‘Casual’ creator Zander Lehmann talks to Adam Vitcavage about the show’s four-season run on Hulu.
By Adam Vitcavage
Jesmyn Ward is the only author I think about on a weekly basis. Her stellar Salvage the Bones is the only novel I recommend to nearly everyone looking for a new book. If I don’t murmur the words, “Jesmyn Ward’s Salvage the Bones,” in any given week, then I at least think about how much her bleak and beautiful novel punched me in the stomach while simultaneously uplifting my spirits. Now, there’s a new novel from her I can suggest: Sing, Unburied, Sing.
I recently interviewed Ward, and I felt aspiring writers and readers of Writer’s Bone might find her comments about her writing process both encouraging and educational.
Adam Vitcavage: What excites you in the undergraduate writers you teach at Tulane University?
Jesmyn Ward: The writers who take my courses write across multiple genres. Some are writing YA, fantasy, or surreal literary novels. It just depends on the student. I love it all. What really attracts me to my students work and what makes me appreciate them is the passion that they have. I think that comes out in the work even if the work is not that polished or developed as it could be. That’s what I’m there for. I’m there to help them develop and polish it. Their passion for writing, telling stories, and creating worlds is what attracts me to their work.
AV: Once you get going with a draft for a novel, do you have a set writing process?
JW: I am a very linear writer. I work from the beginning to the end. I start at the first chapter and end at the last chapter. I don’t revise as I’m going because I feel if I stop to revise the things that I’ve written that I will get bogged down and will never complete the book. So I don’t revise and I just write straight through. I try to write for at least two hours a day for five days a week. Sometimes that is easier. I have two children, so when I have child support for them or when they’re in school is when it’s easier for me to do that. Sometimes I have to patch those hours together. I’ll wake up early and work for an hour then work for an hour later in the day when I have time.
I feel like the more disciplined I am about writing for two hours a day five days a week then the easier it is for me to access my creativity. I think it takes less time to sink into the world and to do the writing I need to do when it’s something I do five days a week. That’s how you write a book: it’s something you work at every day pretty regularly for at least a year if not a year and a half or two years. And that’s considered fast. I know some people take a decade on a book. I understand why.
It’s all about hours of dedication and discipline.
AV: Once you get the draft done, what does your revision process look like? What do you look for?
JW: The way that I revise is a little weird. I finish the first draft and then I let it sit for a month. I’ll work on other small things during that time and then I go back. I’ll read through the rough draft. Just read and take notes about things that need to be revised, changes that need to be made, things that can be cut or moved around, or whatever. I make a list and go through that list. I’ll concentrate on one thing on the list while reading through the draft. I devote an entire revision to just one aspect or one correction.
If I need to develop a character, then I’ll go through and develop a character throughout a revision. I’ll cross it off the list and go back again to concentrate on another aspect. My list can have 12 or 13 items on it. That list is just things I’ve noticed. If I went into a revision with the aim of correcting all thirteen of those things I feel I would miss something. It’s easier for me to focus on one thing through a revision. I revise twelve or thirteen times before I feel confident enough to show my work to a group of first readers.
First readers are just people that I’ve gone to school with, other writers I met at Stanford or Michigan. I’ll email them a draft and ask for their help. After a couple of months, they’ll give me suggestions and I’ll go back in and revise based on their feedback. That might take six or eight revisions. Once I’ve done that I feel confident enough that I won’t embarrass myself and I’ll send it to my editor.
And then [laughs] we revise for months. I mean, it is definitely a process. I’m the kind of writer who feels nothing is ever perfect when it’s fresh. The first rough draft is never perfect. I actually enjoy revision because writing that first rough draft is difficult. It’s different work because you’re creating this world and characters from nothing. It takes a different literary muscle than going back in and revising.
Revising is more enjoyable and more fun for me. I already have something, so at least I have the security of knowing I have something to work with on the page. Then it’s all about shaping. I enjoy knowing the security of just having to focus on making something better.
To learn more about Jesmyn Ward, follow her on Twitter @jesmimi. Read more of Adam Vitcavage’s work on his official website, or follow him on Twitter @vitcavage. Also check out Adam's full interview with Jesmyn Ward on The Millions.
By Lindsey Wojcik
The heat is on. By now, most of the country has experienced the familiar stickiness that comes with the summer season. The humidity has undoubtedly driven many to the beach or pool to cool off, and here at Writer’s Bone, no beach bag is complete without a sizzling new novel.
In her new book, Carpenter transports readers from New York City to a small, humid island off the coast of Georgia where Megan Ashley, the daughter of an acclaimed novelist, travels to discover more about her mother’s famous book, Kitten, for a tell-all memoir she has agreed to write. Kitten tells the tale of an island murder that fans believe may have been loosely based on a real crime. As the truth about where Megan’s mother, Frances Ashley, found the story for her infamous novel unravels, Megan must decide what is real and what is fiction.
Carpenter recently spent some time answering questions about transitioning from a career in television to writing novels, what inspired The Weight of Lies, and why it’s important for writers to appreciate their “customers.”
Lindsey Wojcik: You've been writing since a young age. What are your earliest memories with writing? What enticed you about storytelling?
Emily Carpenter: I’ve told this story a few times—the one about how I plagiarized The Pokey Little Puppy when I was 5. It’s my secret shame. I basically copied it word for word and illustrated it with crayons. I am not sure I actually finished it, so maybe I’m off the hook? After that, there were a couple of false starts on a novel about a girl with a horse when I was around 14. I’m not sure I had a handle on a coherent story, but I was definitely enamored by the idea of a girl (me) owning a horse. I absolutely lived for reading. I was an introvert, bookworm, a dreamer, and really imaginative. And while I didn’t really have a reference point for becoming an author, I was drawn to the whole world of storytelling.
LW: Who were your early influences and who continues to influence you?
EC: I read all of the Nancy Drew books, The Bobbsey Twins, The Hardy Boys multiple times over. Beverly Cleary and Laura Ingalls Wilder were early favorites. I loved those biography books with the orange covers, and there was another series where I remember reading about Madame Curie and Helen Keller. I read a lot of suspense books now because that’s the genre I write, but I enjoy all kinds of fiction. I’ve gone through periods when I read YA and literary classics, romance and horror. I’m really inspired by television writers right now. Noah Hawley, who writes “Fargo,” is immensely brilliant and funny. I also admire Ray McKinnon, a fellow Georgian, who wrote “Rectify.” Both those guys really inspire me.
LW: Tell us a little bit about your experience at CBS television’s Daytime Drama division. What did you do in that department? How did it influence your writing?
EC: I was the assistant to the director of daytime drama, so I basically answered phones, did paperwork, that kind of thing. I also read all the scripts for upcoming shows and wrote summaries for the newspapers to publish. I got to take contest winners on tours of the productions and assist with a couple of promo tapings of commercials for the shows. Once I took a bunch of contest winners and some of the actors to lunch because my boss couldn’t do it. I had the company credit card and had to pay for the whole thing, and it made me really nervous. I was, like 24, or something, and I’d never seen a check for a meal that big. In terms of influencing my writing, I think I really soaked up the concept of how to write tension and cliffhangers. “Guiding Light” and “As the World Turns” had some really talented writers on staff who were great at writing really funny, snappy banter, and I picked up on that—the rhythm of dialogue is so important and they were such masters at it.
I remember something my boss told me once when the writers had brought in a secondary character who was a part of this new storyline. So one Friday at the end of the show, they ended the final scene with a close up on his face. She got so mad about it and said, “You don’t end a really important scene—especially a Friday cliffhanger scene—on a day player!” She understood that, bottom line, the audience cared most about the core characters of the show. They loved them, not this random guy they’d brought in to be a temporary part of this new storyline. She knew that the show needed to leave the audience anticipating, thinking about those core characters all weekend long until Monday rolled around—not this day player. That really stuck with me, how important it was to understand who your audience was and what they wanted and giving it to them.
LW: You assisted on the production of “As the World Turns” and “Guiding Light.” Both of those soaps were on daily in my household growing up—three generations of women in my family, including myself, watched both shows, which are no longer on the air, and soap operas in general have been on the decline. What do you think influenced the change in daytime television?
EC: First of all, let me say, thank you for watching. I have a deep admiration and enduring fondness for those two shows. I watched them long after I left New York and moved back down South, and when they were cancelled, I cried. It really was such an end to an era. Although I’m sure there is an answer for why daytime TV changed, I’m not sure I know. I think, in the end, it’s probably to do with money, like everything else. And new technology and our capability to access streaming shows and binge watch really high quality programming. There’s no more appointment TV. We really have gotten out of the habit of showing up at a certain time to watch a show. I suppose the decline started with cable and cheap reality programming and TiVo. But I’m not sure what the deathblow was. And look, we still have four soaps running. I turned on “Days of Our Lives” the other day, and Patch and Kayla have not aged a whit since I watched them in the late ’80s.
LW: Tell us a little bit about your experience with screenwriting. What influenced your decision to change career paths from film production and screenwriting to writing novels?
EC: I was pretty naïve, hoping to break into the screenwriting business with zero entertainment connections or really any knowledge of the business at all. I think I had a good sense of story and structure in a general sense—I had some raw materials—but in terms of writing a kickass commercial feature, I wasn’t there. I didn’t know how to do it. And I think I was really sort of just learning the technique of writing as well. Learning how to write good sentences and evoking emotion with my words. I hadn’t majored in creative writing in school or even taken a single writing course in my life, I was just winging it. So really, it was audacious of me (or plain, old ignorant) to think I was going to write a spec screenplay that would sell to Hollywood.
But I just loved movies so much and writing and kept plugging away at it. I worked really hard and placed in a few contests, but ultimately couldn’t get an agent interested. After working on two indie productions with friends, I finally decided it was not going to happen. I took a break for a few years and hung out with my kids, enjoyed being a mom. Then one day, it suddenly occurred to me that there was this whole world of storytelling that I had overlooked. I started mulling over the idea of writing a book and researching the business side of publishing. It turned out to be much more accessible world. And I’ll say that my screenwriting experience, self-taught though it was, has formed the basis of my novel writing. I use a lot of the outlining and scene structuring tools that screenwriters use in my books.
LW: How did the Atlanta Writers Club guide you as a writer?
EC: They provided amazing access to a whole community of local writers, some of whom have become critique partners and dear friends. I found a critique group through them, which was where I read something I’d written out loud for the first time. And I attended several conferences the club sponsored and pitched my books to agents. I actually met my agent at one of the conferences.
LW: What inspired The Weight of Lies?
EC: I love classic horror books and films—Stephen King is just the master, of course. Carrie is one of my all-time favorites. One time I read that he had based aspects of Carrie on this girl he knew in school who was awkward and bullied by the other kids. That fascinated me, and I wondered if she ever found out what he did, what she would think of it. I mean, can you imagine? I get asked that question a lot, as an author, is my book based on real events or real characters? My books aren’t, but it intrigued me to imagine a writer who had the audacity to base her novel on a real murder and maybe even a real murderer, and so now there’s this eternal question out there among her fans about whether it was real.
LW: When you were writing The Weight of Lies, was there something in particular you were trying to connect with or find?
EC: Well, at the heart of the book, it’s really a story of this young woman who doesn’t feel like her mother has ever loved her or really even wanted her. And she’s so angry because she’s desperate to be affirmed and loved. She’s also a bit lost because she doesn’t have a whole lot going on career-wise, she hasn’t really been successful in the romantic department, and she’s getting older. She’s got a lot of resentment toward her mother to work through, but she’s really blinded by her pain. And her mother really is a monumentally self-centered diva, so there’s plenty of blame on both sides. That whole situation felt really compelling to me, that search to try to understand your mother as more than just the figure you rebelled against or had conflict with. Where you reach a crossroads at which point you have to decide whether you’re going to give your mother the benefit of the doubt and forgive her, or feed your childhood bitterness and hurt and go for the scorched earth option. Needless to say, Meg opts for earth scorching.
LW: How was the process of writing The Weight of Lies different from writing your debut Burying the Honeysuckle Girls?
EC: With Honeysuckle Girls, I had a lot of time. A lot of freedom. I was 100 percent on my own timetable. Then, once I signed with my agent and went on submission, it became a process of listening to my agent’s opinions and the opinions of the marketplace and deciding what to pay attention to and what to bypass. The great thing was that I had a lot of time to tinker with the book, which is a luxury. It wasn’t that much different writing The Weight of Lies because I didn’t sell the book until I had completed it. My next books, though, were sold on pitch, so that’s been an entirely new process, to deliver something you’ve already been paid for.
LW: What’s next for you?
EC: I’m writing my next book, which is about a young woman with a secret she’s kept since her childhood, who agrees to accompany her husband to an exclusive couples therapy retreat up in the mountains of north Georgia so he can get help for the nightmares that have been plaguing him. And then things start to go sideways, and she realizes that nothing at this isolated place is as it seems.
LW: What’s best advice you’ve ever received and what’s your advice for up-and-coming writers?
EC: My agent told me once, “Remember, this is your career…” I can’t even recall what we were talking about exactly—it might’ve been a deadline, or what I was going to write next—but the point was, she wanted me to clear away all the noise from other people’s expectations and do what was best for me. To follow my heart. It was just what I needed to hear at the moment, especially because I have the tendency to go overboard to make other people happy and overlook what’s in my own heart. It really settled me down and gave me the confidence to go forward.
I think one of the things I’d like to remind up-and-coming writers is that they are getting into a business and many of the decisions that editors and publishers make have to do with money. So when new writers encounter perplexing situations, I think they need to understand that financial bottom line motivates many of them. It’s sometimes a bitter pill to swallow, but it’s reality. And as writers, we have to be able to nurture our art in that atmosphere of commercialism.
The other day I heard Harrison Ford say in an interview that he doesn’t like to call people who see his movies “fans,” but “customers.” It was a really pragmatic, non-romantic way for an actor or artist to view what they do, but it did sort of speak to me because I tend to lean toward being really practical. I do see the artistic side of writing, and I can get really swept up in the magic of creating characters and a story. On the flip side, I also do really appreciate my “customers,” and I consider it an honor to have the opportunity to entertain them. And I think what the customers wants and expects should matter to writers. It’s not the end-all, be-all, but it is something to keep in mind.
Authors, poets, and screenwriters, oh my!
Our interviews this year ranged from new literary voices to journalists and from comedians to woodworkers (who are also comedians).
Here are our five most popular interviews from 2015. Look for many, many more in 2016!
Author Joe Hill talks to Sean Tuohy about his writing style, his next book, and what books are currently cluttering his nightstand table.
Offerman Woodshop, located in Los Angeles and helmed by comedian and “Parks and Recreation” star Nick Offerman, has been described as “kick-ass” and is filled with extremely talented and skilled artists. With the help of RH Lee, Sean Tuohy learned more about what it takes to design an original piece of art from a slab of wood.
Paula Hawkins, author of The Girl on the Train, talks to Daniel Ford about her love of creativity, her early influences, and how the idea for her popular thriller originated.
Literary agent Christopher Rhodes talks to Daniel Ford about how aspiring authors can sensibly chase their publishing dreams.
Best-selling author talks to Stephanie Schaefer about writing, royalty, and those rumors about a “Princess Diaries 3” movie.