Feb 9, 2023 | Poetry, Uncategorized |
Welcome – What book would you like to tell our readers about?
Don’t Leave Yet, How My Mother’s Alzheimer’s Opened My Heart (She Writes Press, 2015) recounts my journey toward understanding our complicated mother-daughter relationship as she struggles through the early stage of dementia-type Alzheimer’s, and my ultimate discovery of compassion and love that goes beyond familial duty.
Do you write in more than one genre? I enjoy the challenge of poetry, creating, and recreating experiences to connect with readers. Finding a precise image or metaphor and using concise and descriptive language engages my mind in sometimes unexpected ways. The discovery can be exhilarating.
What brought you to writing? I was an English major at the University of Wisconsin -Milwaukee. I admired twentieth-century novelists and poets and wondered if I had it in me to create my own work. It wasn’t until after my father died that I began to explore poetry as a way to express grief. A decade later, when my mother was diagnosed with dementia-type Alzheimer’s, my teacher, the terrific poet Ellen Bass, suggested I might explore my experiences further if I went beyond the parameters of poetry. It was then that I turned to prose. It allowed an expansiveness I needed to convey all that I wanted to say. I started by writing vignettes, followed by full scenes with characters, dialogue, and description. Soon I had pages of material with a sense of connectedness.
Where do you write? What, if any, distractions do you allow? I write in my home office, where morning light provides a calm atmosphere and from where I can observe a yellow rose tree and a bevy of finches on the thistle feeder. I don’t tolerate distractions. But I don’t mind my Shih Tsu, Cody, who snores ever so slightly on his bed directly behind me.
Tell us about your writing process: I usually begin writing with a black ballpoint and a Mead notebook. I wrote most of my memoir in notebooks. When I had enough material, I transcribed it into a document on my laptop. I labeled each draft so as not to lose anything interesting or significant. Now I use the same process when writing poetry.
What is the most challenging part of your writing process? Revision is the most challenging. Yet, it’s the part of writing that I enjoy most. I revisit each image and metaphor. When a metaphor doesn’t do its job, I make a list of ten others and then choose the one I think works the best. I also read a poem out loud to gauge the effectiveness of line endings and stanzas. I admit I’m a perfectionist.
What are you currently working on? I’ve recently discovered some old poems that go back several years. I’m trying to revise them but often find myself starting over. I hope to also return to blogging in the near future.
Has an association membership helped you or your writing? The poetry critique group of California Writers Club Tri-Valley Branch, which I lead two times a month, has offered much-needed support as I labor with some of my poems. The members are careful listeners, and they offer critique with enthusiasm. I’ve found the structure and discipline necessary to keep on writing.
Who’s your favorite author? It’s hard to choose just one. I always look forward to reading Jack Kerouac, John Irving, and Jennifer Lauck. My favorite author of all time is John Steinbeck.
What is the best book you ever read? The Grapes of Wrath by John Steinbeck. I’ve read it at least three times. I admire its structure, honesty, and intense feeling.
How long did it take you to write your first book? It took five years to write Don’t Leave Yet. I belonged to a writing class in 2004 with Ellen Bass, reading pages each week from my notebook for critique. My mother passed away in 2008, and I was uncertain as to whether or not I could continue to write our story. Ellen, and my fellow writers, were instrumental in my effort to bring the manuscript to its completion a year later.
How long to get it published? Don’t Leave Yet was a finalist in the Pacific Northwest Writer’s Conference writing competition in the memoir category in 2011. One agent from San Francisco who attended the Conference found the book interesting, but that was it. I pursued other agents with no luck. Then I heard about Brooke Warner, the publisher of She Writes Press. I worked with an editor she recommended. She Writes published my memoir in 2015.
What authors did you dislike at first but grew to enjoy? When I read Bel Canto by Ann Patchett, I thought I might cross her off my list. But when I discovered Truth and Beauty, I was hooked.
Do you outline, or are you a pantser? I began writing Don’t Leave Yet without an outline. By the time I completed the third chapter, I had decided an outline was necessary since I wove together scenes of the present with those of the past. It was a way of keeping characters and events clear in my mind.
Looking to the future, what’s in store for you? I plan to continue placing my poems in literary journals if I’m lucky. I will also enter my chapbook, Treading Water, in more literary competitions with the goal of publication. It was recently named a finalist in Blue Lights Press writing contest.
Do you have any advice for new writers? First and foremost, be true to yourself. Write what’s meaningful and what you love. Observe the world. Read widely. And don’t ever let others tell you that you can’t write.
How do our readers contact you?
Nov 10, 2022 | Historical, Memoir, Uncategorized |
Dr. Eve Sprunt is a prolific writer and consultant on diversity and inclusion, as well as the transition from hydrocarbons to cleaner forms of energy. She is passionate about mentoring younger professionals, especially women struggling to combine parenting and professionalism and those facing cross-cultural challenges.
Her over 120 editorial columns addressed workforce issues, industry trends, and cross-cultural challenges. In addition to authoring 23 patents and 28 technical publications, she is the author of four books: A Guide for Dual-Career Couples (Praeger), Dearest Audrey, An Unlikely Love Story, A Guide to Career Resilience (Springer Nature) as co-author with Maria Angela Capello with whom she authored Mentoring and Sponsoring: Keys to Success (Springer Nature).
During her 35 years in the energy industry, Eve acquired extensive experience working for major oil companies on projects around the world. She was the 2006 President of the Society of Petroleum Engineers (SPE), the 2018 President of the American Geosciences Institute, and the founder of the Society of Core Analysts. She has received high honors from SPE, the Society of Women Engineers, and the Geological Society of America. Her bachelor’s and master’s degrees are from MIT, and she was the first woman to receive a Ph.D. (1977) from Stanford in Geophysics. She speaks and consults on women’s and energy issues and is an active member of the California Writers Club Tri-Valley Writers Branch.
A Guide to Career Resilience (with Maria Angela Capello), 2022
Mentoring and Sponsoring, Keys to Success (with Maria Angela Capello), 2020
Dearest Audrey, An Unlikely Love Story, 2019
A Guide for Dual-Career Couples, Rewriting the Rules, 2016
Do you write in more than one genre? Yes, self-help and memoir/biography
What brought you to writing? It runs in the family. My mother (Ruth Chew) wrote and illustrated 29 children’s fantasy chapter books. Mother’s first and best-selling book, The Wednesday Witch, sold over a million copies. My maternal grandfather was also a writer.
As a female scientist, when technical women were rare, documenting my work in writing (both within the company and in industry publications) improved my odds of getting credit for my work and enabled me to build my reputation.
I volunteered to serve as Senior Technical Editor of the Society of Petroleum Engineers for three years because the role included writing a monthly editorial column. I authored “edgy” articles on workforce issues. After my term ended, I continued writing bimonthly editorial columns for another seven years. I began writing books when I retired and was no longer subject to corporate censorship.
What are you currently working on? I am polishing a memoir/biography of my mother, Ruth Chew, who became a successful children’s book author/illustrator after I left home. Passionate Persistence is based on Mother’s 67 years of daily diaries and my memories. The Tri-Valley Writers critique groups and Lani Longshore (as a beta reader) have been tremendously helpful.
When the leader of my hiking group learned that I was receiving the 2022 Curtis-Hedberg Petroleum Career Achievement Award for outstanding contributions in the field of petroleum geology, she urged me to write a memoir about my career. I was astounded to be selected for that Geological Society of America’s award because my degrees are in geophysics, and I usually impersonated a petroleum engineer. However, my most significant technical contributions involved convincing the engineers that they had overlooked critical aspects of the geology.
How long did it take you to write your first book? The first book I wrote was the one I self-publishing in 2019, Dearest Audrey, An Unlikely Love Story. I found an agent for that manuscript, but in hindsight, I suspect she took me as a client because she was a fan of my mother’s children’s chapter books, which were out of print. Shortly after I signed agreements with the agent to represent both my work and my mother’s, an editor at Random House approached me about the republication of my mother’s books. The agent received a sizable commission on the agreement with Random House but never found a publisher for Dearest Audrey, despite representing it for several years.
That agent didn’t like my manuscript for A Guide for Dual-Career Couples but recommended that I go through the submission process for Praeger, which asked for an outline and sample chapters. Praeger accepted my proposal, and the agent spent months working on the contract, leaving me only about six weeks to get the manuscript completely revised if I wanted to have A Guide for Dual-Career Couples included in Praeger’s spring 2016 catalog. I realized that since I was working for myself, I could work 7-day weeks and long hours, and I met the deadline.
Eventually, I concluded the agent would never find a publisher for Dearest Audrey, so we agreed to dissolve our agreement. I hired a developmental editor through Reedsy, who guided me through the self-publication process. Dearest Audrey was published in 2019.
Self-help books like A Guide for Dual-Career Couples and my two books published by Springer, Mentoring, and Sponsoring, Keys to Success (2020) and A Guide to Career Resilience (2022), are accepted based on an outline and sample chapters. The writing and publication process can be very swift.
Passionate Persistence, The Life of Ruth Chew, which I hope will become my fifth book, may be a tough sell. I asked the developmental editor I used for Dearest Audrey to edit it and advise me on whether I should seek an agent or pursue self-publishing. After I left home, my mother was so focused on her successful career as an author my younger siblings ran wild. She wrote children’s chapter books, but her life was not a story for children.
About twice a week, I go hiking with a group of ladies. When the leader learned I was selected for the Geological Society of America’s lifetime achievement award, she said, “Who’s going to write your story? You need to do it.”
In A Guide to Career Resilience, my co-author and I share examples in which we successfully challenged the system. Both of us consider ourselves to be shy, but I don’t know anyone else who would. Our author at Springer objected to the concept that “forgiveness is easier than permission.” We included the concept and the examples but refrained from using the forbidden phrase. In our careers, my co-author and I leveraged that concept to surmount barriers.
My mother (the title character in Passionate Persistence) was an ambitious woman. She thought her older sister, Audrey (the heroine of Dearest Audrey), was afraid of her own shadow. Ironically, before writing Dearest Audrey, I accepted my mother’s assessment of Audrey despite ample evidence to the contrary – Audrey went on sabbatical to Pakistan in the mid-1950s, not knowing exactly where or what she would teach, and was traveling alone near the Khyber Pass when she met her true love.
Do you base any of your characters on real people? All the time. I always disguise their identity if I use them as a bad example.
Looking to the future, what’s in store for you? I plan to write about my life experiences but will weave them into a self-help book because those are easier to market than memoirs.
Do you have any advice for new writers? Join a writing group.
How do our readers contact you? Please contact me at www.evesprunt.com or email me at firstname.lastname@example.org
Feb 7, 2022 | Memoir |
Judy Lussie uses her cultural background to write stories about Asian-American women. Her latest novella, Bought Daughter, is based on her grandparents’ immigration to America.
Judy writes women’s contemporary novels. Lake Biwa Wishes and the sequel Second Time Around were her first two novels. Her short stories have been included in several anthologies. Her most recent novel is titled Bought Daughter.
The original Moy sisters and their mother. The baby is Judy.
Bought Daughter: When she was a child, Mei-Ling’s poverty-stricken father sold her to a wealthy family. Despite her status as a Bought Daughter, she was determined to go to America. When the Chinese missionary Ah Pu proposed marriage and travel to the New World, she jumped at the chance, even though she did not believe in his God. Could a Christian and an atheist succeed in marriage? Would her past forever haunt her?
What brought you to writing? While on the Board of Directors of Presbyterian publishing Corporation, I was asked to write a week’s worth of devotions for These Days Magazine. At the time, I was the Technical Information Director of Lawrence Livermore Lab in California. This was my first experience in paid non-technical writing. As a result, I received many letters from old friends and compliments from new readers. One man wrote that his wife suffered the same disease I had–polymyositis. The following year he wrote that his wife had died. I offered my prayers. Then later he wrote that he met a widow whom he asked to marry and thanked me for supporting him with my letters. Until then, I never realized how writing could help another person.
Has association membership helped you or your writing? Yes. California Writers Club Tri-Valley Branch (of which I was Program Chair), San Francisco Writers Conference (5-year volunteer), and several writing classes. I met many New York Times best-selling authors and learned more about the art of writing, publishing, and marketing.
Who is your favorite author? I have many, but Lisa See, Erica Jong, and Catherine Coulter are at the top of my list. Each one writes in a different sub-genre, but all are great writers. Lisa See writes historical novels, Erica Jong writes women’s novels, and Catherine Coulter writes crime fiction.
Do you base your characters on real people? Yes. The characters in Bought Daughter are based on my grandparents, aunts, and uncle. The character Kyoko in Second Time Around is based on my granddaughter (when she was 3). I tried making up characters, but they seemed phony.
What kind of research do you do? The research for Bought Daughter fell into my lap. While visiting Angel Island Immigration Station, I was told I could find more information in NARA (National Archives and Records Administration). Previously, as a technical information manager, I was required to send NARA information with strict requirements. Finally, I became a user instead of a contributor. When I entered the facility, I showed them my grandparents’ travel info and signed up as a researcher. The attendant wheeled a cart full of papers in both Chinese and English, which they photocopied for me. With all that information, I knew I had to share it with others. I also use online resources. Taryn Edwards provided a comprehensive list of historical resources.
Where do you place your settings –real or fictional locations? I feel my story is more accurate in the locations I visited. For my first two books, I lived in Japan for two years and skied in many ski resorts around the world. For Bought Daughter, I lived in Chicago Chinatown as a child. I visited China as an adult.
Do you have any advice for new writers? Write, write, write. Even if you just put the manuscript on a shelf. Read, read, read. Highlight passages that move your heart and soul.
Thank you, George Cramer, for inviting me to be a guest blogger.
I can be contacted by email at Sursum Corda Press, LLC. I welcome your comments and questions.
Dec 30, 2021 | Memoir, Mystery |
Daniel Hobbs has been a city manager in seven cities across the country, in Maryland, Texas, Michigan, and California. My career took me overseas as an American local government official to W. Germany, Poland, and Japan.
I have been married to a wonderful, patient woman for 35 years, a beautiful native of Peru, who endures my anxieties and writing distractedness with good humor.
Ben Leiter is the author of four published books, available on Amazon and Kindle:
- CITY MANAGEMENT SNAPSHOTS: ON THE RUN
- BABY BOOMERS’ LOVE-BETRAYAL
- GOD’S BETRAYAL: THE CREDO
- BETRAYAL OF FATHER GARZA
Is there a thread or theme that ties your books together, even though they are of different genres? Yes, very much so. Together, these four books examine the cataclysmic collision between the expectations of the baby boomer generation and the primal forces of politics, religion, and romance.
Why the pen name Ben Leiter? If you read any of my books, you’ll understand why immediately with the authentic, explosive nature of the material and the controversy of storylines and subplots.
Using a pen name provides me the psychological freedom to write what I want; to explore themes without embarrassing me or my family.
The name Ben Leiter translates “been leader” if you use the German pronunciation of the last name. It describes my previous profession as a city manager in seven cities.
Why do you write? Answer: To find out what I think; to figure out why I think what I think; to investigate “what it’s all about.” And to avoid boring people with my strong opinions in conversations. If I put my views on the written page, I must present them in an intelligent and interesting fashion, or the reader won’t turn the page.
Also, writing fiction allows me to explore my favorite theme of betrayal and its sub-themes involving politics, religion, and romance.
What do you want to achieve? Writing objective? Validation as a good writer who has something to say worth reading.
Favorite authors? Answer: John Le Carré, Len Deighton, Michael Connelly; Gillian Flynn, Andy Weir, Anne Lamott, Dennis Lehane, Tom Wolf, Robert Crais, Martin Cruz Smith, Leon Uris, Don Winslow. I’m reading Winslow’s The Cartel for the third time, as I did Flynn’s Gone Girl.
I’ve met and talked with Andy Weir and Bob Woodward.
Bob Woodward and I shared common associations from decades ago in Rockville, Maryland, outside of Washington, D.C.
Can you describe the impact any books have had on you? I’d rather have lunch—at the risk of being lunch—with Hannibal Lector from Silence of the Lambs than with the female protagonist in Flynn’s Gone Girl. That wife-protagonist is like real-world-scary. She’s out there walking around, for sure. Flynn’s book ranks with Catcher in the Rye; The Spy Who Came in from the Cold; and Exodus.
A Leon Uris book, Trinity, provided insight into what we Irish call The Troubles— the colonization atrocities of the English. (I’m part English too, but the Irish always wins out—so much more colorful.)
Tell me about your protagonist in your most recent book. Why will readers like him? My hero protagonist, Father Gabriel Alphonso Esquivel Garza, is a Hispanic-Schwarzenegger-Rambo-renegade Catholic priest with a Zorro complex. He refuses to let principles keep him from doing what is right. He is merciless in defense of children.
Are you a Pantser (write by the seat of the pants, ad hoc) or a Plotter (outline in detail before writing)? Both—here’s how and why. I rely on The Muse, or inspiration, or whatever has caught my fancy at the moment to fling words on paper. Once I have enough “somethings” on paper, I start organizing and putting them into a table of contents with detailed notes under each chapter, which is the equivalent of an outline. I then keep adding, revising. I move stuff I delete to the end of the working draft, to be probably brought forward at a future time after it has “matured.” Advice: never throw anything away.
I experience difficulty deleting my pet phrases and scenes. Some famous author said that your favorite computer key should be the delete key.
How do you vet your work? Three critique groups; two California Writing Club memberships; past developmental editing by Scott Evans, author and English professor at the University of the Pacific.
Strengths and weaknesses of your manuscripts? From the professional writing feedback I have received over the years, the strengths of my work seem to be the imagination, the creativity of the work, and the character (good and bad) of my protagonists.
My drafts have received deserved hits by critique groups for not always letting the reader know immediately what is going on and where we are at. I accept that criticism because I want to pull the reader in. I want the reader to do a little bit of head work.
I love John LeCarré’s writing with its exceptional use of indirection. I remember becoming frustrated in one of his books because I found myself on page 65 and had no idea what was going on. Then I realized. I was in the same situation as the book’s protagonist, trying to identify the traitor in The Circus, LeCarré’s name for British intelligence. The protagonist reflected the puzzle-palace-nature of the events swirling about him. Well done, John.
I also plead guilty to occasional finger waving and sermonizing, which I detest in an explicit form. I prefer my characters to carry that water for me in a hopefully more subtle fashion.
Any indications of a writing life earlier? Over my city management career, I penned many professional articles on everything from strategic planning to embezzlement, which appeared in nationwide publications. At one point, I even had my own column in a newspaper.
I always tried to make my articles interesting or to have a twist. For example, one article carried the all too true title; SOMEONE IS STEALING THE TAXPAYERS’ MONEY!
As budget director for a large Texas city, I always wanted to tell “the story” behind the numbers. I saw too many budget staff letting themselves get lost in the numbers or “hiding” in the numbers. I felt it important to be clear to my boss, the city manager, his bosses, the city council, and the public about exactly what the budget meant for them for the following year.
I continually rewrote the 20-page budget message at the beginning of the 500-page budget document to get the message right. One of my senior staff, exasperated at my numerous revisions, said, “You’re just a frustrated novelist.” I demurred at the time, but she was correct.
Two of my favorite quotes from that same government staff, one from a very talented colleague, “Numbers are our friends.”
Late in my career, in a job interview with a city council, I was asked why I had published so many articles. The unexpected question triggered a response that I did not know I possessed, “I guess it’s a way to leave a legacy.”
What is your educational background? I am a Case Western Reserve University Ph.D.-in-political-science-drop-out. But, I did secure a Master of Public Administration and a Master of Urban Affairs, an interdisciplinary planning degree.
My B.A. held a major in political science, with minors in English, Philosophy, and Theology.
Other writing observations? I have been pleasantly surprised by the number of people who share my love of books, reading, ideas, and writing.
I relish the open-endedness of the mental challenge of writing. I will never be able to exhaust it. It will wear me down first, I fear.
I respect the work ethic required to become a successful writer, whether commercially published or not.
I admire the creativity of the process and the final product.
I have had Stephen King’s experience, where I get into the story or one of the characters, and it takes on a life of its own and goes places I had not planned.
Since I developed my “rule” years ago never to go back and read a book the second time, this writing occupation gives me the justification and permission to revisit old book-friends.
I should be able to handle the rejection. In my past career, along with the public accolades and good salary, I experienced an enormous amount of criticism—it came with the job territory—on an almost weekly basis. I’m used to it; maybe I miss it and need it.
While my brother has become an accomplished amateur oil painter, I paint with words.
I want to be as accomplished as he in my own artistic genre. But better than oil painting, I can constantly revise my work.
Another reason for writing—it keeps the mind sharp. My family shows too much history of Alzheimer’s. Maybe writing will delay or forestall some of the mental ravages of old age.
Then there is the possibility that I might have something to say. Having been around for decades, I would expect myself to paint some life pictures accurately, if not brilliantly, perhaps with some insight, too, especially if I have been paying attention. Have I? Perhaps I can say something memorable about this thing we all share called the human condition. If I can, then what becomes fascinating are all the ways there are to describe this common experience: short stories, poems; essays; novels.
I like the sound of “I am a writer.”
I have always been a bookworm, loved to read. The mid-westerner in me must justify all those academic credentials and insists on looking for a practical application—writing is it.
I have been energized by writing.
Any final reflection? In my case, the most important contributor to writing was my reading at an early age and continuing non-stop the rest of my life. I was that ten-year-old kid continuing to read under the sheets after my father told me to turn the light off and go to sleep.
My website is http://benleiter.com.
Dec 16, 2021 | Memoir, Uncategorized |
Joni Keim writes technical (alternative health and wellness), spiritual (her father’s influence), and memoirs (matters of the heart)—for 40 years and counting.
Do you write in more than one genre? Yes. I write technical, spiritual, and memoirs.
I first started writing technical in 1979 for natural health magazines. At the time, I worked at the Wholistic Health and Nutrition Institute in Mill Valley, CA, and learned a lot about alternative health. I was a licensed aesthetician, so I began writing articles and teaching classes on a healthy approach to skin care and using non-toxic skin care products. Some years later, I became the technical director for a natural product company that had a skin care line and an essential oil line. I wrote about both for websites, labels, newsletters, and training manuals. I continued to write for magazines. This was my career for over 30 years.
In addition to what I wrote professionally, I also had personal projects. From 2000 to 2008, a colleague, Ruah, and I wrote three books together. The books were based on using essential oils (aromatic plant extracts) in a spiritual context. We both had studied subtle energy healing, and she was a Spiritual Director. Aromatherapy & Subtle Energy Techniques, Aromatherapy Anointing Oils, and Daily Aromatherapy were published by North Atlantic Books in Berkeley. Foreign rights were purchased by Brazil. Many years later, the rights to these books were returned to us, and since that time, 2nd editions have been written and published for all of them. In addition to the books that Ruah and I wrote, I penned two books about angels.
Now in my seventy-plus years, I have written memoirs. The memoir books are a part of what I call my Tribute series—honoring that which has been so dear to me. There are now five books in that series. A book was written for each of two special men in my life that unexpectantly passed away. The books were composed in a simple, child-like style and illustrated with cartoons. However, they were for grown-ups (and the child in all adults). Writing these books was profoundly helpful for me to deal with the grief of losing those dear friends.
What brought you to writing? I did not major in English or literature in school. Still, I enjoyed the writing assignments and found researching and organizing information rewarding. I was also an avid letter writer—back in the days before email and texting.
When I began writing for natural health magazines, my children were young. The writing process provided intellectual stimulation amidst the diapers and carpooling.
In retrospect, I realize the foundation for the desire and pleasure of writing was probably set when I was a child. I was basically an introvert, and I was the youngest. The rest of the family was gregarious and extroverted, so I never really felt like I fit in. (But I knew I was loved.) My mother used to joke about how sending me to my room was not a punishment, and she would eventually have to get me to re-join the family.
So, in this setting—being an introvert and the youngest—I didn’t have the inclination or the opportunity to talk about things I wanted to, and I didn’t feel I would be heard. Writing allowed me to say what I wanted to say. Maybe more to the point was that I HAD something to say.
What is the most challenging part of your writing process? The most challenging part of my writing process is accessing the “zone” when it eludes me. The “zone” is when I am so fully present, relaxed, and patient that the writing flows and my thinking is energetic, clear, and accurate. When the “zone” is not available, it reminds me of what it is like when you enter a room that smells good. As you stay in that room, you no longer smell the aroma because the olfactory sense goes numb for that scent. Interestingly, when you leave the room for a bit and come back, you can smell it again. So, when I can’t get in the zone, I leave the writing and come back another time.
Where do you write? What, if any, distractions do you allow? I write in my office at a stand-up desk on an iMac. I look out the wide window to the neighborhood. My dog, Paris, is at my side. I write throughout the day, every day, for a couple of hours total, on various projects.
I have a strong ability to focus and block out distractions. However, if the distraction is overpowering, I simply stop. I know from experience that trying to write when I am not fully present is not worth the time spent.
How long did it take you to write your first book? How long to get it published? My first book, Natural Skin Care: Alternative & Traditional Techniques, was published in 1996 by North Atlantic Books under my name at that time: Joni Loughran. It took me a year and a half to write it. When it was finished, I submitted it, and it was published. The same was true for the three books that Ruah and I wrote.
I feel fortunate about having had such an easy time getting published. It came about because I had met the owner of North Atlantic Books in a doctor’s office waiting room. We were chatting. I told him that I wrote for natural health magazines. He said he was a publisher and told me I should write a book. So, I did, and he published it. Now, I am self-publishing.
Tell us about your writing process. This George Orwell quote makes me laugh: “Writing a book is a horrible, exhausting struggle, like a long bout of some painful illness. One would never undertake such a thing if one were not driven on by some demon whom one can neither resist nor understand.”
I have experienced that sentiment. After each one of the first few books I wrote, I told myself that I wouldn’t do it again. Yet, fifteen books later, I know now that writing is a part of my lifestyle and one that I will likely continue. I haven’t run out of ideas yet.
The first tenets that I embraced when I started writing were 1) write about what I know and 2) include facts, quotes, and anecdotes. When I begin a project, I first lay out the table of contents, knowing that it may change. Then I start one chapter at a time. I also keep a document of random notes. When I am writing a book, it is ever on my mind, and ideas pop up when I least expect them. I will jot them down anywhere I can and then transfer them all into my “Notes” document. Periodically, I go through those notes to ensure I include everything I thought would have value in the book. I have found that this makes the finished book much richer than it would have been.
How can our readers contact You?
Great interview, Connie. I wish you continued success with your writing.
A fascinating author. I can relate to so much of her experience. Great blog post.
Nice interview. I am sure journaling and writing about your experience with your mother during her dementia-type Alzheimers helped you through what must have been a difficult time.
Enjoyed reading your interview, Connie!
Good interview. You gave some excellent advise on writing. Poetry is an excellent way to develop a keen ear for metaphor and succinctness. One of my college mentors was a big Steinbeck fan and did his master’s thesis on contrasting the series of newspaper articles Steinbeck wrote while traveling with the dust bowl families to his subsequent novelization of the experience in The Grapes of Wrath. Good luck with your writing.
Thank you, Michael. I appreciate your comments and recollection of one of your college mentors. John Steinbeck’s novels showed me how an author can connect with readers on so many levels.