Why I’m NOT Writing . . . .

I haven’t written a blog post since October 3. This is actually the longest I’ve gone without blogging since my car wreck back in 2013. I’d love to say it’s because I’m engrossed in drafting a best-selling novel or even an essay or short story, but I’m actually not writing. At all. In today’s publishing culture, writers have to multi-task—marketing is a big part of the picture, and I actually enjoy that part. And although I’ve called myself a full-time writer since about 2006 (and since that time I’ve published four books and over a dozen essays in four anthologies and numerous journals and magazines) I’m still a wife, a mother, a grandmother, a Godmother, a neighbor, and a friend. So what have I been doing while I’m not writing? Here’s a glimpse into this writer’s non-writing life.

That's Rebecca Wells, lower left with blonde hair speaking to our panel for Southern Writers on Writing: River Jordan, Lee Smith, me, and Niles Reddick.

Our panel for Southern Writers on Writing: River Jordan, Lee Smith, me, and Niles Reddick.

 

Book Tour and Writing Workshops

Meeting one of my literary (and mental health) heroes: Rebecca Wells!

Meeting one of my literary (and mental health) heroes: Rebecca Wells!

Since May I’ve had 14 appearances at 8 bookstores, 2 book festivals, 2 writers conferences, and 2 special events, all for Southern Writers on Writing, the anthology I edited that was published in May by University Press of Mississippi. I love this part of the job—especially connecting with readers and getting to hang out with other writers. On October 27 I’ll be leading a one-day writing workshop at Novel books here in Memphis. 19 people have registered, and I’m in the process of critiquing the manuscripts they’ve turned in and preparing two craft talks I’ll be giving during the workshop. I’ve posted photos of many of these events here on my blog, and lots of photos on Facebook from this past weekend at the 30th Annual Southern Festival of Books in Nashville. Our panel for Southern Writers on Writing included Lee Smith, Niles Reddick, and River Jordan. The auditorium at the Nashville Public Library was packed out with over 120 in the audience. A big surprise was seeing Rebecca Wells (Divine Secrets of the Ya-Ya Sisterhood) sitting on the front row asking questions of our panel. And even bigger was her invitation to me to have dinner with her the next day. After the final panel of the day—Our Prince of Scribes: Writers Remember Pat Conroy—Rebecca and I walked down the street from the festival to a new bakery and enjoyed fresh salads and a conversation that I will cherish forever. The Ya-Ya Sisterhood had a huge impact on my life, and it was a gift to have this time with Rebecca. What an incredible woman whom I now count as a friend.

My husband Bill, with his sister Cathy and his brother Tod, who are toasting him at his 70th birthday party.

My husband Bill, with his sister Cathy and his brother Tod, who are toasting him at his 70th birthday party.

 

Family & Friends: Visits and Celebrations

In July our daughter Beth visited from Denver with her husband and daughters—our wonderful granddaughters Gabby and Izzy. Then we hosted my best friend from Little Rock—Daphne—and her fiancé Bobby for an engagement party in August. My husband turned 70 on October 6, and his sister, brother-in-law, brother, and sister-in-law came from Atlanta to celebrate with us for a few days. Our oldest son Jonathan is arriving tonight from New Orleans for a couple of days. On Friday our middle son Jason and his wife and daughters—our other wonderful granddaughters Grace and Anna—will be here for a few days. I am so blessed to be able to host and celebrate with friends and family while taking a break from writing!

 

Taking Time for Self Care: Physical, Mental, and Spiritual Health

God_s_Path_to_Sanity_1024x1024At age 67, I’m learning the importance of self care. Just over a year after my last drink (September 7, 2017) I’m still finding my way to healthy eating habits and trying to move forward in healing from a lifetime eating disorder. Part of the healing involves taking time for exercise every day. I work out on the elliptical machine here in my office, usually a couple of times a day for 15-20 minutes at a time. I go to a massage therapist for deep tissue and myofascial release work every other week, and I’m doing a round of physical therapy right now, which includes about 20-30 minutes of exercises at home in addition to the PT sessions, which are a half-hour drive from my house. Doctor appointments at my age take up some time, as well, with an internist, urologist, cardiologist, orthopedic surgeon, gastroenterologist, dentist, and optometrist on my team. Self care for me also involves spiritual work. In addition to participating in services at St. John Orthodox Church here in Memphis—where I’ve been a member since 1988—I do spiritual reading and am involved in a small discussion group using the book God’s Path to Sanity: Lessons From Ancient Holy Counselors On How to Have a Sound Mind, by Dee Pennock. I’m also reading Becoming a Healing Presence by Albert S. Rossi, in preparation for our annual women’s retreat at St. John on November 2-3.

Reading Becoming Mrs. Lewis in my hotel room in Nashville, with the indoor pool outside my window!

Reading Becoming Mrs. Lewis in my hotel room in Nashville, with the indoor pool outside my window!

 

Reading

All writers are avid readers—not only to improve our craft, but to refill our tanks after emptying them on the page with our work. My recent reads include:

Our Prince of Scribes, edited by Nicole Seitz and Jonathan Haupt

Love and Ruin by Paula McLain (I didn’t do a review but I loved this book!)

And my current (secular) read is Becoming Mrs. Lewis by Patti Callahan Henry. I read in many genres—in both fiction and nonfiction—due to my interests as well as to fuel my own writing. And after meeting some new authors at the Southern Festival of Books, I ended up with a few more for my “to read” stack.

Querying Publishers

I’ve got two more books being read by publishers right now, so my fingers are crossed that I’ll get some good news and a publishing contract soon for one or both of these:

Friends of the Library is a collection of linked short stories (being read by one university press and one independent press)

Imagining the cover design for my short story collection.

Imagining the cover design for my short story collection.Friends of the Library—short story collection (being read by one university press and one small indie press)

Pilgrim Interrupted—personal essay collection (being read by one university press)

If none of these presses offer me a contract, I’ll go back to the query process, looking either for an agent or an independent publisher.

Writing Another Book . . . .

Meanwhile, my “next book” is always in the back of my mind—especially while driving down the highway on book tours. I’ve got several ideas for a novel, but I haven’t fallen in love with any of them yet. Writing a novel is like a marriage—it’s a long-term commitment—so it needs to start with a romance, for me to be willing to dive in. Most of my ideas involve either a famous artist, a work of art, or something related to Alzheimer’s. I seem to return to these familiar themes because, like they say, it feels natural to write what you know.
Thanks for reading. I’ll try not to stay away so long next time!

“Workshopping” a Manuscript

Novel Workshop reminder_edited-1

 

On October 27 I’m leading a one-day writing workshop at Novel bookstore in Memphis. So far fifteen people have registered, and I’ve begun critiquing the manuscripts that have been turned in. Before I began leading conferences and workshops, I  participated in about ten workshops over a decade, as well as being part of two writing groups that use the “workshop” model. I’ve come to really appreciate how much the process can help us become better writers. We can learn from reading and critiquing other people’s works as much as having our own work discussed. So far the writing samples that have been submitted include adult fiction, YA (Young Adult) fiction, memoir, and essays. Before diving into the critique process, I decided to create some guidelines, which I will share with the workshop participants. I have gleaned these from past experience at workshops, and also from other writers and online sources. I hope you will find them helpful as you look at your own work or participate in writers groups or workshops. Here they are:

Things to look for in reading/critiquing manuscripts:

Effectiveness of story/plot. Can you summarize the plot in one to two sentences? What is the central idea?

Prose style and voice.  Does the author have a distinct style and/or a voice that the reader can embrace? What’s the difference between style and voice?

*Voice is your own. It’s a developed way of writing that sets you apart from other writers (hopefully). It’s your personality coming through on the page, by your language use and word choice. When you read a Dave Barry column, you know it’s his. Why? He’s developed a distinct writing voice.

*Style is much broader than voice. Some writers have a writing style that’s very ornate—long, complex and beautiful sentences, packed with metaphors and imagery (think Frank McCourt and John Irving). Others have a more straightforward style—sparse prose, simple sentences, etc.

Characters—can you clearly identify the protagonist and antagonist? (Keeping in mind the antagonist doesn’t have to be a character, but can even be fate, the environment, etc.) Do we CARE about them? (Whether we like/love or dislike/hate them.) Are they believable? Are they interesting? (watch our for stereotypes and clichés) What does your character WANT?

Balance of scenes (including dialogue)—i.e. SHOWING—with narrative—i.e. TELLING.

Is there conflict? (Keep it mind it might not be resolved in an excerpt from a book, but it should be resolved in a complete manuscript like a short story or an essay.)

Pacing—too slow or too fast? How to change it?

Dialogue—is it realistic? If dialect is used, is it done well/sparingly or overdone and possibly even offensive?

IMG_4959*I borrowed these definitions of voice and style from “The Difference Between Voice and Style in Writing” by Brian A. Klems. This was a Writer’s Digest article. I highly recommend that anyone serious about writing subscribe to two magazines: Poets & Writers and Writers Digest.

When contributing during the oral critique session:

Don’t comment about spelling and grammar errors. This is not the time for line editing.

Be positive and encouraging, but not dishonest and gushy.

Don’t give your opinions on the subject matter or the writer’s opinions. This is not a time to discuss/debate issues of politics, religion, race, gender, etc., but to help each other become better WRITERS, no matter the subject or genre.

In addition to leading three hours of manuscript critique sessions during the workshop, I will also be giving two talks:

“Writing Scenes to Move the Narrative Forward” (This will include hands-on participation by students and a short writing exercise.)

“How I Got 4 Book Deals in One Year Without an Agent” (This will be a talk about all things publishing: querying presses, working with editors, etc.)

The workshop is from 9-5 this Saturday, and includes coffee/pastries, lunch together at Libro (the wonderful cafe inside the bookstore), and happy hour from 4-5 p.m. (Lunch isn’t included in the $75 registration fee.)

The deadline to register for the workshop is October 13, but if you want to submit a manuscript to be critiqued, the deadline to send in your writing sample is October 6 – this Saturday. (Not everyone who is coming to the workshop is submitting a manuscript.) You can REGISTER FOR THE WORKSHOP HERE.

 

MY Prince of Scribes

seitz-and-haupt_our-prince-of-scribesOn Sunday I finished reading a wonderful new book, Our Prince of Scribes: Writers Remember Pat Conroy (University of Georgia Press, September 2018).  Edited by Nicole Seitz and Jonathan Haupt, it’s a beautiful collection of reflections on the life and work of my favorite author, who is obviously a favorite with many others. When I heard about the collection, it had already gone to press. And although I didn’t know Pat as well as many of those who contributed essays to this book, I wished I could have joined them. So I will share my own reflections here, at the end of this post. But first I’ll share a few of my favorite quotes from contributing authors. I tagged about 25 “favorites,” but I’ll only share a little over half of them here. I hope these quotes will tease you into buying the book and reading these wonderful essays!

“They connected with Pat through the love of words or food, or through the shared sufferings of childhood or existential questioning”—Nicole Seitz, Editor

“Because of the abuses of his childhood, Pat found it impossible to foster sustained joy in his own success, but he could experience tremendous vicarious bliss in the success of others. Serving as the sage tribal elder in the mentoring of other writers brought Pat a happiness that even international literary fame could not.”—Jonathan Haupt, Editor

“Pat didn’t just survive; he thrived. . . . Boys like us longed for a way to save our fathers from themselves and our families from our fathers. And because that was impossible, boys like us devoted our adult lives to expressing our failures as heroes in the world through aspiring to be heroic in art…. Our wound was not just geography, as Pat once wrote, it was the unique spark of our hearts’ engines, and therefore kept us alive.”—Michael O’Keefe

“The wound we shared was permanent, not something that ever healed completely. We knew we would never be good enough. We didn’t know what bad thing was lurking just ahead of us.”—Cynthia Graubart

“If you are willing to read great books and work your ass off to write down what you are thinking and find your voice, it’s possible to emerge as a writer. To Pat there was no more sacred and worthwhile calling.”—Tim Conroy

“’My father’s violence is the central fact of my art and my life.’ I must have read that sentence aloud a dozen times. . . . And then I knew. I could just as truthfully assert that my mother’s violence is the central fact of my art and my life. . . . Pat could have allowed the cruelty to harden him, make him mean, make him repeat the sins of his father. But Pat made a conscious decision, I believe, to live a life that stood in total opposition to the violence. He found forgiveness through writing and grace in a life well lived . . . .”—Connie May Fowler

“One painful irony was his recognition that his books had liberated throngs of fellow sufferers—the depressed, the abused, the father haters—not to seek therapy or write books but to share their miseries with Conroy at book signings. This was unwelcome duty for a writer who wasn’t inclined to guide others through their elf-realization. Writing is not group therapy. But such was the price Conroy paid for exposing so much of himself and his family, book after book, as he sought to explain his tortured childhood to himself.”—Kathleen Parker

“He portrayed the South in full—all its contrasting mystery and ugliness, beauty and brine, laid bare—and did so in a way that made it feel accessible to outsiders and refreshing to those of us who live here.”—John Connor Cleveland

“I carried on about how the setting and themes of The Prince of Tides spoke directly to me. Pat smiled and listened as if he hadn’t heard the same thing a million times form other readers. And I found myself confessing hidden pieces of my life. The abuse in the novel was something I understood. ‘Most writers had shitty childhoods,’ he said.”—Michael Morris

“So many writers I know today don’t even address the question. They’re not even God-curious. I still think that’s the difference between a great writer and a merely good writer. Great writers—whether they’re believers or not—are God-haunted. Pat Conroy was God-haunted. Maybe you didn’t know.”—Margaret Evans

“The trauma of his childhood and adolescence could easily have sent him into the abyss. I know that writing about issues evoking his past trauma could be cathartic for Pat, but there was also peril in descending into that past. Blending memory and art was a dangerous dance too…. He took what might have destroyed him and made it beautiful and true…. His art will endure.”—Ron Rash

“’My wound is geography.’ The wound he referred to was tied to his difficult youth and his abusive father. But his themes about surviving a dysfunctional childhood gave me the confidence to write bout subjects I had shied away from in my own work, like my mother’s rape and other personal difficulties.”—Marjory Wentworth

“What I learned from his life and friendship was a kind of theology: Stories and Life are both marvelous and dreadful. I can’t, as a reader or a writer or a human being, shy away from the broken world…. It’s all there together—the noble, the cowardly, the awful, the shining. As it must be I both our writing and our lives.”—Patti Callahan Henry

“Reading Pat, and later knowing him, has been a life-class not on y in how to write but how to live…. To love the South while refusing to accept its failing and shortcomings. To pay forward what cannot possibly be paid back. To write about your family, to love your family. To look directly at all the world’s horror, to face it honestly, but never to turn mean. That’s what knowing Pat and reading Pat taught me, and is teaching me still.”—Mark Powell

And now, if I had been invited to contribute to the collection, what would I have written?

 

Permission to Write

By Susan Cushman

That’s what Pat Conroy gave me. And I’d also like to say here—since this essay isn’t published in the book about Pat—that his wife Cassandra King was also a big part of my inspiration to write. When I met Cassandra at the Southern Festival of Books in 2006—the last year it was held in Memphis—she was talking about her book The Sunday Wife. We talked in person after her panel, and she wrote in the front cover of my copy of her book, “To Susan, who knows what a Sunday wife is.” I could write more about Cassandra and her books and what her friendship means to me, but since this reflection is supposed to be about Pat, I’ll get back to him.

I don’t remember what year it was when I first read The Prince of Tides. It was published in 1986 and the movie came out in 1991. I think I actually saw the movie first, and loved it. But when I read the book, I was blown away by two things: Pat’s incredibly beautiful literary prose, and the power of using real life experiences—in his case the abuse from his father—to fuel a novel. To make art from pain.

I had tried to write about my own personal wounds—sexual abuse first from my grandfather when I was four or five, verbal and emotional abuse from my mother for all of my life, and abuse from two different Christian leaders in the 1970s—and so I wrote a memoir. Two, actually. But I finally realized that I wasn’t willing to go public with some of the names and situations involved, so I followed Pat’s example and wrote a novel. It took several years to finish Cherry Bomb, a couple more years dealing with a New York literary agent (with whom I eventually parted ways), finding a publishing home, more editing and finally publishing the novel in August of 2017. It was so satisfying and healing, and I will always be grateful to Pat for inspiring me to do this.

When Beach Music came out in 1995, I devoured it and realized what everyone else already knew: Pat wasn’t a one-hit wonder. So I went back and read The Water is Wide (1972) The Great Santini (1976), and The Lord of Discipline (1980). For some reason I never read The Boo (1970). But all of these books were also full of art borne from suffering, and they are powerfully beautiful. In 2009, I read Pat’s final novel, South of Broad, and it came alive for me on two visits to Charleston, the “Holy city” featured in the book. I think it may be my second favorite of Pat’s books, next to The Prince of Tides. Of course I also loved My Reading Life (2010) and I wept as I read his memoir The Death of Santini (2013), which revealed even more of his tremendously loving and forgiving heart, as he did everything he could to heal his relationship with his father.

Meeting Pat in January, 2010

Meeting Pat in January, 2010

When I finally got to meet him, in 2010, Pat was speaking at the annual Pulpwood Queens Girlfriend Weekend in Jefferson, Texas. He was so warm and genuine in person, and so humble and generous with his time. He even purchased books from some of the (lesser known) authors who were presenting during the weekend and stood in line to have them inscribe the books for him. He donned an apron and helped serve plates for the author dinner one evening. And when he spoke, his love for not only writing but also writers—at whatever stage we were in with our careers—was evident, and blessed me greatly.

Signing books with Cassandra King at Nevermore Books, Beaufort, SC, May 2017

Signing books with Cassandra King at Nevermore Books, Beaufort, SC, May 2017

In May of 2017 I visited Pat’s home in Beaufort, South Carolina, for the first time, just over a year after his death in March of 2016. I was giving a reading at Nevermore Books in Beaufort for an anthology I edited, A Second Blooming: Becoming the Women We Are Meant to Be. Cassandra had contributed an essay to the book and joined me at the bookstore along with two other contributors, and then invited all of us to her house for dinner afterwards. I remember feeling a little awkward as she encouraged me to sit down in the chair at Pat’s writing desk, saying, “Maybe you’ll soak up some of his inspiration.” But I did sit there, as I had sat at his other desk earlier that day—the one that’s part of an exhibit at the Pat Conroy Literary Center. I swiveled around to take in the view of Battery Creek, which runs behind their home, and imagined how it might have inspired the beautiful descriptions of his beloved Lowcountry. I had just read A Lowcountry Heart: Reflections on a Writing Life (2016) and relished his words that were salvaged from various places that had published them previously. I was putting together another anthology when Pat died—Southern Writers on Writing (University Press of Mississippi, May 2018)—and was sad not to have an essay by him in the collection. Cassandra contributed a wonderful essay—“The Ghost of Josiah King,” and I was thrilled to have essays by more writers with ties to Pat’s beloved Lowcountry, like Nicole Seitz and Patti Callahan Henry. I opened the Introduction with these words from A Lowcountry Heart:

“In his book A Lowcountry Heart: Reflections on a Writing Life (published posthumously), the author Pat Conroy says: ‘My mother, Southern to the bone, once told me, “All Southern literature can be summed up in these words: ‘On the night the hogs ate Willie, Mama died when she heard what Daddy did to Sister.’”’”

Only Pat Conroy could write about the culture of suffering in the South with humor and get away with it. (Okay, so Rick Bragg also did this, and more recently, Harrison Scott Key.) I don’t do humor well, although I did use it some in my memoir about my mother’s journey with Alzheimer’s, Tangles and Plaques: A Mother and Daughter Face Alzheimer’s. Because you have to have humor to survive the ravages of Alzheimer’s.

I believe that Pat has received all the messages of love penned by the authors who contributed to Our Prince of Scribes, and that he’s reading my words, even now. So I’ll send a shout out to him as I close this tribute: THANK YOU for giving me permission to write. If I could hear his response, I know he would be saying, “Great love.”

The Burden of Memory and History

I’m off on a short road this trip morning to Jackson, Tennessee, to speak on a panel for SOUTHERN WRITERS ON WRITING with fellow Tennessee authors Niles Reddick and River Jordan, so I’m short on time to write a blog post. Instead, I’m going to share something from a post I did ten years ago:

“Southern Writers on the River: The Burden of Memory and History”

Herman King, Patti Trippeer and me by the gate to the Ornamental Metal Museum on the Mississippi River in Memphis, September 2008. Photo by Doug McLain

Herman King, Patti Trippeer and me by the gate to the Ornamental Metal Museum on the Mississippi River in Memphis, September 2008. Photo by Doug McLain

I hope you’ll take a few minutes to click on the link and travel with me down memory lane, where I reflect on a magical day spent down by the Mississippi River with members of the Yoknapatawpha Writers Group, which met monthly for several years to critique one another’s works-in-progress and to share our journeys in the written word. Here’s a teaser:

So yesterday when some of the folks in my writers critique group gave me their gentle but wise feedback on the pages I had just penned—the pages about some difficult and dark things that happened during those same years that Morris chronicled in The Last of the Southern Girls—I listened to their suggestions because I respect their journeys and their own personal endeavors to capture their memories, and our collective Southern history, in the short stories and novels they are drafting.

Thanks for reading, and have a great weekend. Come back next week for some NEW POSTS, including an interview with another Tennessee author . . . .

 

Warming Up to Adele (and short story collections)

a297b454e38ab19556dd1bbfaf6eeeceIf you read my blog regularly, you know that I have published four books, with four different publishers—two university presses and two small indie presses. And I’ve been published in three genres: memoir, novel, and essay anthology (as editor and contributor). You might not know that I haven’t always like short stories. But that has changed recently. Maybe because of my friends who have published some really good collections, like those by John Floyd, Niles Reddick, Lee Martin, Jennifer Horne, and Suzanne Hudson. (I blogged about John, Jennifer and Suzanne’s collections here.) Oh and M. O. “Neal” Walsh’s first book was a linked short story collection, The Prospect of Magic.

You also know that I had a negative experience working with a New York literary agent on my novel CHERRY BOMB, and eventually parted ways with her. And yet I find myself hoping for a different experience “next time,” and so I’ve just spent several months querying agents for my linked short story collection FRIENDS OF THE LIBRARY. Here’s an update on the journey.

Of the forty agents I’ve queried since May (remember that I queried over 100 for CHERRY BOMB?) here are my responses so far:

17 rejections, but several were personal and very nice. My favorite one said this:

I think you’re a great writer and this is a great concept. I had a hard time warming up to Adele.  I think her voice is getting lost in the stories she’s reflecting on here – I think this collection would be more powerful if we had more of a sense of who your narrator is.

Friends of the Library cover“Adele” is the fictional author (based on me) who visits ten Friends of the Library groups in small towns in Mississippi, speaking about her novel and her memoir. In each town, she gets involved in the very complex lives of some of the people there (all fictional people and situations) who are dealing with things like Alzheimer’s, cancer, domestic abuse, eating disorders, adoption, sexual abuse, kidnapping, and racial issues. She doesn’t have the same level of involvement in all of the stories, and maybe that’s what this agent is referring to. Maybe she needs to be more involved, so that her interactions change her and affect her life more.

What’s interesting about this agent’s comments is that I was just visiting with a couple of author friends this weekend about this collection, and one of them mentioned the idea of making the author/narrator into a protagonist for a novel, by connecting the stories. I’m not sure how to do that, since the characters in each story don’t really have anything to do with the characters in the other stories. I really like the book the way it’s structured, but I do plan to go back through it and see if I can figure out why this agent had a hard time “warming up to Adele.” I want my readers to love her, but especially to love the characters she meets in each of the small towns in Mississippi. And to embrace those towns and their history, their architecture, their music and art and culture.

9ef8b2a65760eb281992911120a5b42a

 

short-stories-writers-digestMeanwhile… (you know something’s coming when you see my ellipses, right?) I decided to go ahead and query three university presses for the collection. They each have the full manuscript, but I haven’t heard back from any of them yet. Only two more of the 40 agents I queried asked to read the manuscript, and I haven’t heard back from them yet (it’s been two months) so my gut feeling is that if one of the university presses is interested in the book, I will go with them. I really like working with academic presses, but I was hoping for a larger reach. Maybe that will happen if I ever get that next novel written. I’m actually considering expanding one of these short stories into a novel. I won’t tell you which one yet.

So that’s a sneak peek into this chapter of a writer’s life.

SWW at Pat Conroy event

Jonathan Haupt (back left) Director of the Pat Conroy Literary Center hosted this wonderful event with authors Nicole Seitz, Patti Callahan Henry (back row) and me and Cassandra King Conroy (front row) in Bluffton, South Carolina.

 

As much fun as I’m having touring for SOUTHERN WRITERS ON WRITING, it’s important to always be looking forward, working on the next project, or there won’t be a next book! This weekend I was in South Carolina for my 10th panel presentation for SOUTHERN WRITERS ON WRITING, this time with Cassandra King, Patti Callahan Henry, Nicole Seitz, and Harrison Scott Key. The event was in the Visiting Author Series sponsored by the Pat Conroy Literary Center in Beaufort. The turnout was great and I really enjoyed being with these amazing writers who generously contributed essays to the book and then traveled to Bluffton for the event. I’ve now moderated panels with 21 of the 26 contributing authors, and have four more events scheduled for this book (through January of 2019). So… come next February, I hope to have another book in the queue. And maybe I’ll have time to finally get that second novel under way.
Thanks always, for reading!

StoryBoard Memphis!

Mark business card SB MemphisA few months ago I met Mark Fleischer at a reading I was giving for SOUTHERN WRITERS ON WRITING at Novel, the wonderful independent bookstore in Laurelwood Shopping Center here in Memphis. As I signed a copy of the book for him, he handed me a business card. His name and contact information were on the front of the card, and a partial map of the city of Memphis was on the back. He mentioned the publication he was starting. It was called StoryBoard Memphis.

 

Mark Fleischer, Publisher and Editor-in-Chief, Storyboard Memphis. Photo by Eric Janssen. See more of his work on Instagram @webraw.

Mark Fleischer, Publisher and Editor-in-Chief, Storyboard Memphis. Photo by Eric Janssen. See more of his work on Instagram @webraw.

Three months later I was having lunch with a writer friend, Angie Howard, and she mentioned him to me and asked if I had considered advertising my upcoming writers workshop in StoryBoard. I admitted that I had forgotten all about it! Angie has a wonderful memoir, SIN GIRL, which she is shopping out to agents and publishers right now, and it will be featured in the first issue of STORYBOARD, coming out in September.

So, I gave Mark a call, subscribed to the publication, and bought an ad for the September issue. I’m so excited about this project and I asked Mark if I could interview him for my blog so more people will hear about it. I hope you enjoy our brief conversation.

 

What is StoryBoard? 

 

StoryBoard Memphis started as not much more than a blog that explored moments, people and places in Memphis history that resonate with us today. With contributions from numerous other local blogs and digital publications, it evolved into what it’s about to become:  a Memphis-wide community print journal focused on local stories, histories, fiction, poetry, photography and artwork that explores the city through the eyes of “The Urbanist in All of Us.” That is, a vested interest in our built environment: where we live, where we play, where we work.

 

What was the catalyst for creating this new publication? Was it your idea? What were your influences? Who is your target audience?

 

There were quite a few important catalysts.  One was my desire to read what I was accumulating in my research and writing. Another was my love for print. Another was to reach a Memphis audience hungry for knowledge about their own city.  Still another was the slow demise of our local newspaper, The Commercial Appeal, which in the past had a Local section and a Neighborhood section that gave readers little tidbits of what was happening in their neighborhoods. Finally, I wanted to do something that would make Memphis feel a renewed sense of pride in their city. This won’t be hard news and crime statistics. In a monthly, I can explore issues of urbanism around every street corner.  And there’s my target audience:  Any Memphian who desires a deeper understanding of their built surroundings.

 

When will it be published and how often? Will it be in print? Online? Can people subscribe?

 

It will be a monthly. It will be free for pick-up like our local Memphis Flyer, in various strategic locations throughout the city.  And yes, I am accepting subscribers. My audience has told me loud and clear they would like home delivery; so, I am obliging them starting with the first monthly edition this November.  The inaugural issue comes out the first week of September, after Labor Day. There will also be a way to access each edition online.

 

SUBSCRIBE TO STORYBOARD HERE!

 

Tell us about the blog that is associated with StoryBoard. How can people submit stories for the blog? What about submissions for the paper?

 

The title “StoryBoard” came from the idea that I was accumulating material from multiple sources and multiple voices. In visual storytelling we often develop a storyboard—a series of segments like in a cartoon—to help shape our stories. StoryBoard for me became a place for individuals to submit their stories or story ideas, and provide a forum. Their stories might in turn be a part of a feature story about a specific topic, like in our ongoing plans to redevelop parts of downtown, Memphis—part history, part historical fiction, part short story, part imaginative designs—that play a part in the larger narrative. I have accepted about a half-dozen submissions so far, so there will plenty of room for more as the paper expands to the greater Memphis.

 

SUBMIT TO STORYBOARD HERE!

 

Where will it be available for people to pick up a copy?

 

In September I will be finalizing all the various pickup points, which should number around 100.  But immediately I can say that it will be available at area coffee shops from downtown to East Memphis, at Burkes Books in Midtown, and at Novel books in Memphis in East Memphis, to name a few. 

 

Please tell us a little bit more about yourself. What is your “day job”? Will you continue working at that position while publishing Storyboard?

 

Altogether, from little blog to print, I’ve been developing StoryBoard for over two years. During that time my income came from my consulting work in the payroll industry. My career background had been in consulting and communications. In cultivating the network of connections and contacts needed to launch the paper, I absolutely had to put to good use my consulting skills. And my prior work in communications has proven imperative in this effort, in an understanding of what is important to a reader, and what we call WIIFM—What’s In It For Me. 

However, starting this month (August) StoryBoard became my full-time gig. It’s quite a lot of work to wear the hats of salesman, writer, and designer while meeting a deadline. Thankfully I have found some talented folks who have helped me get this thing off the ground; I could not have gotten this far without their gracious help.  

Lastly, I must express how exhilarating it is to be on the threshold of something that I believe will be important for Memphis. I feel lucky to be in this position. I hope readers open it up each month and feel like it’s a gift, a present they didn’t know they wanted, or needed, that was built expressly for them.

Storyboard Memphis banner

 

The Zosima Society, Collective Wisdom Project, and the New Hagiography

zosima society IG imageI recently came across Andrew Herman Middleton’s Facebook and Instagram pages, known as “The Zosima Society.” He also started a Facebook group called “Orthodoxy and Culture,” which currently has 288 members. The description for the group is:

This is a place to discuss how Orthodoxy influences culture, and what kind of culture is beneficial to the Orthodox spiritual life.”

Andrew’s Facebook page is “Orthodoxy + Arts” and his page description says:

“An international network of Orthodox Christian non-liturgical artists. Previously OrthArts.”

CB on Zosima SocietyAndrew features non-liturgical artists, musicians, and writers who are Orthodox in his Instagram posts, and has recently begun a series based on my novel CHERRY BOMB, which features an Orthodox monastery, church, nuns, saints, and even weeping icons. He uses the hash tag #zosimasociety for each post, and featured the first one for CHERRY BOMB on Monday, August 6—the Feast of the Transfiguration. Here’s what his post looks like (left). Follow him on Instagram for future posts.

He is also host of the Protecting Veil You Tube Channel, home of the “Collective Wisdom Project.”  Here’s a recent interview he did with Father Stephen Freeman, “Why Did You Become Orthodox?” Andrew hopes to be in Memphis in the next few weeks and has asked me for an interview, so stay tuned.

I’m not sure how he balances all of these projects, but Andrew also has a site called “New Hagiography” which is “the ancient indie folktronica project of itinerant musician Andrew Herman Middleton.” So, what’s the New Hagiography about?

Ancient holy men and women played an important role in the history and development of Western culture, but knowledge of many of them has been  forgotten. Who were these intriguing figures, what animated their lives, what were their hopes and dreams?

New Hagiography retells their stories, beginning with the flowering of Celtic Christianity in 5th century Ireland.

A note about terminology: iconography refers to painted images of Christ and the saints; hagiography refers to the writing of their stories with words.

I’m so happy to have found Andrew and his projects, and I hope that other non-liturgical Orthodox writers, artists and musicians will join him in sharing their work at #zosimasociety.

Purple Angels, Disrupt Dementia, and Lewy Body Soldier

I recently shared a link to a wonderful site I had discovered, AlzAuthors.Org. It features over 150 authors writing about Alzheimer’s. A recent post at the site introduces Karen Severson, M.D. and her book—“Look, I Shrunk Grandma: A Psychiatrist’s Guide to Nursing Homes, Dementia, and End of Life.” Severson had several motivations for writing the book:

Karen Severson banner

 

She wanted to help families of loved ones with dementia understand the disease and the reasons for the treatment approaches in place in the nursing homes where their loved ones were residents. There is often tension between the residents’ families and the nursing home employees, and Severson’s book addresses those issues.

But she had another reason for writing the book:

My other motivation for writing Look, I Shrunk Grandma, a Psychiatrist’s Guide to Nursing Homes, Dementia and End of Life came from seeing persons with dementia suffering. Many families cling to a natural denial that dementia is terminal. As a result, they ask for medical procedures that could prolong life, but may also inadvertently cause more suffering. When stopping numerous interventions were suggested, we have been accused of being heartless or cruel, allowing someone to die. With the experience from my mother’s death, I wanted to do what I could to decrease end-of-life suffering.

Just a few days before this new book was introduced on the AlzAuthors.Org site, I read a special report in the July/August AARP Bulletin: “Our Goal: Disrupt Dementia.” One of several articles within the feature is Thomas K. Grose’s piece The Pursuit of A Cure for Dementia.” Grose explains about the Dementia Discovery Fund (DDF), a London investment fund that was set up in October of 2015 to “provide money to small companies seeking to discover novel therapies to stop or slow the onset of Alzheimer’s disease and other types of dementia….” There’s lots of good information in this special report—well worth the read.

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Norman McNamara, the "Lewy Body Soldier"

Norman McNamara, the “Lewy Body Soldier”

And speaking of the UK, the third piece of my post today is about a British man who wrote a book after his diagnosis with Lewy Body Disease.  Norman McNamara started the organization known as the Purple Angel Dementia Campaign after he was diagnosed with a form of dementia at age 50. I’m reading his book, The Lewy Body Soldier, which is imagesan amazing achievement given he wrote it while facing the disease. If you’re a regular reader (or writer) of literary fiction or professional narrative nonfiction, don’t expect this book to knock your socks off with perfect prose. In fact, it’s full of “errors,” that are, for me, easy to forgive, because the person who wrote it wasn’t trying to win any literary awards. He wrote it to tell an urgent, universal, and important story. Here’s a video interview with McNamara and his wife and caregiver. (His verbal skills are pretty amazing, considering this was 8 years after his initial diagnosis.)

the-lewy-body-soldier cover

 

Tangles and Plaques coverMy mother died from Alzheimer’s two years ago, and I wrote about her struggles with the disease and my relationship with her during the final decade of her life in my memoir TANGLES AND PLAQUES: A MOTHER AND DAUGHTER FACE ALZHEIMER’S. And her mother died from Alzheimer’s. I was familiar with this type of dementia, but I had never heard of Lewy Body Disease until two friends both were diagnosed with it. One has been in a nursing home for some time now, and the other is at home with 24/7 care from her husband, with part-time help. McNamara talks about some things in his book that I was not aware of before, including the experience of vivid hallucinations and night terrors. The disease, as he points out, isn’t a “one size fits all” type of thing.

Alz & Dem Services logoIf you or anyone you know has a loved one with dementia of any type, please share these links with them. I will be speaking at the Alzheimer’s and Dementia Services of Memphis’s annual conference on November 13, and I will continue to look for ways to learn more about this disease and share my knowledge and experience with others.

 

Save the Date Canva

Writing Workshop at Novel Memphis: October 27

SWW and CB coversIt’s been a minute—five years actually—since I organized a writing workshop. Here’s my history with that:

2010 – Co-director of Creative Nonfiction Conference (with Neil White and Kathy Rhodes) in Oxford, Mississippi

2011 – Director of Memphis Creative Nonfiction Workshop

2013 – Co-director of Creative Nonfiction Conference (with Neil White and Kathy Rhodes) in Oxford, Mississippi

These were all three-day affairs, with numerous faculty members leading critique sessions and giving craft talks. I’m scaling it down for a one-day workshop at Novel Memphis on October 27. Details and schedule are here, on Novel’s event page.

What’s different about this workshop is that it all happens between 9 a.m. and 5 p.m. on one day, and I’ll be giving one craft talk and one talk about publishing, and leading the critique sessions. And it’s not expensive: $75 includes a copy of either Southern Writers on Writing or Cherry Bomb. It also includes coffee and pastries in the morning, and wine and snacks for “happy hour” from 4-5 p.m. We’ll eat lunch at Libro, the wonderful restaurant inside Novel. (Not included in fee.)

If you’d like to submit a writing sample to be critiqued, send up to 15 pages, double-spaced, size 12 font, with page numbers, attached as a Word document to sjcushman@gmail.com by October 6. Fiction and nonfiction are both welcome. No poetry, please. I will chose 12 manuscripts to be discussed during the workshop, and I will return written critiques to all participants, not just the 12 that are discussed during the workshop. The workshop will be limited to 25 people.

Writing workshops have been crucial to my development as an author, and I’m looking forward to continuing to “give back” to the writing community in this way. I hope that aspiring writers will take advantage of this opportunity and join us for a fun and productive day!

Call Novel at (901) 922-5526 with any questions. Please mail your registration form and payment by October 13 to:

Novel

Attn: Workshop Registration

387 Perkins Ext.
Memphis, TN 38117

Novel Workshop Flyer Cushman

 

Writing Workshop Registration Form

REGISTER for the Mississippi Writers Guild Conference July 27-28!

Susan speakingLooking for a conference to learn more about writing, editing, and publishing? Here it is! Meridian is convenient to folks in Mississippi, Alabama, and Tennessee, but worth a longer drive if you’re not that close!

I’ll be LEADING TWO WORKSHOPS, MODERATING THE PANEL OF SPEAKERS, and DOING ONE-ON-ONE CRITIQUES. 

Here’s all the info. Click on any blue link to learn more, and I hope to see you there.

Mississippi Writer’s Guild Conference, July 27-28, Meridian, Mississippi, at the MAX: Mississippi Arts & Entertainment Experience

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I’m so excited to be returning to my mother’s hometown—where I lived briefly when I was three years old—for this, the twelfth annual conference of the Mississippi Writer’s Guild. How fitting that I attended their first conference, in August of 2007, where I met several people with whom I am still friends today, including the novelist Joshilyn Jackson (who encouraged me to start this blog), the prolific short story author John Floyd, the very creative writer and artist Keetha DePriest Mosley, the amazing storyteller and actress Rebecca Jernigan, the multi-talented writer, musician, and radio show hostess Richelle Putnam, and the author C. Hope Clark, who will be speaking again at this year’s conference.

The two workshops I will be leading at the conference are:

Using Scenes to Write Memoir (in Books and Essays)

Memoirist, essayist, novelist, and anthology editor Susan Cushman will lead students through exercises to discover the importance of using SCENES to tell their stories—or the stories of others—in both memoir and essays. Using samples from published memoirs and essays, she will show how these scenes move the narrative forward, “showing” rather than “telling” the story. Students will then do a short writing exercise using this technique.

Four Book Deals in One Year: How to Get Published Without an Agent

Novelist, memoirist, and anthology editor Susan Cushman published three books in 2017 and one in 2018. She got all four book deals in one year, without the help of a literary agent. Susan will share her experience working with an agent, and explain why she ended that partnership. Learn how to find small, independent, and university presses to publish your work, and what the experience of working with these presses and their editors is like.

I will also be moderating the Panel of Speakers. We will entertain questions about anything having to do with writing, editing, publishing, and marketing. This year’s panel of speakers and workshop leaders includes:

Sue B. Walker—poet, author, and editor

Chandler Griffin—documentary filmmaker and educator

C. Hope Clark—mystery writer and manager of Funds for Writers

Dr. Alan N. Brown—folklorist and author of over 25 books on the oral ghost narratives of the South

G. Mark LaFrancis—film-maker, film instructor, and producer

Whether you’re a published author wanting to improve your craft and learn more about the industry, or a new writer just getting started, there’s something for everyone at this year’s conference.

Register here.

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