• Forest for the Trees
  • THE FOREST FOR THE TREES is about writing, publishing and what makes writers tick. This blog is dedicated to the self loathing that afflicts most writers. A community of like-minded malcontents gather here. I post less frequently now, but hopefully with as much vitriol. Please join in! Gluttons for punishment can scroll through the archives.

    If I’ve learned one thing about writers, it’s this: we really are all alone. Thanks for reading. Love, Betsy

The Trick You Said Was Never Play the Game Too Long

Choose me!

A few weeks ago, I received an email from a writer letting me know that another agent had offered him representation. The agent wanted an answer by the end of day Friday. I was way behind the eight ball having not yet received the proposal. Plus, the other agent had put a clock on the process.

Anyhoo, I spent a few hours reading and rereading the proposal because I really liked the writing, thought the idea was saleable, terrific title, but I also felt it needed some work. It needed to be more intense, to build more, in order to pay off. I called the writer, we spoke for close to an hour about my editorial concerns. Then about marketing, platform, etc. He seemed to click with my ideas. I hung up thinking we had a great conversation; I hoped to get the client.

Next day, email arrives. Turns out he had a half dozen offers of representation. It boiled down to me and someone else (you say that to all the girls). He explains that he went with the other person for reasons largely intangible. In other words, I was a great lay but smell you later. I want to reply with two words: big mistake.

Instead I say, write the best book you can. I say, you’ve got a lot of talent. I wish him well and I actually mean it. That said,  I ask if I may know the identity of the victorious agent so that I may take out my voodoo doll. Writer gamely tells me. Readers, I was so hoping for it to be an agent I loathe, which is sort of like looking for a haystack in a haystack. But alas, it was one of the smartest and loveliest agents in the biz.

I put my pins away.

You Talk Too Much You Never Shut Up

Dear Betsy:

At work yesterday, I flipped quickly through an advance reading copy of somebody’s upcoming memoir and noticed what looked like many pages of dialogue. It’s my guess that most of us don’t really remember conversations well enough to quote them at length (Boswell’s recollections of Dr. Johnson notwithstanding), so whenever I see extensive dialogue in a memoir I have to wonder whether it has been reconstructed and if so whether this is, on the whole, good or bad.

I suppose the answer is the old familiar “It depends.” Personally, I’m suspicious. And I have a personal reason for wondering: I’m writing the first draft of a memoir, with reference to journals, phone logs, and other documents, and in most situations I’m finding little more than a sentence or two I can conscionably quote. Am I too stuck on mere facts?

Sincerely, Name withheld

Dearest,

Why stop at the dialogue? Aren’t most memoirs from memory, and much of what we remember compromised at best? Who is to say whether the wall was burnished gold or piss yellow? Who is to say if he held me tight or let me go? If his eyes were blue grey or slate blue. Yes, I know how I felt, but how am I presenting those feelings to you? So you like me, have sympathy, so you’ll laugh, cry, so you’ll turn the frickin’ page? Where does feeling/memory stop and calcuation begin? I would say at conception.

You know what else? I don’t even care if dialogue is fabricated or embroidered; just please write good dialogue. Dialogue is such a beautiful thing as a tool to enhance, enliven, etc. your prose. But it’s not a toy. You have to know how to use it.

“Kyle, can I ask you something?”

“Yeah.”

“How many pills does it take to overdose?”

“I dunno, ” he said. “I didn’t exactly succeed.”

“Ballpark.”

Okay. There’s a snippet of dialogue from my ferschluggenah me-moir. Thoughts? Feelings? I kept extensive notebooks when I was hospitalized and believe the dialogue to be accurate — or as accurate as my notebooks were. Tonight, I don’t really care about truth. I want writing that commands all my attention. I think memoirs are true novels. In non-fiction, journalism, etc. I care a great deal about the truth and believe the less you embellish, the greater the truth you will find.

Now, that is enough of me. Except to say that when my mother read my memoir the first thing she said was that it was a pack of lies. I told her she was welcome to write her own pack of lies anytime she liked.


The Way I Feel When I’m In Your Hands

My office is starting to look like a maternity ward at the full moon; it feels like all my clients are delivering their pages at the same moment whether it’s a final manuscript, a draft, a chapter, a treatment, a partial. If I know one thing about writers it’s that they hate waiting to hear what people think. The minute they hit send, the bomb starts to tick. Lots of writers go right to the dark place, imagine the worst. Though some are confident, and when they hand you the pages they will tell you so. It makes me think of a small child proudly handing you a page from a coloring book, the crayon insanely outside the lines. Some go into free fall and pick at their own flesh. Some start shooting off revisions: Wait! Read this draft! or If you haven’t read yet! It’s the worst, like waiting for a guy to call after you’ve fucked him.

How do you handle it, the waiting? The horror.

That’s Where You’ll Find Me

Do you ever regret anything you’ve written, wish you hadn’t published it, or even just shared it with another person? Now that my daughter is a teen, I sometimes gulp hard to think of what she will think of me if she reads my memoir. I was quite cavalier when I wrote it. My motto: secrets did the most damage. It was the stuff under the carpet that kills. Now, the carpet’s looking mighty fine.

Please tell me about literary regrets. The more self-flagellating and recriminating the better.

Let’s Play Twister, Let’s Play Risk

If you want excellent advice on how to write a pitch letter, go to Nathan Bransford’s blog, or to Janet Reid’s check list, or Rachelle Gardener’s guidelines. OR, come, sit back, and watch me light myself on fire. I’m going to write a mock query letter for a project I’ve abandoned as a way to describe the kinds of things I look for in a letter.

Salutation: Dear FIRST AND LAST NAME. (I don’t like too familiar and I don’t like too formal.)

The one sentence pitch: I hope you might be interested in my memoir, The Potter’s Apprentice, which describes a year of pottery lessons between an octogenarian teacher and his last student: me.

Alternatives: I met you last year at Breadloaf where we spoke briefly about my project, The Potter’s Apprentice. OR, I am a great fan of your clients X and Y, and hope my work might be of interest to you. OR, I read your blog religiously and, perhaps magically, imagine that you might take to my work.

The body: It had been nearly thirty years since I studied pottery and I didn’t miss it. But one afternoon, down a quiet side street in New Haven’s East Rock neighborhood, a sign caught my eye: Pottery Lessons. What followed was a year of classes with a master potter, an 82 year old whose craft dazzled me. Between fending off his advances, listening to his tales of the Blitz and mutliple marriages, and letting myself put the blackberry down for two hours and take in the clay, the darling garden, and the wheezing of an old hound, an unlikely friendship developed between the old potter and me. The book is also a meditation on marriage, on love, and on clay. Done right, I hope it will appeal to readers of (we need two good examples here).

The bio: As for me, I received an MFA from Columbia. I was the recipient of (fill in the blanks). My writing has appeared in x,y,z. You can read more about me on my website xxxo.

Many thanks for your time,

Betsy Lerner

ADD PHONE AND EMAIL

Be brutal: would you request the manuscript if you were an agent? What worked for you and what didn’t? How could it be improved upon?

The Gods Must Be Crazy

I studied pottery throughout high school. Junior year, we had a teacher who started the term by asking us to make kiln gods to “protect and bless” our firings. These were, in effect, clay finger puppets. To show what I thought of the project and my eternal hipness, I created a little man giving the finger.

Since then, I have had a series of typewriter gods, little effigies that do absolutely nothing but protect and bless my keyboard. Among my totems: the smallest, peanut-sized Matryoshka doll, a white Porsche, a brass penguin, a polished stone, a pair of smiling strawberry salt & pepper shakers, and a purloined monkey covering his ears, from a set of three each the size of a walnut: see no evil, speak no evil, hear no evil.

Do you have any writing gods?

This Is Not My Beautiful Wife

Tomorrow, I am driving two hours to Wayne, NJ. Apparently, there is a class of writing students who have all read my book at William Patterson University. I am deeply flattered by this and felt I had to accept the invitation. I hope they know what they are getting into. I told my daughter about it and she asked the one and only relevant question: what was I going to wear. I’d write a better post if I had time, but I now have to ransack my closet in some pantomime of looking for something to wear. Anyway, I’ll let you know how it goes. Quick true or false: writers are generally crappy dressers.

This?

Or this?

Got Two Reasons Why I Cry Away Each Lonely Night

When I was in high school, I met a woman in my poetry class. We were from opposite ends of the earth, meaning she was an athlete and I was a deadhead. We discovered our shared love of poetry and entered into a clandestine friendship, exchanging our diaries and poems for each other to read. After graduate school, I would meet a prose writer with whom I formed an instant bond. We could say anything about each other’s work. Gloves off. Bring it on. Twenty-five years later, she is still the little bird on my shoulder, still my first reader. I remember reading in Joan Didion’s memoir, The Year of Magical Thinking, that it wasn’t until her husband pronounced a new work good that she believed it to be true. I was very touched by that and imagined his scotch going all watery while he paged through Play It As It Lays, while Joan basted a capon in the kitchen. I (I generally counsel against sharing new work with spouses or anyone you’re fucking or want to be fucking unless you’re under 25.)

Who is your first reader? To whom do you trust your first batch of pages or poems and why?

My Analyst Told Me

One of my writers once told me that she was seeing a psychiatrist who specialized in writer’s block. In hushed tones, she divulged the names of two fancy schmancy writers who were “cured.” I thought she should have head her examined, if you will.

More than a few writers have told me that they won’t go to therapy because they fear it will interfere with their creative process. This is a position I can’t understand. It may be because I’ve always felt that the “creative process” boiled down to two words: hard work. Who could mess with that?

I've always wanted to write a novel.

The big issue for me was always why I pursued my career in publishing from the moment I left graduate school until now, 25 years later. Most of my friends from my MFA program were taking jobs as waiters and bartenders to fund their writing. Some were traveling the world. I believe I was the only one who rolled on a pair of pantyhose the first Monday after graduation and showed up bright and early at Simon and Schuster. Editorial assistant Lerner, at your service!

I have some dark days when I wonder where I’d be if I put the energy I put into the authors into my own writing. But what I figured out (in therapy) is that I really thrive on my work, that the structure it provides is something I need. And that the actual work I do with writers, especially editing, gives me tremendous satisfaction. It’s a fantastic experience to commune with a writer on the page. For me, temperamentally, writing full time isn’t a good option. Did I need therapy to figure this out?

What say you? Any couch potatoes out there? Has it helped or hurt your writing?

Solid As a Rock

"Before"

I have a mortifying confession to make. I’ve been doing a boot camp course at my gym for the last month. The first day the instructor showed up wearing all camouflage. This did not bode well. I was sporting one of my literary t-shirts from my vast collection from writers’ conferences I’ve attended over the years. The first two sessions, I went completely white, felt as if I were going to throw up, and saw a wall of white light I choose not to call god.

On Saturday, our young man had us working out on the machines. When he helped me, I noticed him looking at my chest. Now, I know I’ve got a great rack, but it didn’t compute. Then, his eyes got bigger as he focussed in on the faint writing on my shirt: Breadloaf  Writers Conference. “Did you go to Breadloaf?” he asked, as if it were Oz. The punch line, of course, is that my boot camp trainer is an aspiring writer.

"After"

Normally, I groan upon making these discoveries. You can barely park your ass down on a plane without running into someone who thinks he’s the next Hemingway. I asked my trainer what he wanted to write about & I have to confess I loved his story. Being the consummate agent, I’ve negotiated a deal with my friend. We’ve set a goal of April 1 for me to lose ten pounds, for him to come up with twenty pages.

Does anyone want to get in on this action. Comment here on what you will accomplish by April 1 (pages or pounds) and we’ll all check back in. Gotta go finish my reps.