Tag Archives: fiction

LOOK MA, I’M BLOGGING AGAIN, OR THE 30TH LA TIMES FESTIVAL OF BOOKS MADE ME DO IT

Hey, so, how long’s it been since we’ve seen each other (because your screen is actually a two-way mirror)? A year? Two years? No doubt there’s a lot to catch up on, I mean, I have a kid in college now.

Clown college.

And he’s not my kid, he’s just someone I’ve paid to be on the inside–you know, for squirting-flower intel and floppy shoe discounts.

Anywho, I’m back because the Los Angeles Times Festival Of Books just celebrated its 30th anniversary and I’m proud to say I’ve been to at least 22 1/3 of them (I was overserved some Joyce back in 2006 and was “aggressively invited” to leave early.)

As was my tradition back in the salad days of blogging, today I’m posting some of the many writerly nuggets I heard during the two day event. If you can, read these while imagining you were as lucky as me to come upon a trio of small children at the fest’s Kids Area playing “Eye of the Tiger” on kazoos. That’s a true story.

“Every book I’ve ever written is about liars.”

“The greatest suspense stories are the ones where the protagonist sets out to solve a mystery and the mystery is them.”

“When we start penalizing people for trying [to write outside their lived experience], that’s when we have a problem.”

“Bruce Sterling said, ‘Cyberpunk is sci-fi about people who couldn’t afford spaceships.'”

“Sometimes when you’re granted your dream it can be great–but it can also be fraught.”

“People didn’t get into publishing to make money; they do it because they love books. They want to keep books alive.”

“My protagonist is a conscientious bastard.”

“It costs something to stand out and to fit in.”

[Re getting a bad review] “The heart has already been broken long before the book comes out.”

“The broader goal here is to get people to stop lying about everything.”

“The best part of storytelling is being human on the page.”

“Gen-Xers were reading ‘Flowers In The Attic’ in second grade and it was okay–now, parents are trying to ban everything.”

“Feelings don’t change from when you’re 12 years old to when you’re 50.”

“99% of women suffering [from] post-partum psychosis believe they are saving their kids when they’re actually killing them.”

“Immunity breeds impunity.”

“We can’t afford the ‘news is too upsetting’ mindset.”

“What we sacrifice with efficiency [in AI] is struggle. Struggle is how we learn. AI can create cognitive laziness.”

“I don’t think we have the right to ask people for forgiveness. All we can do is apologize.”

[America] has a ‘rise and grind’ mentality.”

“You can’t wait for it to get easier to jump into your life.”

“7th grade is where you find out how cruel you can be and still live with yourself.”

“I write because I have to, and I don’t know why I have to, like most diseases.”

“We look for meaning in stories the same way we look for meaning in a stranger’s medicine cabinet.”

“Art and politics are inextricably linked, If [politics] are absent, that is a political statement.”

“It’s exciting to make art and for people to tell me what they see.”

Who Said This Stuff: Jean Hanf Korelitz; Cory O’Brien; Alex Segura; Bruce Sterling; Natashia Deon; Joseph Earl Thomas; Dan Santat; Lisi Harrison; Jonathan Alter; Erwin Chemerinsky; Steven J. Aguilar; Gayle Forman; Sarah Enni; Leah Stecher; Jacquie Walters; Percival Everett

What I Heard At The LA Times Festival Of Books!

Photo by Carolyn Kraft

It is a blessing the doctors were able to replace my ears in time for this year’s Los Angeles Times Festival of Books. I’ll never fall asleep in a lawn care store again, let me tell you.

Anywho, this past weekend the LATFOB was held once again at the glamorous USC campus and was a treasure trove for authors and readers alike. I checked it out on both Saturday and Sunday, and the gauze was just breathable enough to let in many an insight and observation, as well as several nuggets of wisdom. Here is a smattering of what I heard:

“Authors are the brand, not the publishers.”

“The intimacy between book and reader is part of every aspect of the industry.”

“An editor’s job is to connect the writer and the reader. Editors are sometimes guilty of not thinking about that.”

“Staying respectful is very hard to do on the internet.”

“Before Amazon, it was Barnes & Noble and Borders as the behemoths [accused of] crushing the industry, and now it’s like ‘please Barnes & Noble, please stick around!’ ”

“Someone told me that you’re only allowed one dream sequence in your career, and I’ve just blown my load in this new book.”

“I don’t remember my dreams, but for some reason people always tell me theirs…so I steal them.”

“Anyone who looks at the world, if you’re not writing horror stories, what are you doing?”

“I push back against the label ‘literary’ horror. It sounds like, ‘we like you but not your friend.’ ”

[Regarding writing] “There is no way you can escape the work.”

“Elevators are the physical manifestation of a traumatized mind.”

Photo by Carolyn Kraft

“Every story should start a chapter late and end a chapter early.”

“A fellow writer once described my book as this beautiful bonbon that when you bite into it oozes puss and maggots.”

[Regarding technology] “We tend to believe that we can make it, but not always should we make it.”

“Young people don’t have the opportunity to be bored anymore.”

“I believe there is a creative energy that connects our hearts to each other.”

“I have a blood splatter library.”

“As a Nigerian-American, you have four career options: Doctor, lawyer, engineer, disgrace to the family.”

“It is the insecurity of our parents that stifles our children.”

“Listening keeps my writing fresh.”

“You find out at 15 that you don’t have much control over what happens to you. But you do have control over how you react to it.”

“Excellence is a habit.”

 

WHO SAID THIS STUFF: Carolyn Kellogg; Betty Amster; Peter Ginna; Glory Edim; Ginna; Carmen Maria Machado; Victor LaValle; Ben Loory; LaValle; Jason Reynolds; Reynolds; Reynolds; Dhonielle Clayton; Marie Lu; Reynolds; Laurie Halse Anderson; Emily Carroll; Tochi Onyebuchi; Reynolds; Renee Watson; Anderson; Reynolds

 

LA Times Festival of Books!

Photo by Carolyn Kraft

Photo by Carolyn Kraft

It’s April again and that can mean a lot of different things to a lot of different people. My apologies to anyone looking for a post on whether or not creamed honey will finally be classified as an alternative fuel. (You’ll have to wait for my review later this year of the new Nissan Mecha-Grizzly.)

This post is about the 21st Annual LA Times Festival of Books, held last weekend on the beautiful brick and stone USC campus. Saturday was rainy and Sunday was sunny and both days were very well-attended. Here are some of the intriguing things the authors I saw had to say:

“Magical realism reminds us as human beings that there is hope and beauty out there.”

“If you believe along with the narrator that the [fantastical] things happening are true, it’s not magical realism. If you don’t, then it is.”

“Writers are often reacting to things that frustrate them about their other writing.”

“YA [literature] is so wide open. You can go anywhere you want. There’s no box you have to fit into.”

“When people have complimented me on my writing, they said it’s mysterious and cryptic and things are not explained. When people have criticized my writing, they said it’s mysterious and cryptic and things are not explained.”

“What’s cool about art is the exceptions.”

“I don’t really care what genre means. The work can take care of itself.”

“When you begin a novel you feel like a bit of a fraud. The more you do it the more faith you have in the viability of the world you’re creating.”

“I think about readers after the fact. It’s not what drives me to do the work. I don’t think it’s healthy to think about it.”

“Fiction, art, always has to be life plus.

“Donald Trump is able to go for the jugular. It’s like he stole Jeb Bush’s lunch money, threw his shoes up on top of the school, and Jeb couldn’t handle it.”

“Disney told me, ‘We want a thriller, but nothing bad can happen.’ ”

“What’s special about this story? If I can’t find it, I don’t write it.”

“There’s no ‘Red Weddings’ in Middle Grade.”

“My narrator is the crotchety old man who lives inside of me.”

Photo by Carolyn Kraft

Photo by Carolyn Kraft

“Very rarely will someone buy your intentions. Finish the book.”

“The anxiety of not knowing where I’m going in a story is what drives me.”

“I wrote this [middle grade] book as a YA novel, but it’s not. My editor pointed this out to me.”

“Wonder isn’t about finding answers; it’s about being comfortable with the questions.”

“There are as many ways to be dead as there are to be alive.”

“Teenagers: Maximum personal responsibility with absolutely no personal power.”

“Some 17-year-olds are 13 in their heads and some 17-year-olds are 25 in their heads. And they have to hang out together.”

“The only thing worse than writing is not writing.”

“Every first draft I go through this question: ‘I don’t know how to do this.’ ”

“If you’re a young person and you have the choice between writing and having an experience, have the experience.”

WHO SAID THIS STUFF (in order): Sean McGintyShaun David Hutchinson, Peter Rock, McGinty, Rock, McGinty, Patrick DeWitt, Karl Taro Greenfeld, DeWitt, Greenfeld, Dee Dee MyersRidley Pearson, Soman Chainani, M.A. Larson, Tahereh Mafi, Larson, Chainani, Mafi, Leigh Ann Henion, Claire Bidwell Smith, Jeff Garvin, Jesse Andrews, Garvin, Don Calame, Aaron Hartzler

Witch and Warlock – A Short Story in 4 Installments

Photo by Clotee Pridgen Allochuku

Photo by Clotee Pridgen Allochuku

FIRST INSTALLMENT

The maître d had misunderstood him. Peter wasn’t annoyed she’d already come and gone before he’d even made it to the restaurant; it was that she’d left and was coming back. That she’d allowed him a blissful moment where the burden of performance had been lifted, as if he’d unshouldered the weighted jogging vest his mother had bought him hoping he’d finally “get serious” about being over forty. Gone was any hope of an idyllic near future: alone in his apartment out of his pants, wallowing in buffalo wings and cowardice, rummaging the DVR backlog for his favorite extreme reality shows, the kind where the host basically has to cannibalize himself to survive the last inhospitable terrains left on the planet.

It was the maître d—Peter’s mother loved hearing there were still places with maître d’s—thinking he was doing anyone but himself a favor, who blocked Peter’s view of his own fantasy by handing him the woman’s purse and relaying her message she had to take care of some urgent business but was committed to their evening, hence the leaving behind of her purse.

Blind dates were their own form of inhospitable terrain, Peter thought.

But he took the purse. He surprised himself. This guy who just a minute ago was the picture of a pantless coward making love to barbecue sauce accepting responsibility for a stranger’s personal property. A stranger who was either a very trusting person or, more likely, too crazy to care. Really, what did he know about this woman? Her name, what she did for a living, a fleeting impression of what she looked like. And her taste in handbags—not the “cargo ships” his mother went for, but a sleeker, red leather square with a flap that clasped in the front like an envelope. That was supposed to clasp. That couldn’t clasp, because the purse was overstuffed and something at the top of the pile inside fell out when he tried to figure out how to hold the thing and still hold on to his masculinity. The maître d smiled dumbly at him, maybe seeing in this situation the makings of something romantic. Probably, Peter thought, vaguely aware he might be projecting, the guy was just happy to have released himself of his obligation to the woman. The maître d did pick up what had fallen, a compact case, and carried it with him as he led Peter to a secluded table in the back corner of the restaurant. An intimately lit, lean enough to lean across to kiss kind of table. Not at all close to the nearest exit. Okay, so the guy was a romantic and she wasn’t a complete stranger, red leather purse owning Allison Dawner, marketing consultant, a strawberry blond? with blue eyes? a friend of a friend of his co-worker. Still, he couldn’t vouch for her sanity.

Like it mattered. He almost laughed out loud. They all went to shit in the end anyway. The blind dates, the Internet dates, the meet-up groups that spun out into dates. Even the dates that turned into longer term relationships. How long had any of those shit storms lasted? He guessed six months was his personal record. At the very least this date was beginning unlike any of the others. The maître d wished him good luck and instructed a busboy to bring out a glass of the house red, compliments of the house. Peter discovered he wasn’t immediately envious of the other couples in the restaurant, the ones who didn’t have to perform for each other. Maybe it was the wine, but tonight felt different. So what, he thought, let it be the wine. He was going to enjoy a fresh beginning before it all went to shit.

His mother used to say relationships were a numbers game. He had to keep trying, every failure brought him that much closer to a success. She’d been saying that since he was in high school and she repeated it every Thursday when they got together for chicken salad sandwiches and a few hands of gin rummy. When he’d turned forty she took a harder line. Like she’d set an alarm when he was born and now it was finally going off. Maybe he wasn’t taking good enough care of himself, or maybe he didn’t understand how to treat a woman. Or god something had happened to alter his brain chemistry. She’d read somewhere that it sometimes happened to men in middle age. Should he be on medication? Should he try some of her medication? Peter did his best to explain to her that it took two people to unravel a relationship and each of his doomed unions had been its own particular mess. The only constant was that they never worked out. He guessed he was just unlucky. And maybe stupid, because he kept at it, kept playing the game, hoping the odds would eventually land in his favor. His mother wasn’t convinced. He’d found a baggie with four of her Lexapro secreted inside a pocket of his jogging vest.

The wine tasted like a dessert topping; what Peter’s brain was turning into. Bad idea drinking on an empty stomach. How many of those dates had ended prematurely? He flagged down a waiter and asked for a basket of bread. He had to stop thinking about his mother. If she was on his mind he’d bring her up and how many of those—what was that?—how many of those—something was catching light, irritating his eye.

What Are You Reading?

Photo by Serge Melki

Photo by Serge Melki

As July slowly but surely starts to brown around the edges, it’s time to catch up with you, my fellow book lovers, and find out what’s been on your reading tables 0f late. As we all know, the most highly anticipated and controversial book this summer is Fudgin’s Doesn’t Not Play Nice, by P.I.X. Gwantonomous. But there’s been so much press and social chatter about it already, I won’t drag us down that rabbit hole.

But how about the second most highly anticipated and controversial book released this summer? Harper Lee’s Go Set A Watchman. Have you read it? Are you going to? I’ve read a few reviews and despite the lukewarm response it still piques my interest. But I’m a little queasy about buying a book that it’s dementia-addled author may have been coerced into publishing. Do I want to finance her exploitation? Am I being too precious about this? You tell me.

Anyway, in the past month I’ve read Ready Player One, by Ernest Cline, and The World According to Garp, by John Irving. Both books are great reads and rather topical; Ready Player One because 1980’s pop culture will never, ever, ever die, and Garp because it includes a zany but honest and humane exploration of a transgender celebrity.

At the moment and in anticipation of my attending the annual SCBWI Summer Conference, I’ve currently got my nose in The Diviners, by Libba Bray. To my knowledge, Ms. Bray isn’t scheduled to be at the conference, but her agent Barry Goldblatt is and I’d really like to talk with him. On the horizon there’s some intriguing nonfiction for me to get to, like Raising Hell: Ken Russell and the Unmaking of The Devils, and H Is For Hawk, by Helen Macdonald.

So that’s my book business, what are you reading these days?

LA Times Festival of Books! Day Two

Photo by Carolyn Kraft

Photo by Carolyn Kraft

Back again and better late than never with another field report from the LA Times Festival of Books. The magnanimity continued on the second and final day of LATFOB’s 20th anniversary. Well done, folks!

Here’s a few pearls of conversation from the author panels I attended:

“Families are like their own civilizations.”

“A lot of the times I’m writing I feel like an actor; I have to feel the emotions.”

“I had kids smoking, getting drunk, and my editor’s worried about the scene where they aren’t wearing their seatbelts.”

“A writer’s only responsibility is to tell the truth.”

“If I want to know how great I am I call my mother; if I want to know the truth, I call my brother.”

“I’m always taken aback when people [who know I’m a YA author] ask me when I’m going to write a ‘real’ book.”

“People have suggested that hackers and artists are exactly alike.”

“Quality relationships allow for the right amount of solitude and the right amount of connection.”

“The digital revolution has undercut our need for expertise and professionalism.”

“I’m on board with the digital revolution being frightening, but I’m not so nostalgic about what we’re leaving behind.”

“All these media outlets want to ‘pay’ for your writing by promising exposure; exposure is just a way people die out in the cold.”

“Technology is whatever has been invented since you were born.”

“Why can’t we have a platform that actually benefits the people who use it?”

“Every time I hear how I am as a writer I want to rebel against it.”

“Most of what happens to human beings is funny; humor in stories is integral, it’s not a condiment.”

WHO SAID THIS STUFF: Jandy Nelson, David Arnold, Carrie Arcos, Arnold, Robin Benway, Nelson, Vikram Chandra, Joshua Wolf Shenk, Scott Timberg, Chandra, Jacob Silverman, Chandra, Silverman, Amelia Gray, Jonathan Lethem

 

LA Times Festival of Books! Day One

Photo by Carolyn Kraft

One week after a great day at YALLWEST, I was off to the annual LA Times Festival of Books! It was like jumping out of the frying pan and into the fire for those of us who love being burned alive. By books. By writing. By mangling a shopworn adage into a tough leathery bit on which to chomp so as to contain our excitement and not draw the attention of USC Campus Security.

Anyway…

Congrats to LATFOB for celebrating 20 amazing years! Once again it was a privilege to attend, and as always the panel discussions I sat in on were nothing short of compelling and provocative. Did you go? What was the highlight for you?

Here’s a taste of what I heard on Day One:

“I thought I’d like to start a story with someone getting decapitated on a roller coaster, which I did. It’s on page 3.”

“I feel like it’s possible to fall deeply in love while also grieving a great loss.”

“What we remember about the books we love are the characters.”

“I’m an evangelist for fiction.”

“A big part of my writing process is forgiving myself.”

“Write what obsesses you.”

“To be a successful writer you have to be extremely disciplined.”

“Every book is a different labyrinth that somehow I have to get to the center of.”

“How do you learn to write a novel? You read a lot of them and then you write one.”

“I write so much because I’m hyperactive. I have the metabolism of a weasel. I have to eat my body weight every day.”

“There are probably 300 writers in America who make a full-time living from writing.”

“You owe it to yourself to be a big supporter of independent bookstores.”

“We have to practice and behave in the literary world we want to live in. We have to be good literary citizens.”

“I think we’ll look back on this time as a golden age of fiction.”

“I have a weird memory; I remember all of my parents’ license plates.”

“It’s more fun to draw something horrible and ugly.”

New Yorker cartoons are like a magazine within the magazine.”

“People told me that when I went through the process of selling my parents’ house all the questions I had about who they were would be answered. But there was nothing; it was like they were spies.”

“The mistakes and the problems can become the greatest thing in the book.”

“You just have to draw a lot and then eventually you die.”

WHO SAID THIS STUFF: Robyn Schneider, Emery Lord, Meg Wolitzer, T.C. Boyle, Lord, Wolitzer, Sarah Dessen, Lord, Boyle, Boyle, Stephen Morrison, Sandra Dijkstra, Dan Smetanka, Morrison, Roz Chast, Mimi Pond, Bruce Eric Kaplan, Kaplan, Chast

Trust Me, Said The Unreliable Narrator

Photo by Erling Mandelman

Photo by Erling Mandelman

Reading the novel & Sons by David Gilbert has me musing about one of my favorite literary techniques: the unreliable narrator.

The book follows the story of the famous but reclusive author A.N. Dyer, a seventy-nine year old self-described failure as a father who calls his estranged sons back home to New York City. The treat here, and what gives the novel its edge, is that the narrator is Philip Topping, son of A.N. Dyer’s oldest (and recently deceased) best friend. Philip literally and literally inserts himself into the lives of the Dyer family and tells us things that he has witnessed and that he may have heard secondhand, and then proceeds to relay with conviction what he cannot possibly know: the inner thoughts, feelings, and intimate histories of Dyer the author, his sons, and even his ex-wife. Topping is actually upfront about it, suggesting early on that he’s guilty of “narrative fraud.”

But what is his agenda? Halfway through he’s already dropped more than a few hints and clues, but I’m eagerly anticipating a fuller picture by book’s end.

So what about this idea of unreliable narrators? A story is already a lie in a way, and an unreliable narrator suggests another (I wager more profound) layer of deceit. I love the notion that as readers when we open a book we automatically go along with the fiction, the lie, that this story is “true” in the context of the world the author has created. The trust between reader and writer is inherent. But what happens when the narrator-character telling the story does something that makes us question the validity of the tale? That unsettling feeling we’re in shifty hands. Alert, the author says, we’re going to have to be sharp here.

Unlike & Sons an unreliable narrator often takes his time in giving himself away, revealing his ultimate aim. He’s usually betrayed by what he focuses on. Particular observations, attention to certain details, contradictions, a snowball’s effect of slip-ups that show us he is not who we first thought, that events have been tailored to show himself in a favorable (sympathetic) light. This is what I’m going after in my own novel.

It’s an approach that is definitely not for everybody. But it excites and engages another level of my reading brain. I like the challenge, the hunt, the tangle with a character who is troubled and possibly a danger to himself and others. Why else does a character craft his own reality but to disguise his pathologies?

So what about you, fellow reader? Do you prefer your literature more conventional, or do you go for something more elusive now and then?

What Are You Reading?

Although not as exciting as lurking outside your windows and occasionally peeking in to see what you’re reading, it’s easier to just put the question to you in blog form. So here goes: What are you reading these days? Fiction, non-fiction, biography, memoir, comics, tech manuals, graffiti, tea leaves?

While you think about it, here’s what I’m reading at the moment: This Wheel’s On Fire: Levon Helm and the Story of the Band by Levon Helm with Stephen Davis, Mark Haddon’s The Curious Incident of the Dog In the Night-timeCanada by Richard Ford, and last but not least, Putting Circles Into Squares For Dummies, by Advarious Starch. I imagine most of you also have a few books going at the same time. A different book for a different mood, right? Sometimes I’m dreaming about Canada and sometimes about setting wheels on fire.

Are you looking forward to any upcoming releases this fall? I am. Stephen King’s Doctor Sleep, Thomas Pynchon’s Bleeding Edge, The Goldfinch by Donna Tartt, Salinger by Shane Salerno and David Shields (in support of the Salinger documentary coming out next month, which also looks pretty enticing) and of course, Funk in the Trunk: A Mongoose Fingus Mystery, by Tiara Loo.

So then, pretend I’ve got my nose pressed up against the glass outside your reading room while you’re curled up in your favorite chair, lost in a good book. What titles would I see in there before you call the police?

Build A Story With Bryan 2013 – Story in Verse Continues

Photo by Voskos

Photo by Voskos

Hello fellow story-builders! Hope the week is treating you well so far, but not too well that you can’t still raise your spirits with a rhyming line or two. As you can see our story’s grown since the last post, but this tale is still in its infancy. Give it a read and then add your own verses, let’s collectively rear this thing into a fine upstanding literary citizen.  Okay? Okay. Thanks for reading, thanks for playing.

Here’s what we have so far:

The old man who smelled of memory loss leaned in

He said “Pull my finger” then grinned.

It felt cold and omniscient as a skeleton key

And once tugged a door did fall open before me. 

The past lay before me, all musty and grim

My hope for some cheer grew depressingly slim.

I first saw my teacher, from elementary school

Who said I was foolish, as well as a fool.

No fool I am, said I, proudly

It is you, I proclaimed loudly

Oh really? he mused with his dogcatcher’s sneer

Wasn’t me who sunk the spelling bee in a puddle of fear.

The old man at my side flicked his tongue, then his finger

And the teacher quickly vanished, not a trace of him lingered.

Replaced by another, a familiar face less unfriendly

A girl whose smile and whose spine were quite plastic and bendy.