Customer Reviews

Making a Literary Life: Advice for Writers and Other Dreamers

5 star:		(38)
4 star:		(11)
3 star:		(3)
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1 star:		(9)

 

 

As with another of my favorite books, the late Barbara Grizzuti Harrison's "Italian Days," Carolyn See's "Making a Literary Life" is as much about the author as it is about the stated subject. See's subject, of course, is how to make your way as a writer--not only how to write, but how to get your writing published and make your name known in the literary world. Some of See's advice--such as writing a thousand words a day, five days a week--is eminently sensible; some of it--such as writing cheery thank-you notes to editors who reject your work or reviewers who trash it--is a little more difficult to swallow. But See's basic points are indisputable: the only way to be a writer is to write; the Biblical wisdom of "a soft answer turneth away wrath" holds just as true in the literary business as in any other; being a literary genius doesn't give you leave to abandon common courtesy. Of all guides to writing, "Making a Literary Life" has to be the most flat-out fun to read. You get See's observations on the art of writing ("The passive voice is really good for only one thing: the weaselly notes in committee meetings where nobody wants to get blamed for whatever happened"). You get her first-hand testimony on the damage wrought when the people around you don't support your writing ("My first husband, an elegant, brokenhearted artiste, knew for a fact that if you were smart enough to want to write, you were also smart enough to realize the extent of your own mediocrity"). You get the scoop on the eccentric behavior of all the authors See has met, from Amy Tan carrying two lapdogs in her purse to Harlan Ellison's confrontation with a bookseller at a literary conference ("He howled like a castrated bison; she responded with shrieks from `The Texas Chainsaw Massacre'"). While See says at the outset that "Making a Literary Life" is intended for fledgling writers without connections to the literary world, I think the book is just as useful for journeyman writers (such as myself) who have published a book or two but have no idea how to break into the next level. Quirkily, entertainingly, Carolyn See gives us some ideas how to do so. She's the soft-hearted yet hard-headed friend all of us poor scriveners seek.

Do you want to learn how to `court' an editor? Want to learn how to get with the `IN' crowd within the literary world? Then this book is for you.

Writers, take note. This is another weapon/treasure to keep in your writing world's arsenal.

The upbeat note that it inflicts upon the reader/writer will not be soon forgotten. I'm still impressed with the way Carolyn See dishes out the information in this book. Not only does she give incredibly comedic, heroic and downright interesting information, but she follows most of these up with examples from her own life.

You can get to know your target editors by getting to know your target editors. Sound simple and redundant? It ain't. Amazingly, most of the things you'll need to succeed aren't necessarily in your desk or a computer file. They're in your head and your heart. And Carolyn See shows us how to tap into both areas.

Like `Bird By Bird' (by Anne Lamott), this book has earned a special place on my bookshelves.

A+ rating in my book!

Carolyn See is one funny, brave woman. Her experience as a writer and teacher, and even more importantly, her basic humanity shines through this crisp,easy to read slim volume that gives both practical advice (write 1000 words a day!) and a wise philosophical slant on what it really takes to be a writer. A unique combo from a woman who is as natural a teacher as she is a writer.

I've been a pro in the writing biz for over twenty years, and still found amazing bits of stimulating advice - as if from an older, wiser sister, ahead of me on the road, and oh, so smart.

This book works equally well for the novice looking for some tips on shaping a writing life, and for the more experienced writer who may long for a role model for facing some of life's toughest arrows. She delivers on all counts. Highly, highly recommended.

As one whose own life has at least a modest "literary" dimension, I was interested in reading this book. Frankly, I did not know what to expect and certainly did not expect what it provides. At this point, please allow me a brief, obviously personal digression. All of what I write is non-fiction. Those who have had the greatest impact on my writing style include George Orwell and E.B. White. (I assume full responsibility, of course, for the gap between the quality of their writing and mine.) There is also the matter of getting one's work published. I do not recall a prior time when competition has been greater. Hence the importance of cultivating contacts, preferably with the guidance of a literary agent. We all know how many manuscripts of eventual bestsellers (especially novels) have been repeatedly rejected prior to publication. So there are the matters of influences on one's craftsmanship and the process of getting one's work published. See suggests another: self-promotion. Throughout this book, she offers all manner of strategies and tactics by which to ingratiate one's self with decision-makers and decision-influencers within the publishing world. For example, systematically sending to them what she calls "paper airplanes of affection" expressing praise and appreciation.

Most of the recommended initiatives seem more relevant to a celebrity author wannabe than to an aspiring writer of serious fiction or non-fiction. Most of them seem to me to be inappropriate, if not rude. Perhaps I'm missing something but See apparently endorses, indeed stridently advocates behavior reminiscent of Frasier Crane's literary agent Bebe Glazer, brilliantly portrayed by Harriet Sansom Harris. Does See really expect her readers to believe such behavior is what it takes to succeed as a writer? For example, wandering through halls and even private offices to secure assignments, uninvited and unescorted, after having been denied access by some "---hole"? That may provide interesting material for a film or sit com script...but seems counter-productive for a writer who wants her or his work to be taken seriously.

Frankly, based only on what See says in this book (I have not read any of her other works), I cannot take her seriously IF she's serious. But you never know. (I wrote a Five Star review of Carol Gilligan's The Birth of Pleasure. I thought it was hilarious, describing it as a "brilliant satire" worthy of Swift, only to be informed later that she is serious so I withdrew the review. Like I said, you just never know.) See claims to have written this book for "the timid, forlorn, and clueless," thereby positioning herself as the literary world's equivalent of the State of Liberty. If in the unlikely event this book does indeed give such people courage, hope, and wisdom, presumably they will be among the multitude which See hopes will stop by and say "hi" as she lies dying, her body sedated with "euphoric painkilling drugs." I'm not making this stuff up. It's in the book.

For serious writers in need of guidance with regard to craftsmanship, I still recommend just about anything written by George Orwell and E.B. White, especially their essays. For a book of advice specifically on the writing process, my #1 choice is the latest edition of William Zinnser's On Writing Well. Stephen King's On Writing could also be of substantial value, especially the second half. (To be fair, I should point out that See does provide some basic ideas concerning plot, character, tone, setting, etc.) With regard to getting published, I strongly recommend having a reputable literary agent. (The best of them select writers to represent, not the other way around.) They have a highly developed "sniffer" to detect talent (albeit it raw) and have earned the respect and trust of acquisitions editors at reputable publishing houses. I realize that it may take a while (sometimes a long while) to obtain the services of an agent.

Meanwhile, what to do? My own advice is to keep writing and (especially) rewriting, soliciting reactions but only from those who will say quite frankly what they think. Here's another idea. Serious unpublished writers invariably have their own favorite writers. Amazon.com offers dozens of books written by prominent authors who candidly discuss their careers, including their struggles. Of greatest value is what they have to say about their craftsmanship.

It seems appropriate to conclude with Rod Steiger's reply when asked if aspiring actors sought his advice. "Oh sure, of course. All the time. And I always look them in the eye and ask the same question. `Do you want to be an actor or do you have to be [have to be in italics] an actor?' The longer it takes them to answer, the less likely that they'll ever make it." That is probably also true of aspiring writers. My opinion (just an opinion) is that those who are "timid, forlorn, and clueless" won't make it either.

Carolyn See has written a warm and friendly book of advice for the aspiring writer. In Part I, she tells you how to get started. Take the "thousand words a day" to heart. The only way to become a writer is by writing, daily. I didn't much care for her daily "charming note" advice, which seemed more about ingratiating yourself and entering literary society, though there is a kernel of truth in name recognition being of value to distinguish your submissions from all the others arriving in the slush pile. Her chapter on dealing with rejection was brilliant. It shows how to make the best of a negative situation rather than making it worse.

Part II gives practical advice on writing with chapters on character development, plot, point of view, scene, etc. It doesn't teach you how to write, but reminds you of the key points that you need to be aware of. It is by no means a how-to book on writing.

So you've finally managed to get published. Part III tells you how to sell yourself, and ground you in the reality that you're merely a drop in the ocean of books published ever quarter and that you are your best salesman.

Throughout the book Carolyn See sprinkes anecdotes from her life in a very candid fashion. I found this to be the best part of the book, since it made it feel like I was having a conversation with a friend, rather than listening to a dry lecture.

I borrowed this book from my public library and just went online to order my own copy: I must have it! the Publisher's Weekly review said " ...not for the experienced
writer." I wouldn't imagine many experienced writers would read in this genre, but I am one, and I got good information, and lots of laughs, from this gem of a book.

And, for the inexperienced writer who See is writing for, it's full of goodies. The chapter on publicity and timelines in the "life" of a book is concrete and handy, for instance. This is a working writer's book, not a missive from the literary establishment, which is maybe why the PW review, and a few of the individuals listed here, are less than laudatory. Maybe because See was not privileged, has had to work for a living, she gives what is the straight story: writing is one way to make a living, and if you are willing to do the work, maybe you can too. She demythologizes, and that can only be helpful (unless you are invested in protecting the myth of the writer.)

Carolyn See writes "Making a Literary Life" directly from her heart. Naturally, then, it is angled from her particular point of view and has suggestions some of the other reviewers might find a bit unattractive - and what I read in her words was this: Create your life as a writer who is fully herself.

If that "fully herself" means writing personal notes - so be it. (I think this is something which sets a writer apart. I know as a publisher and editor who occasionally receives hand written notes.... They stand out from the onslaught of form letters, hastily scribed emails, etc.)

What is YOUR "fully yourself" action or practice which makes YOU are writer and forms YOUR literary life?

See glides through her examples with heartfulness, with truth, with integrity and with a wry sense of humor which helps you to say "Thank goodness she is human, and just like me... and survived being obsessed with the written word."

My favorite words in this entire book are these: "We live in a beautiful, sentient universe that yearns for you to tell the truth about it. If you love this world and this craft, they will lift you to a place you can't begin to imagine."

The writers who "get" those words will enjoy this work. Those writers who don't understand those words might be disappointed upon reading this book.

My heart-hope is you will both believe those words and live those words as you create your literary life.

Reading the reviews, I could tell this was a love-it or hate-it type of book. No in-between, but, that's where I fall. Overall, a good book. I am glad I took the time to read it. I especially enjoyed Part II: The Writing. In this section the author describes methods in character and plot development to rewriting, the biggest part of writing.

Throughout the book we learn about the author's failed marriages, friends, students, small-time and big-time author associates. I hope these passages were meant to emphasize "to write what you know." Her point of view was definitely the women's point and I'm not sure what her references to sex and using four-letter words were all about. They came and went very quickly. Maybe the idea was that sex sells.

I do agree with her chapter "A Thousand Words a Day." It's a goal I don't always hit, but then sometimes I exceed it. A writer must write, many times garbage, sometime genius, but write everyday. The author says to take weekends off, but I don't always get away with that either.

I'd recommend a few other books like, Lerner's "The Forest for the Trees," Brande's "Becoming a Writer," and Ueland's "If You Want to Write" before this book, but I did walk away with thoughts and ideas to ponder, which is all I request of any book. Enjoy it.

Because Making a Literary Life seems best suited for beginning writers, I plan to assign it to undergraduate fiction writers next semester. While 1000 words a day and a note to an author is too much to require of college students trying their hand at writing, Carolyn See shows that writing is both fun and demanding.

In teaching with this book, I'll downplay the last section, which is about publishing and more like a volume two than a final section. But I'll emphasize the first section as a way to begin thinking, reading, and writing as a creative writer, something that beginners often think they understand until they practice and revise and realize writerliness isn't exactly what they expected. And, of course, I'll work through the second, nuts-and-bolts section that covers such crucial concepts as plot, character, point of view, and revision. Along the way, See reveals her own successful tendencies as well as the pitfalls her students often fall into.

Making a Literary Life is blunt, opinionated, and enthusiastic about writing, writing, writing. For writers who know the basics, there are certainly some new ways of approaching what we do. But this book should provide the energy and practicality that young or unpracticed writers need. The first-time fiction writer might want to supplement See's book with texts that offer exercises to generate material and with participation in a writing group to foster revision. And, of course, if a fiction writer doesn't read fiction as a writer, he or she will probably not internalize much of See's best advice.

The muse, for many of us with fantasies of seeing our names branded on the cover of a book, is an obliging creature of the imagination that exists solely to whip out and then hold -- just so -- a handy-dandy mirror in which we may glimpse that flattering vision of ourselves as writers, with a capital W.

Well, now that Carolyn See's "Making a Literary Life" is available, you can tell your muse to pocket that mirror and get busy with something more useful. Maybe your muse could help you type, for example, or whip up a batch of brownies, or uncork that wine you've been saving for a special occasion. In fact, reading Carolyn See's book may well prove to be the special occasion that will stop you playing "mirror, mirror on the wall, who's the best writer of them all," and get you to your desk, or the couch, or to wherever you write, promptly and ready for the day's writing work regularly.

Carolyn See, who has written novels, memoirs, book reviews, articles and other genres, has put together a writing guide that teaches you how to write without ever telling you, well, how to write.... She doesn't tell you how to write the best-selling novel, the soulful short story, the sensational magazine piece, or even that punchy lead sentence -- even though she is a professor of creative writing at UCLA. She doesn't do this because she treats you like an equal -- the way you want other writers to treat you in all your secret fantasies. She treats you like the writer that you already are.

What Carolyn See does tell you, and this she does with a great deal of humor and generosity of spirit, is how to make a literary life for yourself in the here and now. Whether she writes about getting started with your first sentence, wooing editors, writing "thank you" notes to editors who reject your work, or dealing with the aftermath of the publication of your first book, or doing your taxes -- yes, taxes -- she keeps reminding us that the literary life is not a life of the imagination, however imaginative this life may be.

And, speaking of imaginative: some of Carolyn See's suggestions for wooing editors are a bit off the wall for my taste -- but then, I am the timid type who believes that certain conventional manners can build character and reputation as much as can originality of style. Nevertheless, See's suggestions made for a great read and provided an insight into a new corner of the literary life.

So what is this literary life, then? The literary life is not about wearing berets or black turtleneck sweaters, or downing double lattes in between conversations about De Lillo or Pynchon or Proust. A literary life -- a working (and working is the keyword here) writing life -- is about creating an environment, physical, social, cultural, emotional, and, yes, financial, that will support your daily writing habit.

Carolyn See knows and understands well that all writers, whether they have embarked on writing the Great American Novel or are writing about the charity BBQ for their church's newsletter -- want to be taken seriously. She also knows that to be a working writer, you must take your writing more seriously than you do your fantasies of yourself as a writer. Her guide to making a literary life gives you suggestions about how you can make this happen for you: by sitting down regularly to write and by taking your writing seriously -- as seriously as you take any other job you love passionately.

In other words, give that muse of yours a break and then sit down, with a plan for the day's work in hand, and write until you have something your muse would be proud to have inspired....