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Rachael Herron

(R.H. Herron)

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Rachael

I Found It

December 7, 2020

I have been looking for this beach for most of my adult life. 

Above Keller Beach. Photo by Mia Cotton Harlock

One of my most vivid memories as a child is being on the sand in a small sheltered cove. My dad was far out in the water in his styrofoam sailboat. I loved that boat, loved the way I could pick small pieces off with my fingers. (I know! But those little chunks of styrofoam were like bubble wrap to other people. I just couldn’t help myself.)

On this day on the beach—I only remember being there once—my sisters and my mother were on the sand. Mom had a thermos lid of coffee in one hand and the baby cradled in the other. Christy and I had digging tools and a desire to make the best sandcastle ever made, but so far all we had was a lump of wet sand and a brewing argument. 

Something happened with Dad’s boat as he tried to sail back into the cove. I don’t think what happened was related to any hole that I might have helped along with my seven-year-old fingers—at least I hope not. I imagine that the wind gusted from a surprising direction, or maybe a rogue wave hit him unawares.

His boat capsized.

I don’t remember hearing him yell, and I don’t remember my mother being visibly scared (even though she was terrified of being on the ocean in a boat). All I remember is a group of handsome young men rushing into the water and swimming out to him. Together they towed him and the boat in safely.

Even though something ostensibly scary had happened, I just remember it as exciting and fun. We didn’t often spend an afternoon playing on the sand, so in my mind, it’s a good memory, not a bad one. 

I’ve been living in the Bay Area for almost 25 years as an adult, looking for this beach. The beach was particular. Like I said, it was small, and I knew there was a view of a big island with just the top of the Golden Gate Bridge visible behind it. But I’d never been able to find it. 

It wasn’t until I read Bonnie Tsui’s book Why We Swim and interviewed her for my podcast, How Do You Write, that I learned about Keller Beach. We talked about open water swimming, which is something I’ve been doing during the pandemic. I thought I had googled every good place to swim nearby, but she mentioned Keller as her favorite place to swim.

Yesterday, I met my friend to swim there (safely socially distanced, of course). And it was the beach that had featured so strongly in my memory, the beach that walks into my dreams with often! Accessed from side roads that run off side roads, the only way you would know it was there was if a local told you. And, as it happened, it was just 10 minutes from where we lived as a kid.

Yesterday, the water was incredibly cold, the coldest water I’ve been in so far. Okay, it was 53 degrees, so it wasn’t glacier-cold, but still, even with a wetsuit, it was breathtakingly frigid. I forgot my goggles on the beach and I tried to swim anyway, keeping my eyes closed, but it turns out I’m very bad at that. Every time I put my head into the water, I got a persistent and very painful brain freeze—I thought I’d felt that from ice cream before, but it was no match for bay water. 

So instead of swimming hard, head down, my friend and I just bobbed and paddled and chatted, which was exactly what I needed. I didn’t feel seal-like and coordinated, the way I did the last time I swam at Aquatic Park in San Francisco, but it was more important just to be with a friend and connect. 

And from out there, looking in, I realized I’m now twelve years older than my father was when he capsized. The brawny young men who rushed into the water must have been just kids, teenagers. No matter what, it was a short swim to land, so the excitement and shouting and splashing must have been purely about saving the boat, not saving a person. (Which they did—the boat survived to be picked at some more though I don’t remember going out to watch him sail again.) 

My body was in the same place, forty-one years later. I walked on the same beach, a beach I’d almost given up looking for. I swam in the same water my father did. 

I’m not a person who looks back often. I don’t live in the past. I try to enjoy my memories, but I usually forget to remember them. But the rush of the memory of that day was as welcome as the heated seat in my car afterward. 

And I’m left wondering—what do our bodies leave behind? My whole self reacted as I walked onto the sand—a recognition. 

Will I feel that in New Zealand? Is there an ancestral piece of my soul that will open when we get there?

We’re planning on trying to find a place in Wellington, where my mother lived when she worked for the prime minister as a speechwriter. I have deliciously woo-woo thoughts about the fact that since women are born with all the ova they’ll ever have, I was there with her, in—well, not in utero, but in pre-utero (sometimes I get tangled up in my mind thinking about this maternal link. How far back does that connection go? If my mother’s gamete was inside my grandmother, and I was in my mother, was I also somehow inside my grandmother as she helped run the sheep farm in Methven? She was the biggest knitter I’ve ever known—the knitting gene skipped Mom and went straight to me. Was Grandma scared of the water? Is that where my mother got it from? Is the way I pine to be in water just a genetic twist on obsession?).

Yesterday, I found a memory, one I’d actively looked for for years. 

My goal is to make more of them, lots more, but with no capsized boats or daring rescues. I made one yesterday, kicking lazily through the icy water with Mia.

We may have gone into ultra-lockdown again today, but I’m so grateful I have this new memory. I’ll remember laughing with Mia in the same body of water that we floated my mother’s ashes in years ago, the same body of water that connects to New Zealand just on the other side of the Golden Gate. 

Posted by Rachael 1 Comment

You’re Already Ready!

December 4, 2020

Listen here:

So, what’s You’re Already Ready about? Well, it’s a book that’s being written, so that’s Thing One. That book is non-fiction, and it’s about how you – yes, you! – are already ready to do what you want most to do, whether that’s to start a new business, to learn to scuba dive, to write a novel, or to teach ballroom dancing.

Here’s the truth: you’re never going to feel confident enough to start. Ever.

You’re never going to feel like you’re ready to make the leap, no matter what you want to leap into.

And once you start? You’re never going to feel like you’re good enough to keep going.

Asking people to tell you that you’re ready? It’s going to feel good for the moment, and then you’ll go right back to not believing what they say or forgetting that you believed it for a moment.

So I’m not going to waste your time by encouraging you to believe you’re ready.

Instead, I’m going to remind you, over and over again, of one thing:

You don’t need to feel like you’re ready.

(The actual truth is that you already are. But you’ll never feel that way, so you can’t waste time worrying about it.)

You just do the thing. One tiny step at a time, you inch your way toward being the person you want to be.

Those tiny steps add up. If you live in New York and you walk a mile every day toward California, you’ll eventually end up there, even if it takes you almost seven years. (That’s one of the tricks, you know. Take the smallest steps you possibly can. Eventually, you crest a hill that you were scared of, and you start moving faster on the next downhill, even though you never meant to. But don’t worry about that now. A single step is all it takes at first.)

So, the book You’re Already Ready is about punching resistance right in the snoot. It’s about showing up and doing the work, even when you don’t think you can. Okay, especially when you don’t think you can.

But that’s not what the podcast is about, or at least, not entirely. There will be some of that good stuff as I work on the book. I’m going to be exploring what this all means for myself, and I’ll share it with you.

Even more, though, the podcast is an audio-diary – kind of a blog for the ears.

See, I’ve MISSED my blog. I started it eighteen years ago when I could only dream of being a full-time writer. In a very large part, it’s WHY I’m a full-time writer now. Putting my words out into the world was how I found out that I wouldn’t die if I did. That was way back in 2002, two years before blogs became mainstream, and yes, I do mention that as a point of pride.

My middle sister, Christy, told me about this thing called a Web Log, aka a blog. I told her I couldn’t imagine who’d want to read the thoughts of strangers online (she’s the same sister who told me about Nanowrimo, four years later — I’m very grateful to her and that she doesn’t mind when I tell her something is a bad idea that turns out to be the best idea ever. She was right about the Spice Girls, too.)

I just wrote about my life on the blog, and it turned out that yes, people did want to sit in my virtual armchair and chat with me about my stories (more than a million people a year, in Yarnagogo.com’s heyday). I made so many friends through ye olde blogge (maybe you?), and a ton of those friends and I are still connected.

This was still seven years before Facebook would catch on, when everyone got their own little platform from which to tell stories and secrets and conspiracy theories. Me, right around then, I defected to Twitter. That’s where I told my stories and tried to make people laugh or, just in general, tried to connect, always the thing that’s one of my highest priorities.

But sometimes it makes me sad, actually, that I’ve written almost 80,000 tweets on a platform I don’t own, and can’t easily scroll back through.

And eventually, all the attention I put into my blog waned, and then stopped altogether.

Since my first book was published in 2010, I’ve felt too busy making words for a living, and I let go of writing here as a creative outlet.

I really miss it.

I go back to posts every so often, just to read what life was like back then. I love reading about when Digit came home after walking to me for four months. I like to read about getting engaged to my wife, and about our wedding, and our second wedding, and our third wedding. I like to read about when she went on tour with her band in Europe. I like to read about when I fell in love with Clara, the first dog of my own. And when I got to quit the day job!

I’ve done almost no blogging since I quit, since 2016, when I became a full-time writer. A lot of that has to do with the fact that I’ve been really preoccupied with making sure I bring in a living that can keep our roof over our heads.

But I want to capture those moments, big and small, that make up my life. That show motion, and intent, and dreams. For the first six years of my blog, I wanted to write books but couldn’t. Then I did (love you forever, Nanowrimo). I kept doing it, and now I’m here, at another big crossroads in life.

We’re moving to New Zealand!

This is arguably a bigger move than changing careers, and it’s absolutely terrifying. We don’t know if we’re making the right decision.

But this is true:

We will never feel confident that this is the right choice.

We will never feel ready.

And this is also true: We’re already ready.

Except, of course, we are by no means ready in practical terms. I want to chronicle this journey here, reviving the blog and making the blog into an audio-diary of sorts, which you can follow on any of your favorite podcatchers.

And as I go, I really want to hear from you:

What are you going to do next? What are you not ready to do? What aren’t you certain about? What do you lack confidence in?

Take a step toward it. Tell me about it? (Subscribe here to be kept apprised of The Big Stuff! I read and respond to all of my emails, even though it might take me a little while.)

I’m so glad you’re here. Let’s leap into something new, together.

Posted by Rachael 6 Comments

My Wife Just Wants to Be Warm

December 3, 2020

Lala and I are starting to get a little bit more freaked out about this planned move to New Zealand.

Last night we sat at the dinner table and looked at each other with very big eyes.

“I’m just nervous,” she said.

“Me too.” I’m nervous about so many things, number one being that we’ll regret going so far away from our loved ones. “What are you nervous about?”

She said, “That I’m going to be cold.”

This is something we’ve been mildly squabbling about for months. Legend has it that Kiwis don’t know and don’t care what insulation is in houses. This actually explains SO MUCH about the house where I lived during high school and undergrad, the house where my dad still lives. It has no heat except for the fireplace in the living room. Yes, it’s California. And yes, it still freezes in the winter. My mom never tripped on it, and therefore, we really didn’t, either. We just bundled up and spent a lot of time reading under the covers.

Lala and I recently watched a home improvement show set in New Zealand called Creative Living, and the house they restored had no insulation at all. As in, they ripped out the drywall, and the beams behind it were naked and shivering.

Me, I like a bit of a draft. I like it when my feet are cold. When I sleep, I like the room to be as cold as humanly possible, and I still keep the fan directed right at me, year-round.

I’m also of the belief that being cold is empirically better than being hot. After all, you can always put on a sweater. You can always do some jumping jacks to move the blood if you’ve been sitting a while. You can always put on some wool socks that your wife made you out of your collection of many wool socks that your wife has made you.

[Image: ice floe, water, with steam in background. Text: My wife just wants to be warm, and I’m trying to help for once.]

So I can admit that I haven’t been as receptive to Lala’s worry as I could have been. It’s a human thing to do, to assume that everyone else feels approximately the same way that you do. If they don’t, there must be something wrong with them, because it certainly couldn’t be you. Very honestly, this is something I’ve been working on a lot in the last few years. Humans are selfish beings, and I don’t begrudge them that. We’re all trying to avoid suffering and achieve equanimity, if not outright happiness.

But when you finally realize that your wife hasn’t just been grumbling but is actually frightened — when you realize that, it’s time to make a change. When she was a kid, her mom used to find her sleeping on top of the heat vent. She needs heat just the same I need coolth (which is so a word).

So for the last three days, I’ve been practicing. I’ve been heating the house way past what I’m comfortable with. I spend most of my waking hours in my office, and if I close my door and cover the heating vent with a collection of blankets and pillows, I can keep my office cool as the side of a refrigerator while the rest of the house shimmers like a desert road in the sun.

Lala, when she realized the house was finally warm enough for her, admitted she thought I might be being passive-aggressive. I will point out I am not above being this on a bad day. But in this case, I wasn’t. I really want to reassure her.

So last night as we talked again about her fear of being cold, I said, very seriously, “We will not let that happen. If we have to buy three space heaters and sit you in the middle of them for the whole of winter, we’ll do that. Haven’t you noticed how I’ve been keeping you warm lately?”

She exclaimed, “You’ve been doing that for one day!”

“Two days,” I corrected her.

She grimaced.

Today makes three days.

Here’s the thing, we both want to go to New Zealand. We both think it’s a good idea. So many people want to go, but we’re actually able to.

And the fears we are feeling are big and real, and what I have to remember is every time I downplay one of her fears, I’m not listening to the person I choose to spend my life with, not listening to the person I’m in love with. And that’s not okay.

So!

I now plunge into a new winter in Oakland, where I will wear a tank top and shorts inside the main part of the house in order to reassure Lala that she never has to be cold again.

We won’t rent a house in New Zealand until we get them to demonstrate the heat pump to us, whatever a heat pump is. We’ve googled, and we still have no clue. It certainly sounds colder than the forced heat we have. A heat pump sounds like the suggestion of heat. Our forced heat is just that — a wild surge of hot air that has similarities to what I’m full of sometimes.

In the meantime, I’ll just keep the desk fan pointed right at me. As usual.

Posted by Rachael 3 Comments

Ep. 203: Alexis Henderson on How To Write Books, Not Just Beginnings

October 20, 2020

Alexis Henderson is a speculative fiction writer with a penchant for dark fantasy, witchcraft, and cosmic horror. Her debut novel is The Year of the Witching. She grew up in one of America’s most haunted cities, Savannah, Georgia, which instilled in her a life-long love of ghost stories. Currently, Alexis resides in the sun-soaked marshland of Charleston, South Carolina.

How Do You Write Podcast: Explore the processes of working writers with bestselling author Rachael Herron. Want tips on how to write the book you long to finish? Here you’ll gain insight from other writers on how to get in the chair, tricks to stay in it, and inspiration to get your own words flowing. 

Join Rachael’s Slack channel, Onward Writers.

Transcript

Rachael Herron: [00:00:00] Welcome to “How do you Write?” I’m your host, Rachael Herron. On this podcast, I talk to authors about how they write, what their process is and how their lives fit together. I’ll keep each episode short so you can get back to writing.

[00:00:15] Well, Hello writers! Welcome to episode #203 of “How do you Write?” I’m Rachael Herron. Thrilled that you are here with me today as I talk to Alexis Henderson. I have had the great, good fortunate recently of speaking to a lot of people in, there’s more interviews coming up. For some reason, I have a bumper crop right now, and there are episodes waiting in the wings which does not excuse the fact that this podcast is now by like 11 hours late. It’s okay. It’s my podcast. It’s alright that I 100% forgot to do it last night because I was so tired and, but I didn’t finish my thought, which was that I have been talking to some people who have written some books that I have a really loved that is not a requirement to come on the show. In fact, I do not have time to read all the books of everyone who comes on the show. However, Alexis Henderson blew me away with her book and it was a really wonderful to talk to her about something so creepy and dark and beautifully lyrically written as her book, The Year of the Witching. So I know that you will enjoy that. That is coming up.

[00:01:23] What is going on around here? What is not going on around here. In the bad news, our sweet dog, Clementine, who is older, she appears to be very sick and we were waiting for some biopsy results. However, they don’t look good. And, we are battling a lot of sadness because this will be the second of three dogs that we will have lost in mf-ing 2020. Speaking of mf-ing 2020, Trump has coronavirus. So there are silver linings. Oh my gosh. I know I lose followers and listeners every time I say things like that, and I don’t care. I have this texting service through Patreon, where if you support me at the $3 and up level, I send you encouraging texts to do your work, to be creative, to live life fully and this last week to vote. Just reminding you to vote and to encourage other people to vote. And oh my goodness. Somebody got so mad at me for saying something political. I honestly do not think saying that you should vote if you are in America and have the ability to do so is political. I wasn’t saying who to vote for, although everybody knows who I think you should vote for and it isn’t Trump. So yes, we let those patrons go. We let those listeners go. I really, truly believe that as writers, I’m being really serious all of a sudden. As writers, we must be political. That is our job. We have a skill set that most people do not have. We get to use our language, our words to help convince people of what we believe is the right thing to do- Waylon wails and agrees with me.

[00:03:16] Okay. Now I’m wearing the baby sling that I bought for the cat, which you cannot see on camera, but he’s on my lap. You might hear him purring. I think the purring is probably preferable to that wailing that he does. So, yeah. So that’s all I need to say about that. You already know that you have a skill given to you that you can use. I was phone banking last week for the first time ever. Wrote a Patreon essay about it and about calling blindly people to talk to them about how they’re feeling about this year was one of the scariest and most difficult and rewarding things that I have maybe ever done. So I have signed up to do it again, and we were not cold calling lists of Democrats. We were cold calling this of everyone. So it was, it was really fabulous to talk to people and I get to do that because I understand how language works. I’m much better on the page talking extemporaneously is not one of my skills, although I practice it a lot on this podcast. But I do know that skill with words is one of my super powers so I must use it. You must use, you must use it in your way. That is enough about that. In other news, I think we might be moving to New Zealand for real. Not just because of politics, not just because of our worries about an upcoming civil war or, but honestly, because I’m 48, Lala’s 52. We can move to New Zealand. We have the right to. We actually are allowed to enter right now. However, we do have to do the mandatory isolation, which is it’ll be about $4,000 for both of us to spend two weeks in a hotel room, not leaving. They bring you your food and your snacks and things like that.

[00:05:04] So, that sounds nightmarish. But, actually maybe getting out of the country for a while and trying something else, all politics aside, why wouldn’t we? Okay. Here’s why we wouldn’t because we’re comfortable because we are in this house because I finally have a flower garden that is gorgeous. Lala’s desk, she finally got it in exactly the right position for her to be able to work and to do her art. All our friends and family are here. We have a house full of stuff that we would have to do something with. None of it is easy, but I don’t know something about being in quarantine for so long has made me miss that, that feeling of challenge, that feeling of being pushed outside one’s comfort zone. And that I’m saying from a really, really great position of privilege. And I know that, my job is still paying me. Lala’s job is still paying her. We have the privilege to be able to say that and there are so many millions of people in this country on its own right now that are not comfortable, that have been forced into untenable situations. So I remain very grateful to where we are, but yeah. So right now we’re thinking about New Zealand. We’re thinking about just going and trying out different cities till we find a place where we would like to rent. So I don’t know how long that will take, but we’re working also on all sorts of paperwork requirements now and I’m having fun with that. So there might, or might not be a podcast coming out about making these decisions to move and the move. Don’t know. We are recording our conversations just so, we can, if we want to put one of those together or there’ll be helpful to me if I want to write about it. So that’s, what’s going in our world, kind of big things.  Writing-wise, I just wrote my Patreon this week. I haven’t been doing much of anything else, playing with a new book and revising. You’re already ready a little bit, but otherwise kind of, kind of going slowly and that’s okay. So wherever you are right now, whatever you are doing, whether it is comfortable or uncomfortable, I hope that you are getting some of your own writing done. I hope that you are taking things like screaming kitties and making them into a lap full of a love just by buying a baby sling. Going off on a tangent, let’s jump into the interview with Alexis. You are going to love it. Enjoy and happy writing my friends. 

[00:07:36] Do you wonder why you’re not getting your creative work done? Do you make a plan to write and then fail to follow through? Again? Well, my sweet friend, maybe you’d get a lot out of my Patreon. Each month, I write an essay on living your creative life as a creative person, which is way different than living as a person who’ve been just Netflix 20 hours a week and I have lived both of those ways, so I know. You can get each essay and access to the whole back catalog of them for just a dollar a month. Which is an amount that really truly helps support me at this here writing desk. If you pledge the $3 level, you’ll get motivating texts for me that you can respond to. And if you pledge at the $5 a month level, you get to ask me questions about your creative life, that I’ll answer in the mini episodes. So basically I’m your mini coach. Go to patreon.com/Rachael (R A C H A E L) to get these perks and more and thank you so much.

Rachael Herron: [00:08:36] Well, I could not be more pleased today to welcome to the show. Alexis Henderson. Hello Alexis!

Alexis Henderson: [00:08:43] Hello. Thank you for having me, I’m so excited to be here.

Rachael Herron: [00:08:45] I, I am the one who is thrilled because I loved your book. I absolutely love it’s called “The Year of the Witching” and it was just, it was everything I want from like a dark, what’d you call it like a grim dark fantasy? What is the genre? You tell me what it is.

Alexis Henderson: [00:09:04] I say dark fantasy/horror because I can’t make up my mind and I think it kind of sits neatly between the two. 

Rachael Herron: [00:09:10] It really does. It just ticked all of my boxes. I just loved it. Okay. Let me give you a little bio for people who don’t know you. Alexis Henderson is a speculative fiction writer, that fits right there, with a penchant for dark fantasy, witchcraft, and cosmic horror. Her debut novel is The Year of the Witching. She grew up in one of America’s most haunted cities, Savannah, Georgia, which instilled in her a life-long love of ghost stories. Currently, Alexis resides in the sun-soaked marshland of Charleston, South Carolina, all places that I’ve always wanted to go. So this is your debut, congratulations.

Alexis Henderson: [00:09:44] Thank you so much. Thank you! 

Rachael Herron: [00:09:46] How has it been having the book out there? 

Alexis Henderson: [00:09:50] It is, it is mind blowing and challenging and interesting and wonderful. And I, I feel like just honored to have been on this journey. I mean, it’s been a weird year to debut because of this pandemic. But I think in some ways I’m weirdly grateful because I think that my experience is like, so unlike the average debut experience. I’ve met, like a lot of people, friends and stuff through these virtual events and these amazing opportunities and it’s been great to see the way the community has come together to support other debuts like me during this difficult time. So, yeah. 

Rachael Herron: [00:10:26] I’m so glad. Are you with, are you with Penguin? 

Alexis Henderson: [00:10:29] I am. Penguin random. My imprint is ace. 

Rachael Herron: [00:10:32] Okay. I’m with Dutton over there. And I think that’s how we were originally connected because some of their publicists send me those books. And, and I was, it was one of those things where I, I normally, if I get the book ahead time before I talked to somebody on my podcast, I tend to skim it. But yours was impossible to skim. I like read the first couple of pages I’m like, well, there goes my weekend. So it was, it was one of those. It was just beautiful, scary, sexy the whole, the whole swamp. Oh, everything, everything, everything. The forest, I loved every part of it. So thank you for being here. And I would love to talk to you about your process for writing, because that’s what this show is really all about. How, what does your life look like right now? How do you fit the writing in, especially like with pandemic days? What does that, how did that work for you? 

Alexis Henderson: [00:11:24] So at the moment I’m, I’m writing like full time, just kind of focusing on this. 

Rachael Herron: [00:11:28] Awesome.

Alexis Henderson: [00:11:29] I was fortunate in that before I was an author, I was like English teacher. So I taught English as a second language remotely. So I’ve always kind of had to like fall back on if necessary and there are certainly times when I did both, but it allowed me to control my own schedule. So right now I’m just kind of only writing and it’s been, it’s been really interesting. So, I was homeschooled from the first grade, all the way up to my senior year of high school. So I’m very used to kind of setting my own schedule and working and doing school from home. So I think that that piece comes naturally to me. The piece that doesn’t is dealing with a global pandemic and trying to focus on writing a book. That’s, that’s the learning curve for me at the moment. So it becomes a game of trying to block things out, but let enough in to where I don’t feel disconnected or ill-informed. So it’s kind of like where I am with the writing and at the moment I’m focusing on I’m writing the sequel to the Year of The Witching.

Rachael Herron: [00:12:26] I’m so glad. I was really hoping you were going to say that. 

Alexis Henderson: [00:12:30] Yeah. It’s been exciting. And I, I was telling someone, I was like, I realized I don’t actually know how to write a sequel. So it’s interesting to kind of teach yourself the ropes. I’ve never written a sequel before, so it’s interesting to sort of teach myself, like this is how you write a sequel as I’m trying to write a sequel. 

Rachael Herron: [00:12:45] It was one of the hardest things I ever did because I sold a Stand Alone was my first book and they asked me for a sequel, but I hadn’t written the book with that in mind. And I also didn’t really know how to write a book. I don’t even know how I’d written the first book. So, so it was that, that book too can be challenging. Yeah. How, is it fun or?

Alexis Henderson: [00:13:07] It is fun. It’s fun. In a way, it feels like returning homes and then there’s so much world-building and like character development that I feel like don’t have to do because the foundation is there. And so I’ve never had a writing experience really, where I haven’t had to build everything from the bottom up. And so to have that freedom to just kind of take the characters in this journey and not have to worry about establishing them as much is wonderful and I can feel, I feel a little bit unleashed. Like I can just do whatever I want and that’s great. But it’s also course daunting, you know, trying to follow up my first book and, you know, wanting to fulfill the promises that I made in that book and the second it’s, yeah, I hope I can do it justice. 

Rachael Herron: [00:13:44] Oh, I am sure. I’m sure that you can. What do your days look like? How much time do you spend on the writing? How much time do you spend on the business? 

Alexis Henderson: [00:13:52] You know, it varies day to day. This year I’ve had a lot of promo. And I think that is oftentimes because like so many of the events that, wouldn’t be available to me because they required a lot of travel. Like, you know, they’re all virtual now, so there’s really no way to say no that all these amazing events and panels and I want to do them all and I do. 

Rachael Herron: [00:14:11] Yeah, good point. 

Alexis Henderson: [00:14:13] Yeah. So because of that, my, my schedule, I think, has been more busy than maybe what have been in, in, in the business aspect. So, yeah, I, I, normally I wake up, I am thinking about the writing first and foremost in what I want to accomplish that day. But normally my approach is to try to get all of my emails out and kind of like, before I took my social media hiatus, I would try to like, you know, check on my notifications and DMS and all of that. And then I would get to the writing once I felt like that was kind of designated box.  But now that I know I’m on a tighter deadline, that’s kind of reversed. So it’s like writing and a little bit of like answering emails, social media, my response times have gotten longer because of that and then more writing and just kind of trying to fit things in around the writing. Because at the end of the day, that is the most important and I feel like, after I published the book, it was just kind of like I had to readjust and remember that like my primary job and my primary focus should be the writing. And so you kind of shifting from the promo and the business side, back to my writing or my roots, has been good for me, I think.

Rachael Herron: [00:15:17] Oh, I love that. And at the end of the day, are we going to be proud of the emails we sent or the books that we wrote. So 

Alexis Henderson: [00:15:24] That’s so true. I, I should write that up. 

Rachael Herron: [00:15:28] It’s something that I’m, I’m constantly thinking of. I’m constantly like you should, you know, you should be writing that, not doing your email. What is your biggest challenge when it comes to writing? 

Alexis Henderson: [00:15:38] God, there’s so many, it’s so hard to choose from. You know, I think that characters are a real challenge, 

Rachael Herron: [00:15:45] That does not show in your writing. Your characters are so full and rich. Amazing

Alexis Henderson: [00:15:49] Thank you so much hard, hard fought. I feel like a lot of revisions, I think go into just kind of making them feel that like as fleshed out as possible, or at least as fleshed out as they do in my head, because it’s amazing how much you can lose when you’re like going from your head, putting it on the page. And so maybe I would say that’s also one of my biggest challenges is taking everything up here, which feels so fully formed and making that translated because I often find that there’s like this dissonance between the two or disconnect. And so making sure that what’s in my head is present in the book is like a constant struggle. And it’s like trial and error. 

Rachael Herron: [00:16:24] It’s one of those things that, yeah, editors are so good at. Cause they’re the ones who pointed out to us. Cause we don’t know. We think that we have presented our brain onto the page and it’s just not there. 

Alexis Henderson: [00:16:33] It’s so, so true. Thank God for them, because I don’t know what I would do, but didn’t have someone to, like you say, like, this is not coming together. Please fix this. It’s just, just the best thing ever. 

Rachael Herron: [00:16:44] Editors are the best. Who is your editor? I’ve been with a couple of editors

Alexis Henderson: [00:16:47] So Jessica Wayne and she’s so smart, she’s so smart. And she has such a keen editorial eye, but I think that, I aspire to give edits the way she does, because she’s just, she’s so clear in her direction, but she’s also just a genuinely kind person. So I never feel like hurt or attacked by any of her edits to mention explains things so well. Yeah, she’s great. And her ideas and her suggestions are also really, really great. So I feel like I’m in good hands with her 

Rachael Herron: [00:17:14] I feel like as writers that’s where we learn the most is being edited. 

Alexis Henderson: [00:17:18] Yeah, for sure. Definitely. 

Rachael Herron: [00:17:20] What is your biggest joy when it comes to writing? 

Alexis Henderson: [00:17:24] I like that stage it’s- it’s, this is a little kind of cheating because it occurs right before I start writing. And it’s when I get this idea and I become obsessed with it and I’m making Pinterest boards and playlist, and I’m dreaming about the characters and I’m writing like plot outlines on my napkins at like restaurants. Like that’s my favorite part. I sometimes I feel like I wait, sometimes it takes years between ideas that grab me like that. And when they do, it’s just like a drop everything. It feels like falling in love almost like it’s so fast. And I just, that’s what I love and I feel like I’m always chasing that feeling and it comes and goes, I always love writing, but that specific feeling comes and goes, but I feel like once you felt at once, it’s almost like addicting. Like it’s just, yeah. 

Rachael Herron: [00:18:13] Yes! That’s the way I’m thinking of it, when you’re speaking of it, it’s that, it’s that high that we get when we’re on it. And we’re always trying to get it again.

Alexis Henderson: [00:18:20] So, yeah. 

Rachael Herron: [00:18:21] Oh, and then the problem is of course, when you’re in the middle of the book and you’re like, I would rather write a recipe book right now, you know, any, anything else.

Alexis Henderson: [00:18:30] A math textbook, really anything, 

Rachael Herron: [00:18:36] Very bad idea for me. Can you share a craft tip of any sort with us? 

Alexis Henderson: [00:18:41] Yeah. The one that made the most difference for me, must finish what you start. I don’t remember where I first heard it. 

Rachael Herron: [00:18:48] Yes

Alexis Henderson: [00:18:49] Yeah. I told him, he told to me, and I think it’s so important to break yourself of that habit that a lot of new writers fall into, which is where you start a project. It gets hard, like you just mentioned, and then you abandon it for the shiny new thing. And it’s a vicious cycle I can go on and on and on. 

Rachael Herron: [00:19:04] It can last for life

Alexis Henderson: [00:19:05] So when I started, yes, and I’ve seen that like writers who’ve spent a decade or more just kind of abandoning projects. Like I, I started kind of falling people like writers since community when I was pretty young. I think it was like around 13 when I first developed my obsession with theory shark, and, you know, I would see people who are just for literally years, we’re kind of like your start and restart projects. And I was one of them for a long time. But I think that when I was purposeful about the projects that I started, and then it was purposeful about finishing them kind of making this like unspoken contract with myself that every book that I started, I, actually, it wasn’t even unspoken. I told myself if you get 30,000, it was 10, 10 or 30,000 words within a book, to into the book, you have to finish it. You have to give it an ending because if you don’t finish the books that you start, you don’t actually know how to write books, you know how to write beginnings. So 

Rachael Herron: [00:19:57] Yes, yes

Alexis Henderson: [00:19:58] That’s, that’s when I think my writing process sort of changed a lot and I grew so much from just learning how to put endings on things.

Rachael Herron: [00:20:08] Well, I was wait, so 2006, I was 34 before I ended a book and I had a master’s in this and I still just didn’t know how to finish a book. So the fact that you’re doing this earlier than you, how- do you mind if I ask you how old you are? 

Alexis Henderson: [00:20:22] No, no, no. I’m 24. I’m still 24

Rachael Herron: [00:20:26] Amazing! Like the, the fact that, you know that finishing is like this magic potion is everything that is so freaking cool. What thing in your life affects your writing in a surprising way? 

Alexis Henderson: [00:20:44] Oh, that’s a good question. Music, I can’t, I can’t start writing a book until I have the playlist. Right. I mean, I spent months trying to get the sound, the sound of the book right before I started, because if that doesn’t fall into place, I just don’t know what the narrator’s voice feels like or how 

Rachael Herron: [00:21:02] Interesting. 

Alexis Henderson: [00:21:03] Yeah. So music is a big thing for me, but also, what kind of tea I’m drinking. Like I’m hard pressed to be able to get anything done. If I don’t have like a good cup of tea and a good coat, it’s like the right to cover tea emotionally for me in that moment, sometimes it’s Green Jasmine, sometimes it’s a black tea, a little bit of almond milk, whatever it is I just need. Yeah. 

Rachael Herron: [00:21:24] Okay. So I want to, I have so many questions about these kinds of things. Cause these are the processing’s that I love. So if you’re drinking the black tea with almond milk, say, is that going to last for the book or is it just on a day to day kind of basis? 

Alexis Henderson: [00:21:39] I think that normally with each book I have like three teas’, that are just the teas that I have to drink during that book. So I remember a book I wrote a few years ago, not The Year of the Witching, but I really got hooked on this gunpowder green tea had this like 

Rachael Herron: [00:21:53] I love the gunpowder

Alexis Henderson: [00:21:54] it too, so good. And the book was about well, one of the major themes in the book was fire and smoke and ruin. And I don’t think it’s any coincidence that I got fixated on this gunpowder, smoky gunpowder green tea at the time I was writing that. So I do think that, you know, from the music to the tea, sometimes I bring candles or incense. All of it is helping me kind of ground myself in the story. And I think that in books, I put so much of myself into the story, but sometimes I just want like, little details from the story to be present in my life too. And I think that the music and the tea is kind of a way of me like bringing the story into my like physical products. 

Rachael Herron: [00:22:32] What a gorgeous way to say that. And I’ve had the experience of like every once in a while, out in the real world- world running into one of the songs, it was a major pivotal part of my soundtrack. And I have been known to burst into tears because that was the scene where Robin died, you know, I love that. So your, so your playlist, are you, where are you making this on Spotify or Pandora? Or?

Alexis Henderson: [00:22:51] I’m using Apple music 

Rachael Herron: [00:22:52] Apple music

Alexis Henderson: [00:22:54] Yeah. 

Rachael Herron: [00:22:55] And how long is your playlist?

Alexis Henderson: [00:22:57] Hundreds of songs, hundreds of songs. I, I will kill hours looking through like the classical music or my actual favorite section to dig through is movie scores 

Rachael Herron: [00:23:08] Yes

Alexis Henderson: [00:23:09] And so I will look at Apple all the new releases I’ll look at what’s on sale. I kind of just sort of like add to my collection, my ever growing collection of movie soundtracks. 

Rachael Herron: [00:23:19] Is it mostly worthless or?

Alexis Henderson: [00:23:23] Mostly with a few exceptions. So I think my biggest exception is probably Florence New Machine I’ve listened to for years. I love her music. She’s just so talented and brilliant. But for the most part, I try not to listen to too many songs with words, because I have this weird thing where like a, hear a word, a song or a phrase, and like the words for that phrase will appear in my book. Like if it mentions wind, I’ll have wind 17 times on one page. So I, I’m susceptible to like, cause like Osmos. 

Rachael Herron: [00:23:55] The suggestions. Yeah. 

Alexis Henderson: [00:23:56] So yeah. I try to avoid listening to like Beyonce too much when I’m like writing all with lemonade here, like rearranged in my book. So, 

Rachael Herron: [00:24:08] You know that would not be a bad thing at all. So maybe not a particular book. Right. What is the best book that you’ve read recently? And why did you love it? 

Alexis Henderson: [00:24:18] I have here The Scapegracers by Hannah Abigail Clarke 

Rachael Herron: [00:24:23] Gorgeous cover. 

Alexis Henderson: [00:24:24] Yeah it’s a thriller fantasy, and you look at them like the shine on it, it’s so beautiful. I can’t stop looking at it. And it has the rest of it kinda has this like nice, it’s like almost matte feeling. It’s a really, really great book. It’s a, I would say like a dark contemporary white fantasy. It’s very witchy. And I would pitch it as the craft with the voice of getting in the ninth. It’s quite good. It just came out, I think two or three days ago and Hannah is great and they wrote an amazing book. So, 

Rachael Herron: [00:24:56] That sounds amazing. I want to, I’m putting that on my TBR pile now. Oh, that’s so, so, so you love the witchy stuff as do I, I’ve got like four tarot card, tarot decks right here. How, how much does that inform the craft of your writing? 

Alexis Henderson: [00:25:15] You know, I think I, I’m just so inspired, I think by like the imagery of all these witchy things and like the vibes and the feeling. So structurally, I think I always knew that I wanted to experiment with something that was kind of opposed to systems of power that are kind of in control in our world. And I felt like at which you quote things, you’re just kind of like a natural rival to that. And it’s very much kind of like. I think representative of like the underdog, but people, also people who traditionally don’t have a lot of a power claiming it for themselves by like new means through the occult. So yeah, I think that’s something that be probably stick with me in the stories that I write for, I hope years to come, because I think there’s so many different ways to approach that. And I was excited to do The Year of the Witching, but I’m also kind of up for the challenge of exploring that more, and seeing how else I can like manifest those themes in different stories and different worlds. 

Rachael Herron: [00:26:10] I would like to subscribe to your newsletter immediately so I can stay abreast of all of these things that you are going to come up with. That is amazing. I’ve just lost my notes here. Oh, well easily. What would you, you know what, tell us where we can find you online, but I would also, could you give us like a little bit of an elevator pitch to get people into The Year of the Witching.

Alexis Henderson: [00:26:30] Yeah. So, The Year of the Witching here is a dark fantasy novel, I know she’s so pretty, so dark fantasy/horror novel about a young girl named Immanuel, who, is a shepherdess and she lives in a very rigid puritanical society that’s ruled by a prophet who is pretty close to all powerful. And one day Immanuel enters the forbidden woods that surround her home and there she encounters spirits of four dead witches and they reveal dark secrets about her own past and the church. So it is, 

Rachael Herron: [00:27:03] her my mother, I love a mother-daughter story also, I’m a big knitter, spinner person. So you got all the fiber details right too. 

Alexis Henderson: [00:27:12] Thank you. I did research, I only crochet and I’m not great at it, but I did research. I would love to be able to do more.

Rachael Herron: [00:27:20] I’m very, I’m very critical, especially when it comes to like the wool and you’ve got it. You just nailed it. So 

Alexis Henderson: [00:27:25] Thank you! Thank you. Oh my gosh. It’s just like, I think one of my favorite compliments I’ve ever received because no one has picked up on it from the research I did. I’m like, yes, that four hours spent researching textiles was well spent, thank you. 

Rachael Herron: [00:27:39] Oh my gosh. That’s amazing. Okay. So where can we find you online? Where do you prefer to be found?

Alexis Henderson: [00:27:43] I’m on Twitter @alexhwrites and Instagram is LexisH, and then I have a website, alexishenderson and you can subscribe to the newsletter that I haven’t written yet, but you can subscribe to it there. I will release a newsletter eventually. 

Rachael Herron: [00:28:01] Good. Just as long as you have a place to capture these people. Yeah. Can I ask just not on the list of questions, but the, your incredible cover. Did they do a photo shoot for you or is that like an amazing stock photo? They found somewhere?

Alexis Henderson: [00:28:13] This is a photo shoot. Yeah. So do I think her name is Eve is actually a really close to Immanuel’s age and I think that she’s just such a beautiful embodiment of that character. So this is a photo shoot, and then Katie Anderson did some like

Rachael Herron: [00:28:31] Manipulation 

Alexis Henderson: [00:28:32] Yeah, and some work to make it look like this. So 

Rachael Herron: [00:28:34] it’s perfect. 

Alexis Henderson: [00:28:36] I think so too. I love, I love, love, love this cover. So 

Rachael Herron: [00:28:40] I’m so glad we got a chance to talk Alexis. I am so looking forward to following your future progress up into the skies because I, I just love your book. I can’t, I can’t make that more clear. So thank you for being on the show!

Alexis Henderson: [00:28:53] Thank you for taking the time to talk to me. I really appreciate it. I had a great time. 

Thanks so much for joining me on this episode of “How do you Write?” You can reach me on Twitter, twitter.com/RachaelHerron, or at my website, www.rachaelherron.com, you can also support me on Patreon and get essays on living your creative life for as little as a buck an essay at www.patreon.com/rachael spelled R, A, C, H, A, E, L and do sign up for my free weekly newsletter of encouragement to writers rachaelherron.com/write/

Now, go to your desk and create your own process and get to writing my friends.

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Ep. 202: Anjanette Delgado on the Magic of Preproduction in Novel Writing

October 20, 2020

Anjanette Delgado is a Puerto Rican writer and journalist. She is the author of The Heartbreak Pill (Simon and Schuster, 2008), 2009 winner of the Latino International Book Award, and of The Clairvoyant of Calle Ocho (Kensington Publishing & Penguin Random House, 2014). Her work has appeared in numerous anthologies, as well as in The Kenyon Review, Pleiades, Vogue, The New York Times (“Modern Love”), The Hong Kong Review, NPR, and HBO, among others. A Bread Loaf Conference alumni, she won an Emmy Award for feature writing in 1994, served as a judge for the Flannery O’Connor Short Fiction Award in 2015, and was a Peter Taylor Fellow in Fiction in 2016. Her short story “Lucky” was nominated for a 2020 Pushcart Prize, she holds an MFA in Creative Writing from Florida International University, and lives in Miami, Florida. 

Anjanette in Modern Love.

How Do You Write Podcast: Explore the processes of working writers with bestselling author Rachael Herron. Want tips on how to write the book you long to finish? Here you’ll gain insight from other writers on how to get in the chair, tricks to stay in it, and inspiration to get your own words flowing. 

Join Rachael’s Slack channel, Onward Writers.

Transcript

Rachael Herron: [00:00:00] Rachael Herron: [00:00:00] Welcome to “How do you Write?” I’m your host, Rachael Herron. On this podcast, I talk to authors about how they write, what their process is and how their lives fit together. I’ll keep each episode short so you can get back to writing.

[00:00:15] Well, Hello writers! Welcome to episode #202 of “How do you Write?” I’m Rachael Herron. Thank you for all your sweet emails and comments lately. Yes, I have been having the best guests. Haven’t I? Becca Sime, Ed Giordano. And today we have Anjanette Delgado who you are really going to enjoy listening to. She tells us a little bit about the magic of pre-production when it comes to writing novels. Also, she wanted to let me know that she forgot to say something and she really wanted to point it out that she loves working in Granthika, which is the program that Vikram Chandra was talking about a few episodes back. So I wanted to make sure that we got in that plug for Vikram’s program, Granthika. In case you haven’t checked it out, there’s a free version you can try. So you’re going to love listening to Anjanette. She’s one of those people that I ended up hanging out with just hoping that we would go on being friends, which is, really not a bad reason to do a podcast, I have to tell you. 

[00:01:12] So a little bit of catch up around here. Honestly, I don’t have much writing catch up to catch you up on. I have been just kind of punching away at the memoir, trying to get it into some shape, struggling with this revision and a little bit more of a struggle than I expected, which is fine. I am up to the task, but I have been really distracted. There’s not much going on, only fall of democracy as we know it. Lala and I have been very preoccupied about again, thinking about moving out of this country. There’s always been the thing that has told us don’t go, you can’t give up. People, I’m ready to give up. I really, I really am. We’re looking into New Zealand because we can go there since I have citizenship. However, they have a very expensive quarantine, it’s two weeks and $3,000 each, which is great. I mean, they’re keeping COVID out of the nation. That’s fantastic because they are clear of it. But that’s, that’s a little costly plus, you know, importing dogs. And so we’re looking at other places too. I don’t know if you are feeling a little beaten up by news. If you are American, I feel you and I also ache for you. So please know that I am with you there. The indictment of just the one officer in the killing of Brianna Taylor has me just beyond furious and it’s very difficult. 

[00:02:45] It’s difficult to wrestle with all of this and get our work done, our writing done and get our jobs done, if we have another job and watch the kids, if we have kids and take care of parents, if you’re taking care of parents. This is heavy. This is a lot. If you are struggling to get your writing done, do remember that when I get my head in the game, which is generally just every morning for a couple of hours or when I go to RachaelSaysWrite, which I’m going to do this afternoon, thank goodness. I escape and it is such a good escape. It is so fun. So remember that you have that as one of your super powers, the ability to escape into your work. What other escapes have I been having? Well, I binged the home edit. I might’ve mentioned that and I have just been in really solid nesting mode. My office, you will see over my shoulder looks, Oh, there’s a dog. It looks fabulous. The office is fantastic. I’m gonna attack the kitchen next. The really nice thing is that there’s no weird corners full of stuff. I tend to be a pack rat and my wife is a lot more of a pack rat than I am, I must say. And so we have stuff upon our stuff under our stuff, over our stuff. I usually try to keep surfaces clear, but I, you know, you’ve seen over my shoulder, I don’t usually manage that. So all of this nesting that I’ve been doing between books is going to make packing a lot easier if we go. So yeah. It’s that’s exciting. So yeah, the kitchen is next. I’ve got all sorts of containers to put things in. Even the Marie Kondo would be rolling over in her beautifully 400 thread, 500 thread count sheets to know that I bought containers to organize things into. But, I love a container. I love the container store. I really love Daiso, which we have a couple of nearby. It’s a Japanese store where you can buy basically the same things you can get at the container store, but they’re all a dollar 50 or $2, it’s like a really cool dollar store. If you’re looking over my shoulder, the creek that you all just heard is my dog, letting herself out, our dog Clementine, that was Dozy. Our dog Clementine’s still sick, not feeling well, suffering pancreatitis, and maybe some kind of infection. So we’ve been spending a lot of time and mental energy and a lot of money, but you know, that’s what money is for on her. 

[00:05:07] So that’s what we’re dealing with and I will say that even though I’m ground down by the news, I am still hot and heavy in this romance with my work, even though I’m complaining about the revision, I’m still getting there and I’m loving it when my head is in it. I am also allowing you to remember that it’s hard. It’s hard right now. So give yourself some grace. Don’t beat yourself up. If you’ve been struggling to get to the page, just get to the page and do a little bit. You’re the only one who can do this. I was watching Austin Kleon on, an older video, a couple year old video, and he reminds us to do the noun. Wait, sorry. Do the verb, not the noun. You want to do the verb, not the noun. You want to be a writer? That’s great. You want to think about writing? You want to read books about writing. Awesome. But you got to do the verb in order to be a writer. You got to sit down and write, even though it is uncomfortable and the only things that comes out of your finger, fingers are things that you hate. That’s fine. You will revise them later and revision is difficult. I’m leading an amazing group through 90 days, A 90-day revision right now. And every time I teach this class, I am reminded, Oh my God. It is so hard to learn how to do this. Once you get the skills though, they’re your skills forever. So that’s great. I wanted to give a quick shout out to new patrons. Thank you, Anne-Marie. Thank you, John Rindfleisch VIII, you just edited your pledge up and now I am your mini coach. Same thing to Stephanie Bond. Stephanie Bond, you’re amazing. Love you. You’re the best. Katrina Dixon, thank you and Sasha Plaque. Oh, thanks Sasha. It’s it means a lot to have you. I love your show, shows.

[00:06:56] So let’s jump into the interview with Anjanette. She will pull us out of this state of existential despair, at least for a few moments. And then when you’re done listening, maybe you can go find some respite in your own work. Okay. Tell me how you’re doing, find me anywhere online. I’d love to hear from you. And I wish you a very happy writing my friends.

[00:07:18] Hey, is resistance keeping you from writing? Are you looking for an actual writing community in which you can make a calls and be held accountable for them? Join RachaelSaysWrite, like twice weekly, two hour writing session on zoom. You can bop in and out of the writing room as your schedule needs, but for just $39 a month, you can write up to 4 hours a week. With our wonderful little community, in which you’ll actually get to know your writing peers. We write from 8:00 AM to 10:00 AM on Tuesdays and 4:00 PM to 6:00 PM on Thursdays and that’s US Pacific Standard Time. Go to RachaelHerron.com/Write to find out more.

Rachael Herron: [00:08:00] Okay. Well, I could not be more pleased to welcome to the show today on Anjanette Delgado. Anjanette. I said it wrong. Anjanette. Hello! Welcome.

Anjanette Delgado: [00:08:08] Thank you so much for having me. I’m excited. 

Rachael Herron: [00:08:10] I’m so happy to have you here. Okay. Let me give you a little introduction. Anjanette Delgado is a Puerto Rican writer and journalist. She is the author of “The Heartbreak Pill” from the Simon and Schuster, the 2009 winner of the Latino International Book Award, and of The Clairvoyant of Calle Ocho, from Kensington. Her work has appeared in numerous anthologies, as well as in the Kenyon Review, Pleiades, Vogue, The New York Times, the Modern Love might I add, NPR, and HBO, among others. A Bread Loaf Conference alumni, she won an Emmy Award for feature writing in 1994, served as a judge for the Flannery O’Connor Short Fiction Award in 2015, and was a Peter Taylor Fellow in Fiction in 2016. Her short story “Lucky” was nominated for a 2020 Pushcart Prize, and she holds an MFA in Creative Writing from Florida International University, and lives in Miami, Florida. That’s a stellar bio there.

Anjanette Delgado: [00:09:07] Oh, thank you.

Rachael Herron: [00:09:09] That is so exciting and 

Anjanette Delgado: [00:09:10] Thank you. I was just, as you were reading, I was just noticing oh my gosh she, that’s how you spell that, that’s how you pronounce Pleiades. I’ve never known how to pronounce it. I get nominated. Yeah I think it nominated me for an award. I should learn how to pronounce the name of the journal but-

Rachael Herron: [00:09:27] The thing is though, I always say that like readers, when we don’t know how to pronounce something is because we read so much, you know, we’ve never heard it, but it makes us smarter. That’s all.

Anjanette Delgado: [00:09:36] May I steal that? 

Rachael Herron: [00:09:37] Yes. You should steal that. Okay. So I just read your Modern Love piece. It’s beautiful. And it gave me a good flavor for your writing. And I was looking at your books. The Clairvoyant of Calle Ocho was, I, I think on one of the pages I saw it’s described as a recovering clairvoyant, is that right?

Anjanette Delgado: [00:09:56] Yeah. She’s a really bad clairvoyant. She’s just, you know, it’s really incompetent. Partly because she has decided that, you know, this gift has to be perfect, this talent of hers has to be perfect. And when it isn’t perfect, she then sets it aside. Doesn’t practice. Doesn’t listen to it. And so of course it atrophies. Right? And so, yeah, she’s, she’s, she’s just now beginning to think that she may need to pick it up after all. Pick it back up again because, she needs, she needs this. 

Rachael Herron: [00:10:31] That has just, that book has just flown to the top of my TBR file, I must read it. Let’s talk a little bit about your process. The show is all about process. 

Anjanette Delgado: [00:10:40] Sure

Rachael Herron: [00:10:41] How do you get your writing done? Where do you get your writing done? If people are looking on the YouTube video, there’s this a beautiful desk behind you, is that your workspace?

Anjanette Delgado: [00:10:49] It’s an old table. Yes. I actually just bought it at a vintage, it’s-

Rachael Herron: [00:10:53] It’s gorgeous.

Anjanette Delgado: [00:10:54] And that’s where I used to, to write. It’s just like a little sofa that sort of serves like a, almost like a dining bench. For some reason, I do not like writing on proper desks. I don’t know why.

Rachael Herron: [00:11:09] What do you think-

Anjanette Delgado: [00:11:10] I don’t know what that’s about. I do. I just, it makes me feel cycled a little you’re like, okay. So for example, I like to write at the kitchen counter where I’m talking to you from right now. I love when, you know, before pre-pandemic, I used to go to cafes. In another life I was a journalist, so I would write in a newsroom and you have a deadline and it doesn’t matter what’s happening. You, you will write when you have a deadline, that’s that day you will write. And so, and you learn to shut everything out, you know. Yeah. And my husband complaints a lot, because he says that sometimes I’ll be reading and he’s, you know, he’s been calling to me for, I don’t know, how many minutes and I don’t listen and I just, I really don’t. I just tune it out. So that comes from that training. I don’t like to be isolated when writing, so I’m inside, I’m isolated inside myself. I like to see people and, you know, just a lot of activity around me. And I think I get that from, you know, not being at a desk, but just sort of being like in the middle of the house, in the middle of wherever, whatever is happening.

Rachael Herron: [00:12:18] In terms of writers strengths, I think that has to be such a gift. You know, it’s kind of like those people who can just lie down and fall asleep when they close their eyes.

Anjanette Delgado: [00:12:25] Yes. Me. Yes

Rachael Herron: [00:12:27] You also? 

Anjanette Delgado: [00:12:28] Yes

Rachael Herron: [00:12:29] Oh my god. I wonder if there’s some kind of connection to that. 

Anjanette Delgado: [00:12:30] There might be.

Rachael Herron: [00:12:31] You could just turn off the world when you need to.

Anjanette Delgado: [00:12:34] There might be, but, you know, I think I know how I developed it, like partly obviously was because of the job, you know, right, being a journalist working in a newsroom that happens. But I also realized thinking about it, that when I was a child, I would also just get inside the book. And once I was in the story, people would be calling me and I wouldn’t hear a thing. And you know, there could be a fire right next to me and I wouldn’t even notice. And I think reading gives you the ability to focus. When people tell me I’m not able to read, I know that they haven’t practiced reading enough, to get to the point where your brain is making the pictures automatically and you’re not noticing that you are reading. Right. 

Rachael Herron: [00:13:15] And it really is practice. Yeah. 

Anjanette Delgado: [00:13:16] Right. And I think if somebody wants to be able to develop that ability to, you know, not to be distracted by every little noise around reading, well do it. Getting a lot reading more than two hours. You know, when I have a student that has an issue getting into a story, I said, okay, set a clock and don’t stop. You’ll notice that as you get closer to that two hours, you forget you’re reading.

Rachael Herron: [00:13:41] You’re super deep. Yeah. And that’s the best, best feeling. So right now, during pandemic, you are working from home. How is that shift? 

Anjanette Delgado: [00:13:50] I am

Rachael Herron: [00:13:51] And I’m also a cafe writer. I hate writing at home. I do everything else at home, but not writing.

Anjanette Delgado: [00:13:56] Well, I’ll tell you, I feel incredibly lucky and blessed that I don’t, you know, nobody I know or love directly, you know, has, has, have been sick so far. I do live in Miami.

Rachael Herron: [00:14:07] Hotspot.

Anjanette Delgado: [00:14:08] So, you know what we make, what we have in the sun, we make up for it that’s a, maybe sometimes. So I’m happy to stay home and be safe rather than be out there with people not following basic rules and also, I don’t know that you’ll find a writer that will tell you that they didn’t find a silver lining in this whole thing,

Rachael Herron: [00:14:33] I know

Anjanette Delgado: [00:14:34] I just feel like we needed to slow down a little bit and you know, I wouldn’t have wanted it to happen this way, but I, but I do think there’s that silver lining to it. If you will.

Rachael Herron: [00:14:43] That’s slowing down has been so gorgeous in so many ways. And just like you, I would never have wanted this to happen, but to be forced to slow down is pretty, pretty wonderful.

Anjanette Delgado: [00:14:51] Yeah. I have to learn how to do it to myself. Right?

Rachael Herron: [00:14:55] Yeah. And how we keep this, if we ever get back, if we ever get back to something approaching normal, how to keep this feeling.

Anjanette Delgado: [00:15:01] Exactly. Exactly. So I think, did I answer your question? I’m sorry if I started chatting with you.

Rachael Herron: [00:15:08] I think so. N o, no, no. Yeah. So, so, so now do you write at your counters where you’re mostly at.

Anjanette Delgado: [00:15:14] Yeah, I am right now, it’s my counter. It may be my, my table, tomorrow, just wherever I feel in the middle of, and not some place where it’s I plan to write here and where, you know, you look at the place and, oh dear, you know, the, the folders with the research are perfectly lined with markers color-coded, of course. And it’s just saying you have, you know, when you, when I look at that, it’s like you have to write, whereas where I write, when I allow myself to write wherever, you know, you could write. It could be magical. You don’t have to, nobody’s forcing you but, you know, you could.

Rachael Herron: [00:15:50] Oh, I love that. I’m, I’m a little jealous of that. I’m one of those isolated writers I’ve gotta like, if I’m not isolated, I have to put the things in my ears and turn up the white noise so loud so everything is drowned out. What is your biggest challenge when it comes to writing?

Anjanette Delgado: [00:16:04] My biggest challenge is my life be having it be too full, right. And not being able sometimes to decide how full it can be at any given moment. So right now I’m editing an anthology and I’m happy. I am, no, very excited about it. I am teaching MFA students for the first time. I’ve always wanted to teach and I’ve taught, but you know, mostly lecturing or, you know, it’s still,

Rachael Herron: [00:16:33] Are you all online now?

Anjanette Delgado: [00:16:35] My school will be online. Mostly online. Yeah.

Rachael Herron: [00:16:38] Yeah. That’s good. That’s good.

Anjanette Delgado: [00:16:42] And so there’s all these things happening, right. I just finished my third novel.

Rachael Herron: [00:16:45] Congratulations.

Anjanette Delgado: [00:16:47] Oh, thank you. And hopefully it’ll go to my agent soon so he can tell me how to rewrite it. And so all of those competing things that I love to do, right. Saying no to this and that, that I also love and just kind of, you know, focusing, but I do write every day and I found that if I have a lot of projects, a lot of writing projects, that helps, the other thing that helps me a lot is to write when I’m not writing. So, because I wrote my first novel, When I Was the Mother of Two Teenagers, I learned to get those moments. I’d never, I could never tell you, Rachael. I have to wait until I have a full afternoon. Because it takes me so long to get into the concentration of the page that once I get there, you know, I can’t just stand up and have to go do something else. 

But I learned that if I did something called pre-production and that again comes from my TV days and I teach a class called Finish Your Novel the TV Way, which is, which is basically using what I learned as a TV writer and working with new writers. Oh my goodness. Let me tell you. When you are getting paid to write, you write. I don’t know you write well, but I know you write. So my class isn’t about that writing veterans so there’s a lot of other people that can do better. You know, how to write better. I’m just, I just tell them what I use, because I need to get paid and to get, you know, to get paid, you have to finish, right. It’s not enough to start and it’s not enough to spend X amount of hours. You have to have a plan for, for finishing something.

Rachael Herron: [00:18:29] A plan and that deadline that goes with it. Yeah.

Anjanette Delgado: [00:18:30] A plan and sometimes it’s your own deadline, right?

Rachael Herron: [00:18:33] Yeah. Yeah.

Anjanette Delgado: [00:18:34] So, so one of the things that TV writers do or have is that the world is built. Right. There’s a head writer that has imagined or conceived of this series. Let’s, let’s come, let’s compare this series to a novel, right? So a novel, a series that has, let’s say 26 episodes and a novel may have 20 to 26 chapters. When you think about in terms of arc they’re similar, but the TV writers starts with, okay, this is the world, this is the tone, these are the characters more or less, you know while we’re casting, start with an idea. So I started doing that for myself. For example, I would go online or on a magazine and I would kind of cast my characters and it doesn’t mean that you’re going to describe the picture exactly. 

Rachael Herron: [00:19:26] It just something in your head

Anjanette Delgado: [00:19:27] Well, it forces you to think, why did you think this picture? Because then you say, well, yes, Mark Ruffalo looks just like Peter, but what is it about the essence of Mark? Well, you know, he looks boyish, but he looks earnest or, and that, that forces you to think about your character in a deeper way and maybe

Rachael Herron: [00:19:47] That’s genius.

Anjanette Delgado: [00:19:48] And you throw away the picture, right? 

Rachael Herron: [00:19:50] Right. It becomes your character after awhile

Anjanette Delgado: [00:19:53] But you found, what was it that called you to that image as opposed to having to draw paint from, you know, from scratch to begin with, start from like, you would start, you know, like people sometimes will base a character on a friend or a, or a family  member. It’s the same. You’re just doing it with a photo and kind of using that process to tell yourself what calls to you, what, what is in your head already. The same I do, I do a map and I like to know where each place is. Right. But all of that, what I call pre-production helps you because of one day I just have 10 minutes and I don’t know where I am in a scene. I may use those 10 minutes to think about what a character may be cooking in a scene I know I have to write later, just gets that out of the way, you know, so that I use that time. And, and I keep myself in the world of my novel. If that makes sense. 

Rachael Herron: [00:20:50] I have done this show for four years now, and I have never heard this. It is so helpful to think of using these little bits of time to do little pieces of pre-production so that when you get there, you’ve already worked on some of this stuff. This is kind of blowing my mind. 

Anjanette Delgado: [00:21:06] Right? Well, because when you’re saying, has, has it ever happened? Good on Saturday, I have the whole afternoon to write, I’m so excited. You sit down with your tea, right. Your color-coded research, your whole thing, and you, and then you start to see it in your like, and you, and you, cause then it’s like information for information. So you go, so then you think, Oh, I need to do more research. And then you go down the rabbit hole of more research for God knows when, but if you have specific, so I’ll do like a little homework list. Oh wait. I have to think about, songs. I need some songs. \

Rachael Herron: [00:21:42] Oh my gosh. This is amazing

Anjanette Delgado: [00:21:43] And then, yeah. And I put it in the notes, my phone, I mean, nothing fancy. And then when I’m at the doctors or wherever I am when I have 10 minutes, 15 minutes to kill, but I wasn’t expecting, I said, Oh, you know, I don’t have a head sometimes to, to write. My, my head is, you know, my head hurts, or it’s too much. I can’t, I can’t concentrate, but I can concentrate on finding a few songs. That I can always do. I can look up research for what a name of a character might mean. I could look at a map of the neighborhood where it takes place and do a Google satellite just to familiarize myself with what the streets might look like right now. 

Rachael Herron: [00:22:20] Oh my God, Anjanette. This is

Anjanette Delgado: [00:22:21] Right?

Rachael Herron: [00:22:22] Especially having the list to work from.

Anjanette Delgado: [00:22:25] Right. Cause you won’t think about it in 10 minutes, Right? You won’t think about what you may spend the 10 minutes thinking, what would I –

Rachael Herron: [00:22:31] Just trying to think of something. Yeah.

Anjanette Delgado: [00:22:32] Yeah, no, but it’s just pick something from there that that would adjust to the time you have. And then that also helps when you do have the 4 hours of luxuries, you know, because you have a lot of information that you’re excited about.

Rachael Herron: [00:22:46] Oh my gosh, this is, this is, this is blowing my mind. And it’s so good. So, so let me ask you, in terms of your process, are you a plotter or a fly by the seat of your pantser?

Anjanette Delgado: [00:22:58] I do not like to be a pantser, but I do admit that sometimes the fancy strikes and I’ll just, you know, start thinking that I am a pantser, but I’m not, I’m not, I like to, I like to plot loosely, let’s call it, 

Rachael Herron: [00:23:13] Okay. Yeah

Anjanette Delgado: [00:23:14] I’m a loose water. Right. So I like to have, I like to understand the world. I don’t need to know every detail about the world that I’m going to be writing about, but I do need to know some. Right. Some basic things. I like to know something about my character. I don’t think so much in terms of like what’s in her closet and doing a whole biography. Because if I start doing all of that, I’ll get lost in all that. Right. I’m the kind of, of students, when I was a student, you know, I’m the person with all the markers and all their little tab divided notebooks and, you know, I could get, I could get really lost in all that process, too much process. So I try to keep it practical to what I will use to know enough to start laying out something and I’ll kind of go back and forth, right? Maybe that I started by plotting a bit loosely and I started to write and I realized, wait a minute, something’s missing. I need to go back to plotting a little more, you know, and I go back and you go back and forth. Right. yeah.

Rachael Herron: [00:24:20] So now when do you make, when do you add to this list, this pre-production list that you’re going to look at later to?

Anjanette Delgado: [00:24:25] When I’m stuck.

Rachael Herron: [00:24:26] When you’re stuck. That’s when you, that’s when you start adding to it? 

Anjanette Delgado: [00:24:29] Yeah, because once they have, once I, when I have the list and I start getting all my info, I start getting excited. I can’t wait to write that list and, and you know, and explain how, whatever she used burned the lips and how to describe, you know, how the lips or when, whatever. But once I’m, you know, I get to a place where I don’t know, I can’t see it. I can’t visualize anything. I know that I need to, you know, to answer those questions that I’m, whatever it is that I’m missing. It also helps you when you’re revising, you know, you could just, at some point, instead of doing formal revising, you could just go through to find words that repeat themselves too much. It’s a job it will do.

Rachael Herron: [00:25:14] It has to be done.

Anjanette Delgado: [00:25:15] Right. It has to be done and you don’t have to think a lot. Adjective, adjective, adjective, cross it off, you know, or circle it so that you can decide out of 36 adjectives, which 10, is that you’ll keep.

Rachael Herron: [00:25:28] Right. How many justs you’ll keep. Because I have so many justs on everything.

Anjanette Delgado: [00:25:32] Yeah. Like bite-sized tasks that will keep you working, writing will save you time from feeling like a failure, because you’re not writing. You are writing you just not writing, writing. You can touch it, you just not, you know, writing sentences. But you’re writing, you are creating the world of your novel and what happens in it. And you keep giving it texture.

Rachael Herron: [00:25:56] You’ve just given me this huge piece of writing that I’ve never used this big tool that I have never picked up before. And I love it. And I know that listeners are going, Oh my gosh, I’ve never thought about it that way.

Anjanette Delgado: [00:26:06] I hope so, I hope so. I mean, when you think about it, what it allows you to do is to use up, to be more productive, right? 

Rachael Herron: [00:26:15] Yeah. Yeah

Anjanette Delgado: [00:26:16] You are able to use your uptime and your downtime, your focus time and your unfocused time.

Rachael Herron: [00:26:22] Yeah.

Anjanette Delgado: [00:26:23] Your interrupted time, and your not interrupted time, and stay in it because what do you know of anything worse than having a lot of bass pass without getting back to it and then having to reread everything from scratch because you forgot, you’re not, you’re out of it. You have to get back into it. Right. And it’s okay when you have five pages, but when you have a hundred, you know, it’s time that you’re wasting, it’s not gonna make your book any better. So stay, stay in your novels, stay in it, stay in it as much as you can, even if it’s just thinking of it as you’re, as you’re cooking, thinking. And thinking about the character, just thinking even, 

Rachael Herron: [00:27:05] And what would I rather be doing? Like, you know, Googling something that’s super interesting that I can use in the book or looking at Twitter for the 400th hour that-

Anjanette Delgado: [00:27:12] And sometimes, right, and sometimes what you’re looking for and, I mean, I’ll confess to this, but, dear God, you want something mindless to do. 

Rachael Herron: [00:27:23] Exactly. That’s why we scroll Twitter. That’s why we look at Facebook. Yeah.

Anjanette Delgado: [00:27:27] Right. So you, you are there and you say, Oh my God, I’m so tired. I just had 10 calls, 2 zooms and whatever. You know what? I’m going to browse the sale. I’m going to browse Twitter. I’m going to look at houses that I will never buy I’m and you’re doing something mindless. You could do something mindless that nevertheless could be useful later.  

Rachael Herron: [00:27:51] I feel like you may have just changed my life and that doesn’t not always happen on this show.

Anjanette Delgado: [00:27:53] Your new game.

Rachael Herron: [00:27:57] This is my new game! And I am starting a book pretty soon so this is like so incredibly exciting. I think that must, that must satisfy the craft tip question that I was going to ask you about unless you have something else.

Anjanette Delgado: [00:28:10] No. I mean, it’s, it’s basically what I’ve taught it. I can’t tell you students just look at me, you know, when I walk in with magazines and scissors and when I did the sort of okay. There, there is another part of it, right? Obviously, you’re trying to build a, what happens next and why by causal effects. And all of those things and so, yeah, there’s, there’s more to it but they are pretty, pretty excited about being able to build the world before, you know, having to think of everything as if it were magical

Rachael Herron: [00:28:46] Yeah. It doesn’t, it doesn’t have to be that difficult. Yeah. Let me ask you what thing in your life affects your writing in a surprising way?

Anjanette Delgado: [00:28:56] Well, it’s not surprising to me. I have grown daughters and when they are unhappy, I know they’re unhappy. They broke up with the boyfriend or they fought with the husband, or they’re not getting along with their mom-in-law or, you know, or they lost a job or they lost a friend, it just consumes me.

Rachael Herron: [00:29:16] Really?

Anjanette Delgado: [00:19:17] And I’m saying, and I’m pretty hands off. I mean, one of my daughters, my eldest daughter lives in New York. She just got married. And, in November, I love my son-in-law, but things that affect her life, affect me. She had an issue with a lawyer, that, you know, basically was trying to cheat her like a month ago. And I couldn’t think about anything else. I was like, I’m going to run an email and you do this and you go that and call the bar and I get completely sucked into solving it now. And I cannot, I cannot just, you know, until they’ve told me that they sold it on their own or, you know, or they ask for help so I can do it for them. 

Rachael Herron: [00:30:02] How does that, how does that mama bear energy translate into your work?

Anjanette Delgado: [00:30:08] Exhausting. It’s exhausting. I don’t know that it does. I really don’t. Most of my, my protagonist and I’m going into, you know, long-form novel. They’re childless. All three of them are childless.

Rachael Herron: [00:30:23] God, that’s hilarious. And I have no kids and I’m obsessed with the mother-daughter connection. All of my books are about moms and daughters. So that is so,

Anjanette Delgado: [00:30:31] Lord. I, you know, I think that’s why they’re all childless. I’m excited about that other,

Rachael Herron: [00:30:38] So simple.

Anjanette Delgado: [00:30:39] That other part that just, you know, it’s, it’s crazy, you know, that once somebody else is born, it’s not up to you to be happy anymore. They will be able to determine whether you can be happy forever. That’s terrifying. 

Rachael Herron: [00:30:55] I could tell from here that you are an amazing mother.

Anjanette Delgado: [00:30:56] Oh, thank you.

Rachael Herron: [00:30:58] You love your girls so much.

Anjanette Delgado: [00:31:00] I try, I try. I have amazing girls. They are amazing. 

Rachael Herron: [00:31:05] Okay. So what is the best book you’ve read recently and why you love it?

Anjanette Delgado: [00:31:10] I love; I love to talk about that. Okay. Well, I’m still reading this one, but I’m enjoying it very much. So this is, I think it just came out yesterday. This is “The Boy in The Field” by Margot Livesey. 

Rachael Herron: [00:31:25] It’s a beautiful cover. 

Anjanette Delgado: [00:31:26] Oh my goodness. All her covers are really good. I’d never met her, but I love her. I tweet at her all the time. She just, her sentences are lyrical, but also they drive. They go places, they don’t have to go under, you know, in the beauty of whatever. She can write a really poetic sentence that doesn’t take you out of the story. And for me, that’s high praise. 

Rachael Herron: [00:31:54] Absolutely. 

Anjanette Delgado: [00:31:55] You know? So she’s really good. And she’s got a really good plotter, I find. A really good plotter. So this one, for example, there’s a mystery in it. And I am, I think I made less than 50 pages from finishing and I don’t know the answer. I don’t know. I don’t know what happens. Okay. 

Rachael Herron: [00:32:15] Also very high praise. When a writer can’t figure it out, that’s amazing. 

Anjanette Delgado: [00:32:19] Thank you, right? Because it’s not a one dimensional plot where I can see it coming right now and also she’s not like rattling off suspects. I had to read up. And after a while I said, wait a minute, this could be a suspect. That could be a suspect. Anyway, then, this, I, I, I actually reviewed them. I don’t know either the writer or the translator. So Nona Fernandez is a Chilean writer. Look at the thinness of this novel. I think some things, very short pages, 70 something.

Rachael Herron: [00:32:54] And this is a novel? It’s not poetry?

Anjanette Delgado: [00:32:56] This is a novel.

Rachael Herron: [00:32:57] Wow. 

Anjanette Delgado: [00:32:58] It’s a novel about the Chilean dictatorship and when I finished, I was complete. I said, Holy cow, I get it. I get it. 

Rachael Herron: [00:33:07] And what’s, and what’s it called again?

Anjanette Delgado: [00:33:08] “Cool Space Invaders”, both in English and Spanish. 

Rachael Herron: [00:33:11] Okay

Anjanette Delgado: [00:33:12] Now the first time I read it, I read it in English. It was translated by Natasha Wimmer who, who has translated many- she was Bolaños’s translator. 

Rachael Herron: [00:33:23] Oh, wow. Okay. 

Anjanette Delgado: [00:33:24] So she knows something about translating dense things and making them, you know, 

Rachael Herron: [00:33:28] Yeah. It’s an art. 

Anjanette Delgado: [00:33:29] Accessible, but, oh my goodness. I mean, I read this first and I said nah, she must’ve rewritten it because there’s no way she captured all that lyricism translating from Spanish to English, you know, with the dramatic roots and all of that. 

Rachael Herron: [00:33:42] Yes

Anjanette Delgado: [00:33:43] So that’s why I have to buy the Spanish. She did. She did capture it. 

Rachael Herron: [00:33:47] I’m not thinking about it. 

Anjanette Delgado: [00:33:48] And I’m one of those people who like, well, you know, we’ll be watching something on Netflix and going, translation. It just, it just bothers me so much. When something is translated to English and that’s not what they meant at all, or the other way around English to Spanish, you know, like a formal (word in Spanish), which would really be a formal lawyer. And what they hadn’t meant to say was a former lawyer, not formal. I have issues. And this one, this is a perfect translation. I mean, it’s just, it’s amazing. It’s about, it’s a story of a bunch of kids who are children in the same classroom when the dictatorship took hold. And one of their classmates is the daughter of a military guy and she disappears one day. And so they’re piecing together what they know.

Rachael Herron: [00:34:46] Don’t tell me how much more cause I have to read it.

Anjanette Delgado: [00:34:49] You will know, but, but it’s just, it’s so beautiful. It’s so beautiful. I actually wish I had marked like a paragraph to read you. So you could hear the music of the, of the, of it. And then lastly, and this one, I’m just, I’m just discovering. This is like “El Salas Rivera”, “While They Sleep, Under The Bed is Another Country”. She’s Puerto Rican like me and she’s, you know, she’s writing about colonization and she’s writing about lack of identity and she’s writing about Puerto Rico. Look at these pages. She’s just kind of going at overheard pieces from people after Maria and just kind of tracing. 

Rachael Herron: [00:35:30] So there’s a lot of white space.

Anjanette Delgado: [00:35:32] of overheard prayers, and then it’s all sort of comes together and, you know, in a, in a longer prose poem or lyric essay, but by the time you get to that, to that lyric essay, all those little layers have just gotten inside you and so it’s just so much more powerful.

Rachael Herron: [00:35:52] I’m going to put all of these in the show notes for everyone.

Anjanette Delgado: [00:35:53] This is an amazing, amazing book. I haven’t told her, I don’t know her personally, but I know her on Twitter and you know I, you know I’m loving the book before she does, so

Rachael Herron: [00:36:04] That’s so exciting.

Anjanette Delgado: [00:36:05] Anyway, I’m a big reader. I read almost a hundred books a year. I, I, I 

Rachael Herron: [00:36:11] I was a big reader. I think I only do like 60 or so.

Anjanette Delgado: [00:36:14] I read, I read every two, three days. I’m on the next book. I just, I read a lot to fall asleep. And I read a lot because it just keeps me so, so there, 

Rachael Herron: [00:36:25] it keeps us in the water. 

Anjanette Delgado: [00:36:26] Yeah. And then what I did to sort of keep myself at that pace. I reviewed books for the New York journal of books. Last year I reviewed 50 books. 

Rachael Herron: [00:36:36] Holy cow, Anjanette. That is fancy too.

Anjanette Delgado: [00:36:38] I know, I know, but it’s so great because you have a deadline and you’re, you know, you get into the books and you read deeply, deeper then sometimes we do, when we can just put it off, you know. 

Rachael Herron: [00:36:51] Right. Right, right, right, right. And you get boxes of free books all the time. 

Anjanette Delgado: [00:36:55] There you go. Win-win.

Rachael Herron: [00:36:59] Tell, tell the listeners where we can find you and tell them about your most recent book.

Anjanette Delgado: [00:37:05] Well, my most recent book, I’m hoping it will sell. So I’ve written three novels, two of which you mentioned, and the third, which my, my agent is selling part of what it has and that’s interesting. I’ll just mention it very quickly, but it’s such a, it’s become such a big thing. My first book was, quite frankly, what they call Chiclet was a woman’s story. It was a little lighter in the sense that it didn’t deal with no big things. It dealt with love battles. It wasn’t exactly a romance. I remember that the blurbs read smart chicklet as it books were, women were done. What happened? This one happened to be smart. We need to point that out. Smart Chiclet. Yeah and the second one was I was compared to Charlene Harris. And at the time I hadn’t read publisher’s weekly compared Clairvoyant to Charlene Harris, which I hadn’t, I hadn’t read. And I, you know, when I looked and said, why and I said, what are they, what does that mean? They’re comparing me to what you know, to a white book.

Rachael Herron: [00:38:08] Correct

Anjanette Delgado: [00:38:09] Later, I was very, very honored and flattered.

Rachael Herron: [00:38:12] Yeah. Those are great books. It’s so fun.

Anjanette Delgado: [00:38:14] Oh my God. I read all. But then I decided as I changed as I went on conferences, and I said, as I started, you know, leaving behind my, my life as a journalist and becoming more of a, of a full time writer, if you will, I realized that I had changed that where I sold my books may not be the best places going forward because I am not necessarily just a commercial writer anymore. And so that necessitated a lot of time in transitioning. And even now, I think that, you know, a lot of it’s a lot of learning, to sell a literary novel that’s nevertheless, has cannibals and it’s about hunger and death and there’s a mystery and all of that, but it’s the language has it. It’s different. 

Rachael Herron: [00:39:00] Yeah, of course. 

Anjanette Delgado: [00:39:01] So, people can find me anywhere that books are sold. Honestly, my website, which is just my name, very easy. I’m all over social media. I regularly write columns and op-eds on social justice. Yeah, once in a while I get so upset, it needs that that needs to, you know, leave the body.

Rachael Herron: [00:39:23] That’s one of our jobs as writers is to work for social justice and we have this particular tool that not a lot of people have.

Anjanette Delgado: [00:39:30] I should be surprised. I’ve been surprised at how much it has helped all my other writing to pan an op-ed. And, you know, people think an op-ed is just writing what you think. But it’s really testing yourself, testing what you think, finding the arguments, finding the factual arguments to support your thesis, you write your feeling, and that brings about a process of, of thought of claiming your own feelings and, and telling yourself whether they’re, you know, they pass muster or not that I find enlightening and, you know, just, just a great release. So I, I’m doing that so they’ll find a day if they, they’ll find me talking about Latino issues, racial issues, feminist issues. 

Rachael Herron: [00:40:17] I’m going to follow you immediately on Twitter, because I’m a twitter head

Anjanette Delgado: [00:40:19] Thank you. Yes, please. And soon in other places where, you know, there’s a new anthology coming out that I’m so excited about first.

Rachael Herron: [00:40:29] What is the anthology based around?

Anjanette Delgado: [00:40:30] It’s a, it’s for University of Florida press and the working title right now is lack of next writers on the politics of belonging. So I’ve tried to create a whole selection on the, on the literature of a rootedness, right, and what that means so, Richard Blanco is in it, Jennine Capó Crucet, who you may know, 

Rachael Herron: [00:40:53] I’ve heard the name

Anjanette Delgado: [00:40:54] Natrisha Angle, there’s just (Spanish name). And so I was able to get, select the story for this and I’m really excited about that. 

Rachael Herron: [00:41:01] You’re doing a little bit of everything.

Anjanette Delgado: [00:41:03] And that’s, remember how you asked the big thing, having all these things that are also important to me, trying to, you know, take away eat away at the purely writing time.

Rachael Herron: [00:41:17] Yeah. Yeah. Yeah. But you’re getting it all done and you are incredibly inspiring.

Anjanette Delgado: [00:41:24] Thank you.

Rachael Herron: [00:41:25] I have enjoyed this interview so deeply and I love the energy that you bring to this and I’m trying to stay very still because I’m having a microphone thing where it makes a lot of noise, but usually I would just be like doing this all over the screen because I’m so excited to talk to you and meet you. And thank you for doing this show.

Anjanette Delgado: [00:41:43] Anytime, anytime. Anytime at all.

Rachael Herron: [00:41:45] Oh my gosh. Wait, I’m going to claim you as a friend now, so you can’t get rid of me.

Anjanette Delgado: [00:41:48] Of course.

Rachael Herron: [00:41:50] Thank you Anjanette. Happy writing

Anjanette Delgado: [00:41:53] Thank you and thank you to your listeners.

Thanks so much for joining me on this episode of “How do you Write?” You can reach me on Twitter, twitter.com/RachaelHerron, or at my website, www.rachaelherron.com, you can also support me on Patreon and get essays on living your creative life for as little as a buck an essay at www.patreon.com/rachael spelled R, A, C, H, A, E, L and do sign up for my free weekly newsletter of encouragement to writers rachaelherron.com/write/

Now, go to your desk and create your own process and get to writing my friends.

Posted by Rachael Leave a Comment

Ep. 201: How Do You Know When You’re Overcomplicating Your Book?

October 20, 2020


Bonus mini-episode, brought to you by my Patrons at the $5+ levels! 

Including: 

  • Will I lose the humor in my dark comedy if I move to thriller? 
  • How should I sensitively write dialect? 
  • How can I know when I’m overcomplicating my book? 

Join now! http://patreon.com/rachael

Transcript

Rachael Herron: [00:00:00] Welcome to “How do you Write?” I’m your host, Rachael Herron. On this podcast, I talk to authors about how they write, what their process is and how their lives fit together. I’ll keep each episode short so you can get back to writing.

 [00:00:16] Well, Hello writers! Welcome to episode # 201 of “How do you Write?” I’m Rachael Herron. So glad you’re here today for this mini episode in which I will be answering the questions from patrons, like you, who subscribed at the $5 a month and up level, you get to use me for all of your questions, whatever they are.

[00:00:36] So let’s jump into it. I’ve got a couple of longer questions from Johanna here and I’m really excited to answer them. So, the first one is, I am about to embark on the sixth draft of my novel Social Debt, which is a contemporary dark comedy, about a snarky barmaid who has to find out how long she can stay dead on the internet when she’s alive in real life. Aside to say, I want to read this when it comes out, because that is such a great premise. I love it. Okay. Going on. I’m part of a writer’s group and have also had recently had two really helpful one-on-ones with agents. A common piece of feedback I’ve had is that some of the action in the book felt too out of place, too horrific and strong to be in what is essentially a comic story, albeit a dark one, having resisted this at first, I am now in agreement and as such, I’ve been doing some rethinking and reworking of my plot. I’ve come up with a new storyline, but before I get to the long business of rewriting, I’m hoping for a second opinion or about whether this new plot has overcome the problem of essentially trying to squash two genres into a book or have I now in fact, just crossed over into a straight thriller. So Johanna sent me her two different ideas, the way it was and the way she’s thinking about doing it.

[00:01:55] And I won’t go into those because that is her book and we talked about it a little bit on email. However, my- the reason I’m reading this on air is that my opinion is, Johanna that you could not possibly write a straight thriller without the comic snarky darkness. And I don’t think you have to worry about that. Yes, you are writing something darker and more horrifying. Because, and I was just talking about this with somebody yesterday, when we introduce a terrible element, a dark, terrible element, the reader has to be prepared for that. We make a social contract with them when we start our books, if we are writing light, bright, light, bright, funny, funny, funny, funny. And then at the dark moment, there is a horrific murder, and there has been no evidence or thought of violence before this, the reader is going to be mighty put out. And that’s why thrillers worked so well. We’re kind of gearing them up the whole way through. It’s getting darker and darker and more and more fraught with tension. It sounds like you are going towards the more fraught with tension, which I think works really well for what you were talking about. However, you are such an automatically funny person who thinks in a funny way, and I am cheerfully jealous of that. I wish that I could do that. I think in a funny way, and I think in a dark way, and they don’t often overlap and I wish they did.

[00:03:23] I think that is a really wonderful superpower that you have. So no matter what, you are not going to cross over into a straight thriller, and I just wanted to reassure you about that. No matter what thriller you write, no matter how dark it is, it would still be darkly comedic. So embrace that hold onto it and absolutely lean into exactly that. So there are some more questions here. And she says, okay, so I’m feeling a bit paralyzed at the moment with the book as I have this big decision to make about which way to take the plot as per my original question. I’ve been fiddling about with early chapters and doing some research to help with one of the main characters, but I’m hesitant to get going properly on the next draft without making a decision, but it feels hard to decide without having done some writing.

[00:04:13] I know you said in your how to revise a novel webinar, that you should always do rewrites in order, but I wondered what you might think of writing a rough draft of a chapter from the middle, ie: one of the key scenes that would change to see how it feels. And if it seems promising, going back to those early chapters and working forward again until I reached that new chapter. I suspect the answer will be yes, go for it as the rules are, but there are no rules, but I thought it might be something too interesting to discuss on the podcast. Big things here. The rules are, there are no rules. However, there are very strong suggestions and in revision, one of my strong, very, very strong suggestions, is to not go back and re-revise during a draft. What happens if we do that as we get there is potential, there’s great potential. I see it happen hundreds of times that people go back to re-revise to try to make it exactly perfect with this new direction they’re taking it in and they never get out of that whirlpool because they don’t quite make it into what they want on that attempt. So then they start second guessing what they were trying to do. So they try to come up with a better new idea and then go back to those chapters and re-revise them again. But it’s not perfect because nothing is ever perfect. So they try to come up with a better idea again and I say this from not only watching many students do this, but from doing it myself.

[00:05:47] And that is why I believe in the multiple passes of revision from beginning to end and every time you get a great brand new idea, if no one’s ever heard me say this, well, listen up. If you’re moving through your book through a revision and you- you’re moving forward, always forward, you have a great idea that you wish you would have done and that you would like to try, make a post-it about it. That’s a great new idea, make a post-it, keep it with all your other posts-it of your great ideas that you’re reading all the time to refresh your memory about what’s there and then make yourself a note in the manuscript. I like to use all caps so I remember what I’m doing and I say, gosh, I wish I had done this in the last three chapters, I am moving forward from here as if I did. Then I know where I started and I pretend that I’ve already revised those chapters. What it means is that if this idea doesn’t work, I don’t have to go back and undo all the work I did. If I’d gone backwards to fix it. And I keep moving forward and I have a post-it, just there waiting for me that I will go in on the next draft and fix quickly all the way up to the point where I made the decision to move forward as if I had already done all the work behind it. If you have to listen to that again, to make sense of it, I don’t blame you, but it works. And Johanna, I already have very, very high hopes for you. And I know that you can do this because I think you said you’re on your sixth draft. Is that right? That already means that you know how to go through a draft and you know how to complete one.

[00:07:19] So to have a great idea, start where you are and start working with it and moving forward to the end. Means that you’re already confident that you will go back and do the seventh draft and catch yourself up to that idea that you had. I would encourage you trying that again, not a rule, but in my experience, this is a way that gets people through drafts faster. With more confidence. You’re actually moving forward with less clarity, which is okay. But it gets you to clarity faster by actually trying it and not going back and back and back and trying to fix it and I will also say people who are not in revision. This is how I write first drafts. I write a first draft, I have a great new idea, it changes the entire book. I pretend that the book has rewritten that way up until now I make a post-it, I make a note in the manuscript where I start a fresh as if everything behind me is perfect in the way that I want it to be now. And I move forward and that is how I get to the end of a crappy first draft. It means that I am Frankenstein creating a monster and nothing fits together. And there’s arms coming out of the eyebrow and legs sprouting out of the rib cage. And that’s all fixable. That’s actually really, really fun to fix. So that is what I suggest. Okay. 

[00:08:35] So another question from Johanna, and actually, as I write another question occurs to me. I currently have two characters in the book who have accents, at least traces of accents, which are not mine. So I’m just going to skim ahead here. We have a new castle Jordy accent the Jordy only comes out when he’s angry. Which given who he is fairly often and then there’s another character who is British Jamaican. Parents were Jamaican and came to English and came to England on the wind rush. This character was brought up in South London and he tosses around a lot of British Jamaican slang. So that was a paraphrase. Now, going back, what is your opinion of writers trying to write in dialects that aren’t theirs?

[00:09:15] I’ve done various bits of research, watching YouTube clips and TV shows or listening to audio books where people have those accents or use that sign. And sometimes I think it’s working well, other times I think I’m kidding myself and should just another way to make these voices distinct. Plus, of course, there’s the delicate issue of trying to write a book, which is truly representative of multicultural London, whilst- I just like, I just like the fact that I got to say whilst; whilst also not committing cultural appropriation. What are your thoughts and or tips? Fantastic question. And a very important question. And there’s a very simple solution that many, many authors use and I subscribed to it and basically it goes like this.

[00:09:57] When those characters are introduced, let us hear their accent in one or two sentences, and then remind us of that accent, every two to three chapters with a word or two. If you introduce the characters to us with the accent using, you know, the apostrophe to show dropped vowels or alternate spellings to show different pronunciations, we will remember those characters and our reader’s brains can hold. That this guy always speaks in a Jordy accent. I don’t even know if I’m saying the word Jordy, right? Honestly. But this person will have the Jordy accent. This person will have the British Jamaican slang and an accent. We will remember that. And then you don’t have to do the hard work of trying to put it into a phonetic dialect, which can be offensive, which can read as offensive. Also it can tire out the reader. We get tired of deciphering transcribed, dialects. The brain just doesn’t want to do it. So show it to us and then hint at it with one or two words. Every two to three chapters, I think is a good ratio. So the reader is re-reminded, but otherwise just write in straight up anglicized English and the reader will imbue that accent in their own head when they’re reading and you don’t risk offending anybody by doing it wrong. Make sure that those first sentences are really good, strong, and non-offensive random via sensitivity reader. If you’re not British Jamaican that is what I meant, but then otherwise let your reader do all the work. So you don’t have to, it’s a, it’s a wonderful answer and it works really, really well. 

[00:11:43] So I think that that is all your questions. So I’m going to scoot over and we’ve got one more question from Mel. Thank you for this, Mel. I’m getting questions from all over. I’ve gone from the UK. Now I’m going down to New Zealand. Where is the line between over-complicating things in a story and adding depth, richness, and good complexity? This makes an assumption that the latter is a good thing and adds value to the reader experience asking myself this question can occur in outlining drafting or in revision stages or all three. Oh yes. I love this question. So where’s the line between over-complicating and adding depth, richness and good complexity. So you are correct. The depth, the richness, and the good complexity is something that people love. Not all writers write with it. Not all writers have to write with it. However, if you’re drawn to writing with it, then you love it. And it should be in your books. That line between over-complicating though, and adding richness is something that is so easily blurred and stepped over. Especially in our first few books, there tends to be this thing that happens where we panic a little bit, that perhaps our conflict isn’t as conflicting as we would like it to be. So we think about throwing in a little twist or a surprise or a plot point that we didn’t see coming or, a thematic element that hasn’t been in this book before in order to bolster it, to make it stronger. And this is where the danger lies. I did this, I know in my second through fourth or fifth book, I know this because my editor and my agent would always send my books back to me saying, you know, take out some plot, take out some plot, take out some plot.

[00:13:29] You have too many things going on. While books can hold a whole hell of a lot, the book still has to be cohesive. It needs to cohere to this theme that you have in your book. If you are writing a first draft or even a second draft, and you don’t know what your theme is yet, that’s fine. It will come. But at some point you need to know what your theme is and what you’re actually arguing for in this book. And that includes novels that especially includes novels. You, no one wants to write or read a book that is about the power of the mother-daughter relationship plus the right for all men to bear arms plus the idea that war is a mockery of the gods plus define- exploring true communication and compatibility between people who are very different. You are doing too much with this book now, and those are the books I kind of, I used to write, I would put in a little dash of everything, hoping that the conflict then would seem richer because I had so much going on.

[00:14:45] But really what I wanted to tell was the story of a person finding her chosen family. And that is a story that I come back to over and over again. And I can’t throw in all of those other things I can throw in touches of things, but it can’t be the main point. So, but I’ll pull back on that and, and say, if you’re writing a first draft, throw in everything. Throw in the proverbial kitchen sink. You don’t know what’s going to stick and you don’t know what this book wants to be yet. So don’t hold back in the first draft. Just know that in that big, huge revision, the second draft where you pull your book apart and put it back together again, which is necessary for every good book. That’s the point at which you’re going to say, gosh, I was trying to do a little bit too much here and I was hoping I would get away with it and we never get away with it, people. Whenever I try to get away with something in a book, that is what the editor always points out and says, Oh, you don’t get to get away with that.

[00:15:43] And I would like to also say to everyone listening, you will have an editor. You will have an editor at some point, whether. You go the traditional route and you find an agent who then sells your book to an editor, and then that person will edit your book and help you make it as strong as it can be. Or if you hire an editor, I recommend through Reedsy.com. Because I have great editors there, in order to sell, publish, your editor will be helping you with a lot of these things. So there is this difficulty, Mel, and I know you might be feeling it that how can I tell when I’m stepping over that line of over-complicating versus adding depth. Sometimes we can’t tell. Sometimes, especially in our first few books, we need somebody else to say, all right, this is all beautiful and organically fits together. And where did this come from? This is a spear, you just tried to stick into a blender. And those two things don’t go together. But now the images in my mind and I’m enjoying it, and that’s what an editor’s for. And you’ll all have an editor. As you move forward. So trust in that, it’s nice to let the editor do her job.

[00:16:51] She has a job. You don’t want to hand her a perfect book. No one’s ever done that in the history of the world. So play card, do the best you can. None of us are writing perfect books. There’s no such thing as a perfect book, especially before an editor has seen it. So take heart. You’re doing exactly right. I love that you asked the question. And, all of you, thank you for listening. Or watching this mini episode, I really enjoy doing them. Please, if you are a patron at the $5, and up level, I run out of questions. This is all I have. This is why I haven’t done them in a while because I’ve been trying to save them. You all, aren’t utilizing me enough. Give me some more, throw me a challenge. I would love to have a question where I just say, I don’t know. I’m pretty bad at saying, I don’t know. And I would probably do some Googling, but, I’m also pretty good at saying, I didn’t know. So, or, and I’m also very good at saying that is beyond my capabilities. So don’t throw like legal questions at me or tax questions. I’m not gonna answer those, everything else, lay it on me. Thank you so much for listening. I really, really appreciate your patronage and I appreciate every single listener here. I hope that you are doing well and that you are happy and safe and that you are getting some of your own writing down. Okay. We’ll talk soon.

Thanks so much for joining me on this episode of “How do you Write?” You can reach me on Twitter, twitter.com/RachaelHerron, or at my website, www.rachaelherron.com, you can also support me on Patreon and get essays on living your creative life for as little as a buck an essay at www.patreon.com/rachael spelled R, A, C, H, A, E, L and do sign up for my free weekly newsletter of encouragement to writers rachaelherron.com/write/

Now, go to your desk and create your own process and get to writing my friends.

Posted by Rachael Leave a Comment

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