This story does not stop here!

For the last week, I’ve been struggling with a major rewrite of a short story. Basically, the character was not so likeable, her journey was boring, and the ending was very, very lame.

The problems with my Lame-O story:

This was already the third or fourth draft of the story. I’d originally written it for a particular venue, who rejected it. Later, it was accepted for a different one, conditional on me completing a satisfactory rewrite.

The main structural changes the editors asked for were the removal of one subplot (and the scenes both where it was introduced and where it was resolved) and a new ending.

I cut out the subplot. No problem. I wasn’t entirely attached to it.

But still not done!

Now my story had a new problem Continue reading

Professional empathy: writing and anthropology

author and anthropologist

The incomparable Zora Neale Hurston

Earlier this week, Google celebrated the 125th birthday of Zora Neale Hurston. Best known for her novel Their Eyes Were Watching G-d (which has one of the most suspenseful and gut-wrenching scenes I’ve ever read), Hurston was also an trained anthropologist. Much of her non-fiction work consists of the retold folktales she uncovered during interviews in the deep south during the Great Depression.

Anthropologists as writers

This got me thinking about the whole issue of writers with training in anthropology. While I never actually “practiced anthropology” professionally, I have a Master’s in Applied Anthropology and feel that the reading, classwork, and fieldwork I did during my training has had a deep and lasting influence on my writing (and teaching and pretty much everything else I do, by the way).

Hurston and I are in good company. Continue reading

Mormon and Orthodox Jewish writers: Does optimism hold back fine writing?

Mark Oppenheimer, in last Friday’s New York Times, posited that the optimistic attitude embraced by Mormons has prevented them from creating literary fiction. Sure, they have succeeded in Sci-fi (Orson Scott Card), fantasy (Stephanie Meyer), and books for teens and children (Shannon Hale, James Dashner, J. Lloyd Morgan).  But how many Mormon writer’s have won Pulitzers, National Book Awards, Bookers, or Nobels?

Oppenheimer interviewed a number of Mormon writers for his article, and includes some interesting insights:

“It is a fair thing to point out,” said Shannon Hale, a Mormon who writes young adult fiction, “that there have been very prominent Jewish writers that have received a lot of accolades, and worldwide the number of Mormons are comparable to the number of Jews, so why hasn’t that happened?”

Ms. Hale’s theory is that literary fiction tends to exalt the tragic, or the gloomy, while Mormon culture prefers the sunny and optimistic.

And also:

“I’ll tell you why they write young adult,” said Ms. Nunes. “Because they don’t have to write the pages and pages of sex. They don’t want to spend a lot of time in the bedroom.”

Another author pointed out that since Mormon theology strongly identifies with the idea of a Messianic redemption, Mormon writers gravitate towards the “savior motif.”

This all got me thinking. Even though Ms. Hale correctly identified Jews as successful authors of literary fiction, Orthodox writers are not foremost among them (despite examples of some who are, like Ruchama King Feuerman and Risa Miller and even, I’d argue, Bracha Rosman and Henye Meyers). And guess what? Continue reading

Do your feelings about an author affect your feelings about his or her work?

Today’s post from Erika Dreifus deserves a look-see. She comments on a recent NY Times essay by Margot Rabb entitled “Fallen Idols,” then adds her own reflections, touching on various writers with Anti-Zionist or antisemitic beliefs, such as T.S. Eliot and Alice Walker (the latter of whom has recently made headlines). I invite you to read both pieces (the links are embedded above).

An interesting aspect of the writer-reader relationship that Rabb touches on is that readers get to step inside the brains of authors. For this reason, there are some Chareidim who only allow their children to read books written by people who are either Orthodox Jews themselves, or are otherwise respected and considered to have good character. While I don’t have this “policy” myself, I do understand that it’s reflecting a genuine concern. Authors don’t have to have a conscious agenda to slip all sorts of allusions to their beliefs in their work. For example, English authors are particularly well known for their antisemitism, which pops up in all sorts of weird places (Georgette Heyer’s The Great Sophy, several works by Dickens, and so on). The science-fiction/fantasy author Phillip Pullman is a proud atheist, and his work reflects this viewpoint.

Then again, if an author uses their money to donate to causes we don’t agree with, a political cause that does not have anything to do with their writing, is that a reason shun their work? Or, to take it a step further, protest their work?

One of the commentators on Erika Dreifus’s blog mentions Orson Scott Card. There are people who want to picket the movie adaptation of his book, Ender’s Game, because they disagree with his political and religious beliefs. (I happen to not agree with the commentator’s assessment of Card, but he’s a good example.) Ender’s Game does not mention the particular beliefs that the protesters find repulsive in Card’s public statements.

Personally, I can see forgoing a trip to the theater, or skipping a book, if you disagree with an author or artist. But a public protest seems excessive to me unless the novel/play/whatever is actively preaching the message you disagree with in that particular piece of work.

How likely are you to read a book by someone whose character is deeply flawed or who espouses beliefs you find repugnant?