talk about her novel. The good news is, you’ll make new friends and, hopefully, because they met you in person, some of them WILL read your book. If you’re worried about what to do in a case like this, remember that nearly everyone is interested in the process of becoming a published author. You can always talk about getting your agent, copy edits, revisions, rejection letters, word count, publishing houses, and the first time you saw your novel on bookstore shelves!

2) Sometimes the conversation goes in one direction and stays there. I know of one book club meeting where the members were so certain the book was going to be made into a movie, they spent the evening talking about auditioning for their favorite parts. While I’m sure the discussion wasn’t what the author expected, I’ll bet it was fun! If this happens to you, go with the flow and enjoy the enthusiasm!

3) Every book club needs a leader and sometimes it has to be you. One of my author friends stood by the kitchen door holding her purse while the book club fired questions at her before she even had a chance to take off her coat! Although I’d like to think that the excitement of meeting a published author caused the members to forget their manners, I’m sure it was a little awkward for all involved. Eventually, the author said, “Let’s grab our snacks and take a seat!” From there, things went well. It’s important to remember that there will be times when you have to take charge. Don’t worry, everyone will be glad you did!

4) Sometimes you’ll feel intimidated. No matter who you are or where you came from, there will come a time when it feels as though everyone in the room, and I mean everyone, is better educated and more successful than you. You might feel silly talking about your little book. But guess what? When it comes to being a published author, (unless, by chance, one of the members is also published) YOU are the most successful person in the room. The book club members, whether they’re heart surgeons, college professors or political analysts, are in awe of your accomplishment. Otherwise, they wouldn’t have invited you! Try to remember how you looked at published authors before you became one. That’s how most book club members look at you. Smile and be proud!

5) People will think that because they read your book, they know who you are. Every now and then, some questions and comments will surprise (or shock) you. Just like in the real world, people will say what’s on their minds before thinking. And sometimes, just like in the real world, they’re only being nosy. Smile, do your best to answer politely, ( or even better, with a dash of humor!) then change the subject.  

6) If you’re feeling particularly nervous, it’s okay to bring backup. One author friend sometimes takes his wife to book clubs and she’s always a big hit. I’m sure partly because the book club members want to know what it’s like to be married to a published author! I’ve taken my mother a few times because THE PLUM TREE is loosely based on her experiences growing up in Germany during WWII. People love asking her questions. I always say the more the merrier, and I imagine most book clubs feel the same way. But remember, every situation is different. If there is a formal dinner being served or restaurant reservations are being made, it’s best to ask first. Most book clubs offer to pay for the visiting author’s meal, but you can't expect them to pay for your guest. As a side note, if the meeting is being held in a restaurant, order something easy to eat (unless you don’t mind slurping spaghetti while fifteen people watch) and be prepared to take most of your meal home. You’ll be talking too much to put food in your mouth!

7) Every book club is different. And that’s what makes them so interesting and fun! Here I quote an author friend: “Each one has its own flavor unique to the members attending. I love the challenge and surprise those unique differences present. It's a little bit like improv theater. At one meeting, to my amazement, the conversation became so animated between the readers it was as if I was no longer in the room but watching behind one of those two-way mirrors they use in police stations or child psychologist clinics. Finally, one of the members turned to me and asked—how does it feel to have a bunch of strangers talking about you and your book as if you’re not here? I was speechless. It took me a few seconds to finally nod and smile and say, "Oh, it's great, carry on." I was in author heaven.

8) Some book clubs start with wine, continue to more wine, and finish with wine. This can be loads of fun or extremely awkward, depending on your temperament. In the case of one woman becoming so intoxicated she insisted the author examine her teeth, it was probably crossing the line a wee bit. But hey, to each their own. Everyone has their own version of entertainment! It’s best to laugh and chalk it up to experience. (and help with character building for your next book)

9) The best book clubs are those where the members are willing to share their personal stories. Here I quote another author friend—“Sometimes it can almost turn into a group therapy session. But it's interesting to hear how your book connects to their experiences, sometimes in very unexpected ways. In a book club, you get a chance to go beyond "I get it" and really get to know your readers.” For me, this is the most rewarding thing about book clubs!

10) Always be prepared to do a presentation. One book club I visited had rented a room in a historic downtown club. I was familiar with the building and assumed they would be gathered in one of the small side rooms. Imagine my surprise when I saw a sign that said the book club meeting was in the BALLROOM. When I walked in and saw the linen-covered tables, a buffet, and crystal chandeliers, I was certain there had been a mistake. Clearly, the ballroom had been set up for a formal party or wedding reception. Even the chairs were covered with white linen. As it turned out, FIVE local book clubs had gotten together to rent the ballroom, all to meet little old me. Imagine that. I quickly realized they were expecting a presentation and said a silent thank you to the author Gods that I had my notes and props with me.  

11) No matter what happens, remember that book clubs are supposed to be FUN!!  

Five Things I've Learned About Writing

I'm no expert on writing, but I've been doing it since 1989, so maybe I've learned a few things.  I'm still discovering various aspects of the 'beast' so here goes:

Five Things I’ve Learned About Writing

1)      There is an ebb and flow to writing.  Sometimes, the ideas and words come in a steady stream and the work seems like play.  Other times, grunting out a single word feels delivering a 10-pound baby.  This is natural and a part of life, like breathing.

2)      The writing life is a journey of choice.  No one cares whether or not you make this journey.  It is your choice if you do so.  And no one will protect or support your work.  People will support YOU and, if YOU love the work enough, they will end up supporting that, too.  But don’t blame others for what happens, or doesn’t happen, with your work.  Own it.

3)      Writing is HARD.  It takes a huge amount of courage to put yourself on the page.  It takes years to hone your craft.  It can take more years to find publication. Writing takes every part of you—your heart, your soul, your senses—to create a new world.

4)      Writing brings you closer to Spirit.  When you create, you mimic the Great Creator.  This gives you understanding that may have eluded you otherwise.  You understand that, as a writer, you must love all your characters, even the bad ones.  This is a reflection of Divine Love.

5)      Publication will never be what you expect.  Often, the changes in your life after publication will be miniscule.  Sometimes, there will be disappointment.  None of that matters.  What matters is that you write and keep writing.