Monthly Archives: March 2014

Interview With An Anonymous Lady

An interview with the anonymous author of A Good Egg about “mother fudgers,” best friends and the vulnerability of writing in the Internet era.

Anonymous-Woman

What prompted you to write A Good Egg?

I wanted to write about what it’s like to use an egg donor for a few reasons. First of all, it was an amazing experience once I learned how to get out of my own way and stop trying to control every part of the process. I couldn’t be more in love with my daughter, and having her has changed my view on what it means to have a child. I’ve come to realize the mother-child love knows no bounds, and that includes genetics. Beyond love, however, I’m a little infuriated. Nowadays we often fudge the truth about how we had our babies after those prime fertility years. These mother fudgers include both women I know and celebrities I read about. I completely understand the need to protect the privacy of your child, but I believe that not telling other women what it is to use an egg donor—and inflating other’s hopes that they can easily get pregnant with IVF at, say, 42, 43 and beyond—gives many women false expectations. Thus they are going back for repeated fertility treatments when their chances of conceiving for each cycle have dropped under five percent. I wanted to do my small part to alleviate this waste of money and emotional and physical energy by telling my story, whether it leads to others using an egg donor or adopting. I want other women who are in a lot of pain to know that there are other options beyond IVF and that everything is going to be okay.

Have you ever experienced sexism as a woman writer? How so?

Good god, yes! I’m a working screenwriter, and I’ve had men sexually degrade me in the room. One repeatedly asked me if I could work some sexual terms into a pitch I was doing in front of half a dozen people– I’m not sure if it was to titillate him or humiliate me. Others have told me they love my more action-oriented writing but then question whether I can write more of the same because I’m a woman. I realize that makes absolutely no sense but it happens all the time. And of course for my entire writing career – be it magazines, books, or films — I’ve been paid less than my male counterparts.

When did you first decide you were a writer?

I went for a job interview at Details magazine when they had their offices in Soho. I walked in, felt the energy, and thought, I have to have this.

What advice do you have for an aspiring writer who is just starting out?

Write. You’d be amazed how many people ask me how they can become a writer, but don’t actually write anything. Writers block doesn’t exist. Writers write. They work. It’s a job. Treat it like one and you can cross the number one thing you need to do off your list.

Do you have an imaginary reader you write for? Who is it?

I do, it’s my best friend, and she’s a great writer in her own right. I know the piece is working if she calls me and tells me she got chills. If she doesn’t call, well, it’s time to rewrite.

What’s the greatest risk you’ve taken in your writing?

Because this piece involves how I conceived my baby I admit I’m a little scared about what people might say in the comments section. I’ve found those to be brutal but I guess it goes with the job. In other words, in the Internet age everything we writers write feels like a tremendous risk.

Is there anything that you consider *too* personal include in your work?

Usually if I’m a little uncomfortable, I know the piece is worth writing. That means I have something to say that isn’t conventional experience.

Do you have an e-reader? When do you like to read on a device?

I have an iPad. I love holding a book, but I love that I can read a sample more. I made a promise to myself a long time ago that I wouldn’t read books I don’t like – there are just too many great things to read. This way, I don’t pay for novels I’ll realize aren’t my thing after thirty or so pages.

What projects are you working on now?

I’m beginning a novel, rewriting a script and writing a television pilot. In other words, I’m losing my mind.

A Good Egg cover

Shebooks: A Love Story

Shebooks author Marion Winik sits down to interview Shebooks co-founder and editorial director Laura Fraser about her past, her passion for publishing and the impending Shebooks revolution.

 

laura-fraser

I probably don’t have to tell any Shebooks readers that it’s harder than ever to publish a book through traditional corporate channels. And certain categories — like collections of essays — have become virtually extinct, a situation which affects me directly. When I started out telling personal stories as a commentator on NPR in the 1990s, there was a lot of interest in the essay — publishers were looking for the next David Sedaris. These days, though venues have opened up online for individual pieces, and we continue to see themed anthologies on various aspects of parenting, eating, divorce, travel, etc., it’s very rare to find a collection of essays between covers by anyone other than, well, David Sedaris.

This situation made me an eager recipient of last fall’s call for submissions from Shebooks — a new publisher of short e-books by and for women, designed to be read in under two hours. One of the categories they were looking for was collections of essays. Hooray! My first collection, Guesswork, eight essays circling the topics of memory and identity, was part of the launch group in December 2013, which also included books by Jessica Anya Blau, Hope Edelman, Suzanne Paola, and Shebooks co-founder Laura Fraser. Bestselling author of An Italian Affair, Laura’s Shebook is a collection of essays about Italian food called The Risotto Guru. Here’s our recent e-conversation.

Let’s begin at the beginning. Can you tell me how Shebooks came to be? Last I knew, you were a memoirist on the love-and-pasta beat.

As a writer, I’d been increasingly frustrated about how there are fewer venues for long-form journalism, it’s harder than ever to publish long books, and top-shelf magazines like the New Yorker, Harper’s, and the Atlantic keep ignoring women writers (70% of their bylines are men!). I was speaking at a journalism conference with my long-time friend and editor, Peggy Northrop–we’d worked together at Vogue, Health, More, Organic Style, Real Simple, Glamour, and other places where she’s been a top editor–when there was a panel of guys discussing the opportunities for long-form journalism with the short e-book model. I turned to Peggy and whispered, “It’s the same guys.” She whispered back, “Someone should do this for women.” And the lightbulbs went on.

I couldn’t agree with you more about the difficulties in traditional publishing, particularly for collections of essays. But is the short e-book model catching on? I’ve heard of Amazon Singles — but that’s about it. How do we know readers want (or will accept) these mini-books? Are they even “books” in the standard sense?

What initially made us interested in the short e-book model was The Atavist, which publishes one short e-book per month, and developed the model for creating a platform for long-form journalism in a world where there are fewer and fewer places to publish at a satisfying 7000-10,000 word length– a deep dive into a subject.

There was a huge need for the short e-book. What happened in the publishing world is that magazines devalued themselves by charging only $9.99 a year, or something far below production costs, in order to boost circulation and sell the numbers to advertisers. Consumers got used to paying next to nothing for journalism. The Internet, of course, made that situation worse, with places like the Huffington Post that pay zero, nada to writers. So people are used to getting short content for free. Meantime, there are fewer and fewer places to publish long-from journalism–the feature wells in women’s magazines are shrinking, great magazines like Gourmet have been put out of business (because that $9.99 model was not sustainable in a recession, as advertisers fled), and then, of course, the top-shelf magazines publish 70% male writers.

However, people will still pay money for a book. So the short e-book is the way to sell long-form journalism, short fiction, novellas, and collections of essays. Plus, with more and more of us reading on mobile devices, it’s a satisfying length. We’re all so busy that it makes sense to read a short e-book sometimes, particularly on a mobile device. That doesn’t mean we’re not going to curl up in bed with a long novel, but it’s great to read short e-books when you have less time.

Also, as someone who teaches writing, I can say that many memoirs ought to be about 100,000 words shorter than they are. People have great stories from their lives, but not necessarily stories that are long enough to be published as books. So you get a lot of really padded memoirs. Why not trim them down to a fast-paced, great read?

I certainly agree with that. Often even very good memoirs are just too long! The Liars Club – too long! great, but too long! Heartbreaking Work of Staggering Genius – you too!

Looking at the launch group of Shebooks, I believe I see five fiction and six memoir/essay collections — no long-form journalism yet, right? What can we look forward to here?

We have a few long-form journalism pieces in the works, but it takes more time to develop these stories. We’re hoping to partner with some groups that fund investigative stories on issues that affect women, and we are actively soliciting more pieces.

For now, Shebooks are selling for $2.99 each. How will it work once the subscription model kicks in, and when will that be? This part is just as revolutionary as the short books — can you tell us how you came to this idea?

We come from the magazine world, so we know subscriptions are a good business model. Women are used to subscriptions to all kinds of things, from Weight Watchers to Bacon of the Month, and it makes a lot of sense for books–you can always have as many as you like at your fingertips, to browse when you’re getting on a plane or looking for something to read before bed. Our subscription service will be up in spring.

How will Shebooks compete with regular books for bestseller status? Or will they?

We’re a completely different publishing model. It’s kind of like how is the artisanal ice cream company that sells organic fig ice cream with walnuts or salted dark chocolate ice cream with almonds going to compete with Haagen-Dazs vanilla? There’s room for both, but some customers are going to become addicted to Shebooks because they’re so darn good. We’re all about quality, and about commissioning the best women writers out there to write original stories that you can’t get anywhere else.

We’ll create a little boutique reading environment in our reading app where you can go, close your eyes, and pick a book that you know will be a good read. We have years and years of experience in knowing what women like to read, understanding quality writing, and we’re bringing that to readers who crave it and don’t have the time to go through everything on Oyster or Amazon or ScribD to find it. We’re also providing short reads that fit women’s busy lifestyles. If you’re boarding a plane and want something to read from Chicago to Cleveland, just turn on your device and you’ll have plenty of great reads to choose from, and you really can’t go wrong.

Thanks, Laura. It will be fascinating to watch all this unfold — and how cool to be part of the avant garde.

This interview originally appeared on TheNervousBreakdown.com http://www.thenervousbreakdown.com/mwinik/2014/01/interview-with-shebooks-editor-laura-fraser/