The Stay-In Weather Sale: 20% off select books
Used, New, and Out of Print Books - We Buy and Sell - Powell's Books
Cart |
|  my account  |  wish list  |  help   |  800-878-7323
Hello, | Login
MENU
  • Browse
    • New Arrivals
    • Bestsellers
    • Award Winners
    • Signed Editions
    • Digital Audio Books
    • See All Subjects
  • Used
  • Staff Picks
    • Staff Picks
    • Picks of the Month
    • Book Club Subscriptions
    • 25 PNW Books to Read Before You Die
    • 25 Books From the 21st Century
    • 25 Memoirs to Read Before You Die
    • 25 Global Books to Read Before You Die
    • 25 Women to Read Before You Die
    • 25 Books to Read Before You Die
  • Gifts
    • Gift Cards & eGift Cards
    • Powell's Souvenirs
    • Read Rise Resist Gear
    • Journals & Notebooks
    • Games
    • Socks
  • Sell Books
  • Blog
  • Events
  • Find A Store

PowellsBooks.Blog
Authors, readers, critics, media − and booksellers.

Author Archive: "Jessica Page Morrell"

Guests

It's Never Been a Better Time to Be a Writer

by Jessica Page Morrell, August 28, 2009 11:36 AM
It's never been a better time to be a writer. Hold on buckaroos ? I can almost hear your protests and long-held-in sobs. Now it's true that a handful of ginormous conglomerates have swallowed up many American publishing companies. In fact, five publishing conglomerates control about 80% of book sales. This means traditional channels are shrinking, few mom and pop shops exist any more, and gentlemen editors are as outdated as fins on cars. And lots of shakedowns and even more downsizing have happened in the face of our current recession. Thus, it's not easy to break into publishing. In fact, industry insiders wonder if edgy, experimental writers like Annie Proulx or Jack Kerouac would have problems breaking into print in today's corporate culture. But wouldn't the world be a dimmer, duller place without The Shipping News, Brokeback Mountain, and On the Road?

Perhaps instead of worrying about how the old publishing model is disappearing, accept that the book business is evolving and there are many more ways to deliver stories and content to readers: e-books, digital books, web books, podcasts, print on demand, iPhone apps, and cell phone novels.

It's a great time to be a writer because of all the resources available to make you a better writer and a collective interest in stories and storytellers. No matter how much the world changes, people everywhere are ready to sink into a soft pillow or airplane seat and whisper to the story gods, "Take me somewhere that I've never been before."

But on to the subject of this blog post: I receive a lot of emails from writers soliciting advice and inquiring about what they should read to make them better writers. So here's list for a writer's bookshelf, although I'm not keen on creating lists because as soon as I post this, doubtless I'll remember 10 more books I wish I'd mentioned. But you should buy these and copies for your writer friends.

  • The Synonym Finder by J. I. Rodale. Every writer needs this book. There are no exceptions.
  • Edit Yourself: A Manual for Everyone Who Works with Words by Bruce Ross Larson. Larson is so practical it hurts.
  • Sin and Syntax by Constance Hale. Hale's love of language rings through on every page and she breaks down the parts of grammar in easy-to-digest bits.
  • Grammatically Correct: An Essential Guide to Punctuation, Style, Usage, and More by Ann Stillman. Every time my memory fails me, Stillman never does.
  • Bird by Bird: Some Instructions on Writing and Life by Anne Lamott. The irrepressible Lamott explains how to take writing seriously without taking yourself too seriously.
  • Word Painting: A Guide to Writing More Descriptively by Rebecca McClanahan. Fabulous, crystalline examples and in-depth explanations. A classic.
  • Story: Substance, Structure, Style and the Principles of Screenwriting by Robert McKee. His writing style is a bit dense, but he's such an expert on screenwriting he makes me feel like a weenie. Fiction writers need to read him, too ? learning the three-act structure is a must.
  • On Writing by Stephen King. The real deal.
  • Reading Like a Writer by Francine Prose. Because this is what you need to do ? read like a writer.
  • On Writing Well by William Zinsser. I learned so much from this man that it would take way too much space to explain.
  • Spunk and Bite: A Writer's Guide to Bold, Contemporary Style and anything else written by Arthur Plotnik. He's a freaking genius-god in the writing world.
  • The Elements of Style by Strunk and White. Another classic and must-read.
  • Writing With Power: Techniques for Mastering the Writing Process by Peter Elbow. If you cannot grasp that old "show, don't tell" advice and are working on voice, this book is for you.
  • Dialogue: Techniques and Exercise for Crafting Effective Dialogue by Gloria Kempton. I wish I'd written this book.
  • The Writer's Journey: Mythic Structure for Writers by Christopher Vogler. Another book that turned on the light for thousands of writers.
  • Beginnings, Middles and Ends by Nancy Kress. She's a goddess at explaining how things work in storyland and her advice is practical and doable.
  • The First Five Pages by Noah Lukeman. Lukeman is an agent who simply knows his stuff ? I've been recommending this book to writers ever since it was published.
  • Creative Nonfiction by Philip Gerard. The author explains how nonfiction can go far beyond reporting.
  • How to Write Killer Fiction by Carolyn Wheat. Insightful and practical guide to writing suspense and mysteries.

Okay, now I feel like I'm having a hard time slipping off the stage here, but I want to toss out a few more shards of advice to writers or want-to-be writers. I wish there was a secret handshake that would whisk you into the world of published writers, but I guess if there is one it would be called professionalism. So in everything you do, act as grown up as possible because if you behave like a jerk it will come back and bite you.

Writing is hard. Write from your heart, do your best, learn all you can. The majority of books sell fewer than 1




Guests

When Life Goes Crash

by Jessica Page Morrell, August 27, 2009 9:52 AM
I woke before dawn yesterday to the news of Senator Kennedy's death. I slouched in bed for a while, watching MSNBC as every pundit from Doris Kearns Goodwin to Pat Buchanan weighed in on his life and legacy. The wordsmith in me was fascinated as modifiers and titles were bandied about: lion, scion, patriarch, titan. Then Goodwin uttered Hemingway's lovely line, "The world breaks everyone, and afterward, some are strong at the broken places." Meanwhile, photos of his smile and family ties were flashed across the screen.

With images of the Kennedy family echoing in my thoughts, I'm going to take the plunge and describe how I wrote much of my latest book while recovering from a head injury. I'm writing this post because in all the years of working with writers I've heard every belly-aching excuse and lameness for why someone doesn't write, or isn't more prolific, or cannot make the time, or is afraid to write the book he or she was born to write.

I was rear-ended by a young woman searching for her cell phone while she was driving at a fair clip last July, and can finally write about it since my short- and long-term memory are returning and I'm regaining my ability to spell correctly, and remember the words I was groping helplessly for this past year. I had other injuries, but mostly things went to hell because my brain got whacked, and despite the fact that I was seriously tweaking for many months, incurring a head injury is actually fascinating.

For me a head injury was like peering in a fun house mirror and the image staring back is distorted and freaky, not a bit of you aligned or normal or in balance. You recognize the weird parts of yourself — your tendency to be easily distracted or little compulsive behaviors. But damn, after a brain injury even your ears look like they belong in a side show. When I was diagnosed I was slipping fast and when the neurologist asked me to repeat strings of seven numbers I got none of them right, nor could my eyes track, nor could I keep my balance if I moved my eyes. By this time my eyes watered constantly and my vision was blurred; I was tired all the time, I had a piercing ringing in my right ear that continues to this day, and my hearing was slipping on and off and when friends or family phoned, half the time I didn't recognize their voices and couldn't hear the doorbell.

When I was being examined for the head injury and I asked the doctor what was wrong with me, he said, "Well, either you have a brain injury or Alzheimer's." But all I heard was Alzheimer's (it runs in my family and hangs over us like a vampire's curse) and stumbled out to the parking lot unable to find my car, sure that I was doomed. The truth is that I couldn't find my car a lot in those days and often had trouble finding my way home from doctor appointments, nor could I remember where familiar streets were located, and to this day cannot spell any word with au in it such as because. And discovered that if you're a writer you use because a lot in sentences.

I was forced to stop writing for a few months, a decision that left me shipwrecked and terrified since I never miss a deadline and writing is what my days are centered on. I couldn't use my eyes much so was unable to read, which left me so lonely for stories and language that it was like the death of a beloved, lifelong companion. I spent months lying on my couch or bed listening to the radio or television or the rain, longing for intellectual stimulation but unable to handle it. Besides medical appointments, I rarely went out because the sensory assault of grocery stores, live music, bars, restaurants, shopping malls, dinner parties, or driving made me ill for days. I tended to fall down and wobble a lot and blather when asked questions that required simple facts or a recollection and dribbled all over my oversized bosoms when I was trying to talk and eat at the same time.

Then, because I had no choice, I began working again on my book in 20-minute increments because I had nausea, vertigo, and fatigue from working at a computer, sort of like sailing the Good Ship Disaster in the middle of a blizzard in the North Atlantic in January. So I'd write a bit and go to bed, the room spinning, my guts churning, and if I was lucky, would conk out from the effort. If you've never experienced severe vertigo or nausea, drink a gallon of castor oil then balance on a ledge on the 40th floor of a skyscraper while spinning yourself around about 600 times while playing ear-shattering head banger music and flashing purple strobe lights at your head.

But those short writing sessions and the book I was crafting became my lifeline, although frayed. Funny thing was that since I was a kid I'd always believed that I was filled with a constantly bubbling creativity, sort of an endless well I could always dip into, from all those years of making do with leaves and scraps of cloth and a walk in the woods. But when the long walks and books and movies and lectures and teaching were stripped from my life I felt like a husk of my former self, possessed of an inner desert so pitiless not even a lizard could survive. Ditto for my abilities to analyze and problem solve — I couldn't even find my keys half the time, much less figure out how to fix sentences or manage a flow of logic in a chapter and was so jittery and anxious that just sitting at my computer was difficult. And when someone tried to break into my place in the middle of the night, I was clueless about how to respond so didn't dial 9-1-1.

Because my neurotransmitters were apparently on strike, for a while I became as neurotic and strange as a hamster crossed with a Chihuahua dosed on caffeine, Oxycontin, and meth. Some days I couldn't recognize the thoughts in my head, the moods that were the wet slate shade of winter sky, and I had so much trouble concentrating on a single task that it became laughable. I became irritable and short-tempered and self pitying and argumentative and have never felt more isolated.

Last week I was celebrating my new book with friends and I said out loud "I'm happy," and it was just fricking amazing to utter those words and laugh that night. In fact, laughter is what saved me because when I wasn't cranky or self-pitying, it's actually pretty funny when you cannot remember "yellow" or "suitcase" or your phone number or whether you've just taken your medications or paid your phone bill. On the serious side, I'm trying to avoid dementia, because if I had it for real the humor of the situation would fade quickly.

I'm still paying a toll for my brain injuries every day, especially when I use my computer and have another year of recovery ahead. And I know how serious head injuries can be and that I'm lucky that I wasn't permanently injured. But I've never felt more gratitude and in sync with what I do with my life. So you know what? If your dog died and your




Guests

Advice I Wish I Knew about 20 Years Ago

by Jessica Page Morrell, August 26, 2009 12:08 PM
Fast forward through the years until I moved to Portland, Oregon, in 1991. (We'll just skip over my hippie years of living on an Indian reservation and attending lots of concerts, my divorces, raising my daughter, and my career in the...
Read More»



Guests

Secret Riches

by Jessica Page Morrell, August 25, 2009 10:41 AM
I already wrote about the scary parts of childhood, but becoming a writer taught me that I wasn't born under a dark star — something I'm immensely grateful for. Because despite the creepy influences around me, my hometown is wrapped in rivers amid a land laced in lakes and forests. Water and the sound of it like a lullaby. Summer skies as blue as cornflowers and night skies like a magic show. Somehow the rivers and water, the power of place have slipped into my veins, echo in all I write.

The second influence about growing up to become a writer in a small town was that my family was poor. Not dirt-eating poor, Angela's Ashes poor, but the poor where you can always feel the lack and the nagging worry and the cold in the air. As in borrowing money from your mother-in-law poor so you can feed your six kids, or trekking down to grandma's for dinner of pancakes because we were low on food; hole in your shoes, empty closet, your parents buy your Christmas presents on credit at Montgomery Wards or Sears, then spend the following year paying off the bill poor.

Your parents bought you a bicycle for your sixth birthday and the bike is way too big for you because they cannot afford to buy you the in-between size and then buy you a bigger bike a few years later, so you crash the new bike — a red Schwinn that you'd give anything to own again — headlong into a parked car because you and your brother are late again heading for school and the bike is new and the hill is steep and at the top of that hill you know you cannot handle it, and sure enough, you get good and banged up, so you hide behind the tree in the schoolyard for a week because you don't want anyone to see your messed-up face. And meanwhile, it takes your parents a year to pay for the bike, something you learn forty years later.

Your parents were the kind who answered "go outside and play" or "go to your room" to most questions and whacked you a good one when half the time you don't deserve it, so you learned a lot about injustice and fierce tempers. But your dad never missed a day of work in his life, and walked in every night smelling like sweat and machines and asked with false cheer "Did any checks come in the mail?" as if pennies from heaven might drop into the mailbox, and he's the funniest person you know. Your mother sews you Barbie clothes and your Christmas dress and keeps a clean and charming house and has Martha Stewart skills a generation before Martha Stewart makes her billions. So although your parents are strict and low on compassion; life is orderly, the seasons unfold with a comforting regularity, and you eat chicken and mashed potatoes on Sunday.

Switching to first person now, there is also music and a truly glorious outdoor world that we're part of every day. As in our large wooded yard with a swing set; in the nearby golden open fields, and the emerald of the woods across the street framing a burbling creek. Winter afternoons with sunlight casting the snow into a bed of diamonds or waking to intricate frost-covered windows as if ferns had been sketched into the glass. Simple things were fun such as digging night crawlers on summer evening with my brother so he could fish in the morning. Or kids running around outdoors in a huge sweaty, sunburned tribe until bed time. Or Fourth of July fireworks and Christmas Eve in a majestic, darkened church dazzling with candlelight. Four enormous trees always decorated the front of the church, the whole infused with the scents of pine and cough drops, and a cheery and raucous gathering at grandma's afterward. No matter how short of money my parents were, Christmas morning was always Disneyland.

There was that cluster of aunts and uncles always gathering and jokes and singing. On Saturday nights we kids spied through the heat vent in the floor at the adult world below through a haze of cigarette smoke and laughter all sung to the sound track of Johnny Cash, Hank Williams, and Ray Charles. The adults practicing their harmonies to ballads and Sons of the Pioneer songs — still sung today at family get-togethers.

A life without frills was also a fertile start for a writer. We played games with few props, our tents were worn-out blankets tossed over the clothes line, then pushed into the ground with clothespins; we made our own paper dolls, we fashioned doll clothes from scraps of cloth. Each autumn we raked the fallen leaves into giant piles for jumping in, played hopscotch and jump rope, school (I was always the teacher and to this day enjoy creating handouts) and red-light-green-light-hope-to-see-the-ghost-tonight our singsong voices calling through the dusk descending on a summer evening.

And writing taught me to remember all the good stuff and that perhaps this was more important than the basket of hurts and crazies and not-enoughs that I carried into adulthood, too bent on suffering to realize my real legacy. In my first book, Writing Out the Storm, I wrote that it was like washing a window grimy with years of grease and grime and letting light into a lovely, treasure-filled room.

The other factor that sculpted me as a writer was that my parents owned books and were readers. In my childhood the heyday of the timber industry was over in northern Wisconsin, but its legacy remained. The town seemed strictly divided by class and income. There were neighborhoods of large, almost palatial homes owned by the lumber barons, executives, and mill owners, then there were the modest ranches and bungalows owned by the rest of the townspeople. Our neighborhood was mostly a blue collar place. The family across the street owned a bakery, one neighbor was a postal worker, another was a cop, and the rest of the parents worked in the shoe factory or paper mill in the region. My father was one of these factory workers although later he'd work for the post office.

In Stephen King's book On Writing, he explained that reading is the creative center of a writer's life. It's something I've always noticed in myself and all my students and clients. When I was about four and my brother Shannon was six, we began regular excursions to the town library. In these days when parents don't allow children out of their sight, these trips seem particularly daring. The library is ivy-covered and nestled next to a winding river and park, and stopping along bridges to drop pine cones into the current, and pausing under weeping willows was an adventure in itself.

In the library I met Miss Violet the children's librarian who wore sweater sets and her pointy-rimmed glasses on a pearl chain. Under her benevolent gaze I discovered many books and writers, such as the




Guests

One Writer's Beginnings

by Jessica Page Morrell, August 24, 2009 9:56 AM
I really enjoyed Jessica Anthony's posts about where story ideas come from and the importance of play. I work with a lot of fiction writers and it's fun to speculate on all those personalities living within the writer. I've never told them, but they twitch a lot. Even the most stable among them who practice yoga and drink hemp milk, or have been married for thirty years and mulch their roses. I write nonfiction, so my words come from my work, editing and teaching writers, sky watching and sunsets, and the always-present undertow of memory.

In the past few years I've taught a workshop called "Writing a Book That Makes a Difference," the title a rip-off of the terrific book by Philip Gerard. In this workshop I purloin some of Gerard's idea, but mostly I offer my own about how writers need to write from their passions, fears, concerns; the things that wake them at 3 a.m. Most writers need to write about things that haunt or hurt — if your writing is a cakewalk of one-liners and sweet characters or essays about strawberries and blessings, you're going to bomb. Now that's not to say that writing cannot be comedic or focus on happier issues. But good writing comes from truth and shadows; the blood, pain, the unanswerable questions of human existence, the lonely parts in all of us.

I always wrote as a kid — mostly poetry and short stories, so writing feels natural to me, despite the fact that I was raised to be a coward. This upbringing in yellow belliedness began in a small town (population about 10,000) in northern Wisconsin. Picture shoulder-high snow drifts in winter and a residual case of frostbite.

Many influences led to a chicken-shit approach to life — one I fight nearly every day and if I never fought it, I would never have written books, six now published. Because, while I'm not a snowboarding, mountain-peak-summiting, rock-climbing, wind-surfing daredevil so prevalent in the Northwest; if you think that writing is for wimps, you're sooooo wrong.

I was raised in a female-dominated family, although on the outside, that's not how things looked. My maternal grandfather died when I was six, my mother had six sisters, and their only brother died as a toddler. The sisters were beauties of Irish-French-Native-American-German heritage and had the best legs in town. They married young, had children, and varying degrees of successful marriages.

But for all their beauty and sass and wise-cracking panache, my mother, her mother, and her sisters were plagued with fears of things that were pretty much benign. As in water, swimming, driving, rodents, bugs, bats, bears, travel, a forest, darkness and nighttime, being alone in a house at night, not to mention growing old and losing their looks. These days most of these fears would be called irrational, but back then, they formed a sisterhood of cowardliness as if it were the most normal thing in the world.

Here's an incident that has always stood out in memory. I was visiting my grandmother's on an early summer evening. I know it was early summer because the June bugs, a large beetle with metallic green wings, were batting against the screen door. This meant my grandmother would sweep their dead husks off the porch in the morning. They hatched in early summer and since their carcasses crunched underfoot they have always reminded me of kidney beans. I have never cooked with kidney beans. Never.

So anyway, picture a summer's night soft with fireflies flickering and June bugs thudding against the screen door and dusk falling. My aunts were in the kitchen seated around the grey Formica table and the front door opened. A large moth, called a miller, whisked indoors towards the kitchen light. You're wondering what a miller is? The wings of all moths are covered with fine scales that easily rub off. These scales reminded people of the dusty flour that covered a miller's clothing. They have a 1.5 to 2-inch wing span. With its fluttery appearance, the women jumped up shrieking and cringing in such horror it was as if a Grizzly had just burst into their midst. One of the men in the adjoining room, doubtless watching a ball game, rushed in to kill the marauder. I can remember so clearly their onslaught of terror and panic and even though I was probably in first grade, knew this was seriously weird behavior.

At any family gathering the women gathered with their bantering and jokes and reports of calamities and near misses — bats that landed in the chimney, mice sneaking into the cellar, so terrorizing that they took to their beds, the treacherous icy roads that brought on the shakes for days afterward, the things that went bump in the dark. Oddly, for all these tales, the women took up a lot of room in the world, with their cigarette smoke and secret laughter and winks. They cleaned a lot and tended kids and teased their hair into strawy updos. They sent their nieces to the store for their Winstons and tampons and cream of mushroom soup and hair spray instead of walking the four blocks. And they were brave in the ways that traditionally women are forced to be brave — keeping families functioning and caring for everyone.

But this irrational fear thing might have something to do with my grandmother's agoraphobia. Sometime in the 1940s my grandfather, a Clark Gable look-alike, left his wife and daughters and went off to build the Alaska Highway. And Grandma didn't set foot out the door while he was gone for about three years. She sent her daughters out into the world and her second oldest always shopped for her dresses. She went out a bit when I was a girl, but not a lot, and in my recollections she's perched on the arm of her couch peeking out the Venetian blinds at the comings and goings of her oddball neighbors or in her kitchen rocking chair, humming away.

Back to the ever-simmering drama of childhood; a must for a budding writer. Adding to a coward-in-training family was the fact that our small town was teeming with perverts, peeping Toms, underwear-stealing deviants; a sort of Bermuda Triangle of one-man freak shows and huge families who looked like they came straight from The Grapes of Wrath. Only years later did I put labels to what I had witnessed or heard whispered about: incest, inbreeding, child abuse, pedophilia, and exhibitionism. As in the old man a few blocks away who was always giving girls candy and dimes. This was the age when kids told grown-ups nothing, so he talked girls into dropping their pants or bathing with him or touching him. (Just for clarification, I didn't take part because I think he preferred easier, younger prey.)

While these whack jobs existed throughout th




Most Read

  1. Best Fiction of 2020 by Powell's Books
  2. Books That Got Us Through 2020: A Reading Retrospective by Powell's Staff
  3. 25 Books to Read Before You Die: 21st Century by Powell's Staff
  4. All That's on Our TBR List by Powell's Staff
  5. Best Nonfiction of 2020 by Emily Brodowicz

Blog Categories

  • Interviews
  • Original Essays
  • Lists
  • Q&As
  • Playlists
  • Portrait of a Bookseller
  • City of Readers
  • Required Reading
  • Powell's Picks Spotlight
  • Twitter
  • Facebook
  • Pinterest
  • Instagram

  • Help
  • Guarantee
  • My Account
  • Careers
  • About Us
  • Security
  • Wish List
  • Partners
  • Contact Us
  • Shipping
  • Sitemap
  • © 2021 POWELLS.COM Terms